Traditional Fiddle Music - Springthyme Records

Traditional Fiddle Music of the

Scottish Borders

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

CD Included

Taigh na Teud www.scotlandsmusic.com • Springthyme Music www.springthyme.co.uk


Scottish Borders

from the playing of Tom Hughes of Jedburgh

A Player’s Guideto

Regional StyleBowing Techniques

Repertoireand

Dances

Music transcribed from sound and video recordings of Tom Hughes

and other Border musicians

by

Peter Shepheard

s c o t l a n d s m u s i c

13 Upper Breakish Is le of Skye IV42 8PY . 13 Breacais Ard An t-Ei lean Sgitheanach Alba 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)

First published © 2015

Taigh na Teud Music Publishers13 Upper Breakish, Isle of Skye IV42 8PY

[email protected]

Springthyme Records/ Springthyme MusicBalmalcolm House, Balmalcolm, Cupar, Fife KY15 7TJ

www.springthyme.co.uk

The rights of the author have been assertedCopyright © 2015 Peter Shepheard

Parts of this work have been previously published bySpringthyme Records/ Springthyme Music © 1981

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.

All Rights Reserved. No part of this publication may be reproduced, or transmitted in any form or by any means without

the prior permission of both the copyright owner and the publishers in writing.

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.

– 4 –

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 UpdateAdditional music transcriptions and sound files may be available online at

www.springthyme.co.uk/1044/www.springthyme.co.uk/tomhughesand/or at www.scotlandsmusic.com

– 5 –

ContentsIntroductionMap of the Scottish Borders 6Tom Hughes of Jedburgh (1907-1986) 7

1: Tom Hughes: BiographyIn his own words 8Music at Nisbetmill 8Making Fiddles & Tambourines 8Tom gets his first fiddle 8Tom’s first tune 9The Family Band 9Competitions 9From Nisbetmill to Howden 9The Kirn at Howden 9The Orchard at Hawick 10Playing Fiddle for Dances 10Fiddle Style: 10 Double Stops 10 Playing in Parts 11 The Flatter Bridge 11 The Old Bow Grip 11 A Spring in the Bow 11The Hiring Fair at Earlston 11The Move to Lilliesleaf 11Castin oot wi Willie 12Whitton near Morebattle 12The Kirns around Morebattle 12A new tune at Kelso Hiring Fair 13Up Kale Water 13Life at Chatto 13To Ruletownhead 14The Traditional Music Revival 14The Hughes Family Tree 15

2: The MusiciansThe Hughes Family Fiddlers 16Other Musicians 16

3: Recording & TranscriptionSound & Video Recordings 18The Music Transcriptions 18Reaper and Transcribe 19

4: Traditional Fiddle StyleRhythmic Structure of Scottish Music 20

Inégale Note Division 20Bowing Techniques 21 1: Hack and Slur Bowing 21 2: Scotch Snap 22 3: Shuffle Bowing 23 4: Snap Bowing 23 5: The Up-Driven Bow 25 6: The Down-Driven Bow 26 7: The Long Bow 27 8: The Birl 27 9: Spiccato Bowing 28 10: Open String Unisons 28 11: Ringing Strings & Drones 29 12: Double Stops & Chords 29 13: Decoration/ Grace Notes 30 14: Tam’s Fiddle Exercises 30

5: Traditional DanceDance in the Scottish Borders 32

6-12: Tune Types 6: Hornpipes 37 7: Country Dances & Reels 52 8: Strathspeys & Schottisches 60 9: Marches 66 10: Jigs 70 11: Polkas 74 12: Waltzes & Slow Airs 78

AppendixConclusion 88Tom’s Life & Music 90Letters 91Notes & References 92Symbols Used 92Places in the Borders: Map links 92Bibliography 92Scots Language and Dialect of the Borders 94

IndexIndex of Tunes in the Book 95 Copyrights 95Tracks on the Tom Hughes CD 96

– 6 –


The Borders

Selkirk

Hawick

GalashielsMelrose

St Boswells

Coldstream

Jedburgh

Newcastleton

•

•

•

•

•

River Rede

•

River Tevio

t

Yarrow Water

Ettrick Water

River Tweed

Teviothead•

River Esk

Liddel Water

Liddesdale

•

Jed Water

Gala Water

River T

weed

River Breamish

River Coquet

Kelso•

Borthwick Water

Roberton•

Allan Water

Denholm•

Bedrule•

Ale Water

•Lilliesleaf •Ancrum

Redesdale

Morebattle•

Oxnam Water

Teviotdale

Scottish Borders

SCOTLAND

ENGLAND

Berwick upon Tweed •

Edinburgh

Kielder Reservoir

River North Tyne

Otterburn•

Rothbury

�e Cheviot H

ills

St Mary’s Loch

•Yarrow

•Lauder Leader Water

Lauderdale

Rule WaterKale Water

•

Langholm•

Earlston

Peebles•

Northumberland

Bowmont Water

•

Eden Water

Slitrig Water

•

Bowmont Water

Yetholm•

•Hownam

Dumfries & Galloway

Cumberland

•Crailing

0 5 10 15 20

Miles

When Tom Hughes was born in 1908, the family were on the farm of Butchercoat (1) where his father and grandfather

were both fee’d as ploughmen. The family moved from farm to farm around Jedburgh, first to nearby Smailholm (2) then Nisbetmill (3) near Crailing and then to Mervinslaw (4) near Jedburgh. After his grandfather died in 1920 the family moved to The Orchard (5) near Hawick and Tom started playing fiddle for dances with his father. In 1925 they moved to Netherlaw near Lilliesleaf (6) and in 1927 to Whitton (7) on the Kale Water.

In 1931 Tom married and moved with his wife further into the hills up the Kale Water taking a job as a horseman at Beirhope near Hownam (8) and after a couple of years to nearby Chatto (9) where he stayed for fourteen years setting up his own band the Kalewater Band playing for dances up and down the valleys of the Cheviot foothills. After the war Tom and his family moved to Ruletownhead (10) where he joined the Rulewater Band. When Tom’s son took over the farm at Ruletownhead in 1951 Tom retired from farm work and moved into Jedburgh.

– 7 –

TOM 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 musicians – 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.uk3. See Wikipedia article: The Bones: http://goo.gl/I8SveH4. See Wikipedia article: The Bodhran: http://goo.gl/w36IBq

Tom Hughes Fiddle player of Jedburgh

(1908–1986)

– 8 –


In his own words:Tom’s life story in his own words transcribed from recorded interviews made between 1978 and 1982.

Tom: “ I wis born on a farm (by) the name of Butchercote in the Mertoun estate near St. Boswells in 1907 (10th October). Ma faither (Thomas Hughes) wis fee’d tae the farm as a plooman. I think we were a couple o year at

Smailholm below Kelso, but when I started tae school we were livin at Nisbetmill, a farm on the Teviot down Crailing five miles frae Jedburgh.

Music at Nisbetmill: “ When we moved tae Nisbetmill (around 1912) I ken ma grandfaither (Henry Hughes) wis already retired. I had two aunts unmarried, (Tom’s father’s sisters Jessie and Jeannie) an they were fee’d on the farm, an they had the house (next door) an ma grandfaither wis retired livin wi

them. He sometimes worked, for I remember him sayin some afternoons that he’d “hae tae gan an help wi the hay.” His fiddle always hung on the wall an whiles he’d bring it intae ma faither tae hae a tune (together) and then the next day he’d hae a bit tune hissel. I can remember him playin. He had been a good fiddler in his day, but when I 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

which he drove wi his foot – for turnin the ribs an pegs. But makin the backs an bellies wis aa juist be hand. He had a block o wood juist the dimensions o the fiddle an after he’d boilt the ribs an got them hot he shaped (them) around the block an put clamps on tae hold them.

Tom gets his first fiddle:“ I had watched ma grandfaither makin a fiddle but I never thought he wis buildin the instrument for me, an it wis the biggest surprise o ma life when on Christmas mornin I found the instrument in a bag on the mantelpiece.

Tom Hughes: Oral Biography

The main thrust of the Border Fiddle project was to record the music of Tom Hughes and other Border fiddle players

and musicians – and this resulted in well over 100 sets of tunes recorded on tape and video between 1978 and 1980. Once it became clear that the outcome of the research would be an LP recording of a selection of tunes played by Tom

both solo and with other musicians, the decision was made to include transcriptions of the tunes in a booklet insert with the LP and also to include Tom’s life story in his own words – transcribed from recorded interviews. The original edition of the text issued with the album Tom Hughes and his Border Fiddle in 1981 has now been revised and expanded for this publication.

Tom at the old Nisbetmill cottages, 1980.

– 9 –

He made three sizes o fiddle, the first size, the one I got when I wis seven wis juist the half size – long shaped an narrow wi very long bouts1 (waist) – his own dimensions I think. Then he had another size – the three quarter, an the full size. He made a lot before I knew him but he made a good few after – mostly for friends an relatives. They werenae like ma (present) violin (labelled as a Joseph Guarnerius 1735) but they had a grand tone some o them mind. I’ve played them at kirns, white – never varnished – a fair ringer! They’ll be up an doon the country somewhere. He made twae sizes o tambourine – big ones about 14 to 16 inches across and small ones about 9 or 10 inches. Sometimes he made them without jinglers like the Irish bodhran but more often he put on about six pairs o jinglers.2

Several other fiddle makers lived nearby – John Tait, station master at Crailing who also taught fiddle, and Jim Landells, hedger on the Mertoun estate.

Tom’s first tune:Tom’s father and grandfather would often play fiddle together in the house.

“ I juist listened tae them playin an gradually taught masel tae play. I wis never taught music. I can read tae a certain extent (now), but ma faither an grandfaither they never read music. (After) ma grandfaither made us the fiddle, I juist scraped an scratched away till I could play a tune an that wis it. I learnt wi aa ma fingers lyin on the strings an liftin them off as I didnae need them. That’s how I got the chording (double stops). The first tune that ever I played wis The High Road to Linton. It has words tae it:

Betsy is the bed made, The bed made, the bed made, Betsy is the bed made, An is the supper ready?

The family band: At one time Tom’s grandfather Henry had led a fam-ily band that played for dances at kirns and weddings in the area.

1. boucht = a bend. A fiddle has three bouts – the smaller upper bout, the larger lower bout and the middle or C bout. Tom is referring to the size of the middle bout – that is, a narrow fiddle with an elongated middle bout.2. Tambourine designs as made by Henry Hughes: www.springthyme.co.uk/tambourine/

“ I never played wi ma grandfaither (for dances) as I wis too young an he wis past playin, but (at one time) ma faither an his two brothers Bob and Henry did. Ma grandfaither, faitheran Bob Hughes played fiddles, an Henry played the tambourine or fiddle. It wis mostly kirns an weddings – there werenae sae many dances (in halls) in those days. Ma faither played the pipes as well, an the old fashioned melodeon an the tin whistle. But mostly it wis three fiddles an tambourine.

Tom’s father continued playing for dances with his brothers and other local musicians after Tom’s grand-father could no longer play.

Competitions:“ There were competitions too, now and again. There wis singin – an anybody who could play anything, whistle or tell a story – juist a social evening. Ma faither yince won it an aa – playin a melodeon. An he got the melodeon as a prize, a melodeon wi yon teaspoon basses. I wisnae at it but I can remember the melodeon well enough.

From Nisbetmill to Howden:“ Ma faither wis one o thae kind o folk (who) would move for a shillin. If he wanted a rise o a shillin an the boss wouldnae gie him’t, he would juist move off. He wis a plooman at Nisbetmill. Then (we moved to) Morebattle up the Kale Water (around 1916) an after that we moved tae Howden a couple of miles out o Jedburgh (May Term 1917) where father worked as a labourer in the silk mill, an I cam intae Jedburgh tae the Grammar School.

The Kirn at Howden: After the harvest was in, it was the custom to hold a feast-cum-dance for all the workers on the farm. The event was known as a ‘kirn’ or ‘harvest home’ in the Scottish Borders but further north it was often called a ‘maiden’ from the custom of dressing up the last sheaf of corn as a young maiden.

“ There were no kirns during the war. The first kirn I wis at wis at Howden (in 1919). It wis in what we ca’d the grainary – the part o the steedin where they kept the grain. The (new) sheaves wis built intae round stacks outside and thatched, an (by that time) the grainary wis empty. Mebbe there were a wee pickle o the year before’s tae clean out before it got started. The cobwebs in

1: Biography

– 10 –


the place were swept out an sheaves o corn hung up, an paraffin lamps hangin frae the couples – or hangin frae the beams – the old Scotch word wis the couples. Everybody wis preparing for the kirn. We aa killed pigs aboot that time an made the potted meat. An you got the potted meat – potted heid. An bread, mostly baked in the old ovens – round bread, what they ca’d the fadge, wi flour on the top. That wis the home made bread in those days. Aa sliced wi cheese an butter – home made again. An then the farmer supplied the drink – ’twas a barrel o beer. They were all 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.

It started mostly juist wi the dance they ca’d The Triumph. One o the more popular dances wis Drops o Brandy, plenty Eightsome Reels, the Foursome Reel, Polka, Waltzes, the Hielan Schottische, Corn Rigs, Flowers of Edinburgh, Roxburgh Castle, Dashing White Sergeant – juist mostly country dances. An there wis singers an anybody who could tell a story. Juist a joyful evenin ye ken – dancin and singin aa the night.

The Orchard at Hawick:“ We moved frae there (Howden) tae Mervinslaw (May Term 1920), an then tae a place ca’d The Orchard at Hawick (May Term 1921) an I went tae Kirkton school. Ma faither wis the head plooman – the plooman steward, he had the first pair o horse, an they had aboot four pair o horse – four ploomen. I finished ma schooling

at Kirkton at Christmas (after I was fourteen) an startit work on the farm drivin a one horse wi a cart – for feedin sheep an cartin – leadin in for cattle, turnips, an one thing an another. Twelve an sixpence (a week), I can mind that right away!

Playing Fiddle for Dances: Throughout the 20s Tom played fiddle with his father at kirns, village hall dances, hiring fair dances and country weddings, firstly around Hawick and later around Jedburgh, Morebattle and Kelso.

“ 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 together. (After that) we went frae The Orchard at Hawick up to Newmill an further up – aa the places up the Teviot, an Roberton up Borthwick Water. Mostly Friday nights, very few on the Saturday night – kirns, village hall dances an weddings – the receptions wis often held in the grainary juist the same as the kirns. Distance wis no object. Ye had yer bicycle, the fiddle tied on yer back in its cloth bag.

Fiddle Style:Double Stops:

“ I play a lot o double string work – which is considered a fault wi some (people). I’ve heard twa or three say they dinna ken how I got the double string action. It juist comes natural. That’s the way ma faither an ma grandfaither din it, it’s comin back in now (into fashion), although in competition I’ve been faulted for too many stops where they ‘werenae needed’.

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

The Orchard 1922. Tom (age 15) and his father

– 11 –

The Hiring Fair at Earlston, 1933

Playing in Parts:

“ We used tae play together this way at the dances. The two o us (Tom and his father), we juist got together in the hoose at night an we juist arranged that between us. (One of us) would play one part an one would play the other.

The Flatter Bridge:“ We had a straighter brig (i.e. flatter than is normal nowadays). They’re more rounded now, but in those days they were nearly flat. Nowadays there’s nobody can play (using the flatter bridge) but masel hardly.

The Old Bow Grip:“ Most bows has the frog and screw. But I’ve seen one or two wi a cork where the frog is now. Ma grandfaither had one, ma faither as well. The stick on those old bows wis bent more the other way. They used tae push the cork further back or forwards tae loosen or tighten the hair. Ye held it be the cork, an if ye wanted the bow tighter ye juist worked yer thumb on the cork.

Tom always held the bow that way – with his thumb beneath the frog where it could be moved forwards on to the hair to increase the tension and back again when a springier bow with less tension was needed.

A Spring in the Bow:“ I hold the bow wi ma thumb underneath the frog, an sometimes I’m touchin the hair wi ma thumb. I do that in the middle o a tune if I feel the bow’s no right. (Then) I can pit the pinkie in below the stick at the back of the frog an draw ma thumb back again. I’ve always played wi it on the loose side, I like a springy bow – ye canna get the vibrations wi a tight bow.

The Hiring Fair at Earlston and the move to Lilliesleaf:“ The first time I went tae a hirin fair wis when we left The Orchard. I had worked a single horse till I wis aboot seventeen, then I got a pair. But it wis juist a sort o odd pair. The old farmer, Tattie Willie (Willie Scott), wouldnae pay me for tae drive a pair so we had tae move. If ye needed a

1: Biography

– 12 –


pair o buits, yer weeks wage wouldnae buy them – ye couldnae get a pair in those days below twenty five shillin (two weeks wages). That’s the way (the reason) we went tae the hirin at Earlston.I can remember it wis juist a terrible bad snowy day. (We) had tae catch the train aboot eight o’clock. There were a good few (people) there, everybody that wis tae hire, an a lot that wisnae tae hire, local workers that got the day off. Ye’d meet in wi one another, have a drink wi yer pals. Then the hirins would start juist whenever ye met in wi the farmers that wis needin workers. An 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 and we were invited tae play. We were paid for it – but it wisnae a big fee in those days. Ye moved at whit we ca’d the term day – the 28th o May. That’s when ye moved tae the place that ye were hired to, but ye wis hired mebbe six weeks before that (at one of the Hiring Fairs in the area). There were three, I think. There were one at Earlston (1st Monday in April), an one in Kelsie (Kelso) a few weeks later (1st Monday in May), an one in Jedburgh (a Tuesday mid May). I’ve been at all those three. There were (also) one at Hawick but ’twas a very, very small thing. At the term day (May Term, 1925) we went, the whole family, tae a place the name o Nether Raw at Lilliesleaf. Ma faither wis plooman steward, I had the third pair. I wis a full plooman then, I think it wis twenty one shillin a week!

Castin oot wi Willie:“ I know I wis only two years at Nether Raw, because the boss an me cast oot.3 It wis bad weather an we were put off stubble. The stubble wis too wet an it had tae be left for a while, an one mornin he says tae me, he says, “I think that stubble be dry Tam,” he says, “shift the ploo frae the ley.” Well, we had special socks for the ley,

3. A Scots word: cast oot = fell out

an couters for the ley, an when ye gaed on tae stubble, ye used the bigger rougher type. Well, it wis dark in the mornins and I went away doon an I changed ma couters an things an I had went one round or mebbe two. An there were dung it wis aa pit oot, an th’auld boss, Willie Cranston, he cam doon tae spread the dung, an I wis takin ma breakfast ye see. An he says, “If ye’re no gaun’a dae ony mair juist haud off hame.” I went an tell’d ma faither what the auld boss had said, an there it wis – we wis awa tae Earlston hirin (again) an we hired at Whitton.

Whitton near Morebattle:“ Ma faither wisnae a plooman at Whitton, he wis hen man. I wis hired for second plooman – there wis aboot eight ploomen, sixteen horses. That’s where we met the fiddler, Jim Kerse. He wis the steward an he wis a good fiddler. He wis taught be John Tait the station master at Nisbet, an he played the same sort o style as us. The three of us (often) played together, an we had a pianist frae Morebattle. We played at aa the kirns an hirin fairs in the area at one time or another.

As Jim Kerse had a similar style to Tom and his fa-ther, their playing blended well and they often played the same tunes that Tom had played with his father including the duets Braes O Mar and the Spanish Waltz (named here as Henry Hughes’ Favourite).

The Kirns around Morebattle:“ There were so many kirns in those days. They couldnae clash wi another farm (so they were held) from September through to October, aye, an November an aa – at Linton, Primside an Primside Mill, Caverton Mill an Caverton Hill Head, Graden an Auld Graden, Hoselaw an Spylaw, an our own at Whitton. If it wis bad roads ye had tae travel on foot – tae walk among

Tom’s father at Whitton 1927

– 13 –

“ 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, horses – everything. Juist the wife an I ye ken.

Tom was just a couple of years at Beirhope before moving as ploughman steward to the nearby farm of Chatto where he stayed for fourteen years.

Life at Chatto: “ Ma family wis aa born at Chattie. I had six, an there were aboot twae year atween each ye ken. After I moved up Kale Water I’d no special band (to start with) – juist anybody that wanted a fiddler. I played wi Tommy Graham of Yetholm,

the snow tae get there an back again. There were no set time for stopping. It went on for as long as the people would dance – three, four or five o’clock. When it began tae fade away then we stopped – juist tae gie time tae get home for work – ye’d tae start work at six and ye’d yer horse tae feed before that. Sometimes ye were never even in yer bed!

The kirn dances gradually died out in the late 20s, while village hall and school dances became more 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 fid-dle 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 old waltz tune from a street fiddler in Kelso – a tune that came to be called Kelso Hiring Fair.

Tom’s father at a concert in 1960

Tom with his fellow workers at Chatto 1942 - his boss Peter Anderson on the right, Tom right of centre, Bill Douglas at the

left and also two German POWs.

1: Biography

– 14 –


an I still played wi Jim Kerse. An Bill Douglas, he wis a shepherd on the same farm as masel at Chattie – twae fiddles. Then I formed ma ain band, the Kalewater Band, in 1939 – Bill Douglas the shepherd (and myself) on fiddle, and we had an accordionist, he wis another herd, Willie Hall.

(Later) I played accordion in the band (because) Willie Hall wis giein it up. But the fiddle wis my instrument an, although I wis playin the accordion at the dance, I’d always the fiddle wi us. I remember the Kalewater Band wis the first tae play when they opened the hall at Pennymuir. These shepherds an their wives comin in frae the hills wi their big tackety buits – dancin. There were nae other transport ye ken, there were juist a track tae some o thae shepherds’ houses. Muckle big heavy men wi tackety buits, dancin aa night long, walkin hame again – sometimes carryin the bairn on their back.

To Ruletownhead:“ I had stopped playin (regularly) wi ma faither after I wis married, but I still played at something special. After the war there were fiddlers from all around made up a band. Ma faither wis one o them an I wis one o them, an there wis Bobby 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

at a dance in the town hall (in Jedburgh). In 1947 I moved frae the Kale Water to Rule Water – I wis farm steward there (at Ruletownhead).and I startit playin wi Jock Tamson frae Cleuch Head at Bonchester. We both played accordion an fiddle, 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, The Cross Keys or The Plough in Lilliesleaf or at Tom’s local The Exchange Bar in Jedburgh where there was always a fiddle ‘ahint the bar’.

Tom took part every year in the famous Newcastleton Traditional Music Festival. He was successful at fiddle competitions, winning at Gretna in 1977 and at the Northumbrian Gathering at Alnwick in 1978. Together Tom and Wattie gained prizes in Instrumental Pairs competitions at Alnwick and Rothbury and, in 1978, they were guests at Kinross Festival along with fellow Border musicians Bob Hobkirk, Jack Carruthers and Roger Dobson. In 1981 they were guests at the major North East traditional song and music festival at Keith.

The LP album Tom Hughes and his Border Fiddle was issued in 1981 (Springthyme SPR 1005) with Tom Hughes and Wattie Robson on fiddle along with other musicians and friends Bob Hobkirk (fiddle), Tom Scott (fiddle), Jack Carruthers (tin whistle), Sid Cairns (guitar) and Brian Miller (guitar).

Bill Douglas, shepherd at Chatto and fiddle player with Tom in the Kalewater Band.

– 15 –

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

– 16 –


Tom’s grandfather Henry Hughes (born 1842) died in the flu epidemic of 1920. Tom’s father Thomas Hughes (born 1880) was still an able fiddler until shortly before he died aged 82 in 1962. Tom’s uncles Henry and Bob had died earlier, and their cousin, also Tom Hughes, of Kelso, a left handed fiddler, died around 1976. None of Tom’s older relatives are known to have been recorded. Tom’s son Thomas used to play the accordion and piano, and Tom’s daughter Margaret has played piano with several local bands. Tom’s grandson Jimmy Nagle continues the family tradition after learning fiddle while still at school in Jedburgh. Jimmy lives in Jedburgh and, in the years since the Tom Hughes album was first released in 1981, Jimmy spent many hours playing with his grandfather and picked up elements of his grandfather’s style and further tunes from the family repertoire. He taught some of the family repertoire to younger fiddlers in the area – in particular, the members of the Small Hall Band.

The Other Musicians:WATTIE ROBSON. At the time the recordings were made, Wattie was a farm mechanic and lived in Denholm. He has a natural ability to play seconds – that is, to improvise and play a harmony line to the melody. This led to success in Instrumental Pairs competitions with Tom at Alnwick (1978) and with Bob Hobkirk at Rothbury (1978). He also had competitive success in his own right taking the cup in 1980 at Rothbury. He is a member of the Border Strathspey and Reel Society and the local Accordion and Fiddle Club at St Boswells.

BOB HOBKIRK (1925-2002) was a shepherd in his younger days but at the time of making these recordings he was water engineer in charge of the filter plant at Dodburn up the Allan Water from Hawick. He started playing fiddle at the age of fourteen and was self taught. He won the Scottish Championships at Perth three times in 1968, 1976 and 1977, and also won at Gretna (1971) and at Alnwick (1968, 1969). He twice played in concert tours of the USSR and in the 1970s he adjudicated at fiddle competitions at Kinross, Newcastleton, Keith and Rothbury. He also played in Roger Dobson’s Band, well known throughout the Borders.

JACK CARRUTHERS (1912-1986) was born on a farm at Elsdon near Rothbury just on the English side of the border. He was given a tin whistle for Christmas as a seven year old, and picked up tunes from radio and records. After spending much of his childhood at Taynuilt near Oban, he moved down to Hexham and for many years he farmed there with his brother. He returned to Scotland to live at Canonbie and, after he retired in 1977, he travelled widely to take part in traditional music festivals winning the tin whistle competition at both Kinross and Keith in 1979. Jack can also be heard on the Kinross Festival record on Springthyme SPR 1003.

TOM SCOTT lived in Canonbie in the cottage where he was born in 1910. He started out on the mouthorgan when he was five, later picking up a number of other instruments including steel guitar, ukulele and fiddle. He was a stage musician and acrobat in his younger days but spent most of his life as a joiner and joinery teacher in various parts of the country till he retired in 1975. Tom and Jack Carruthers were neighbours and they often met to have a few tunes together. Tom was a member of the Border Strathspey and Reel Society and both were regular supporters of the local accordion clubs and the Newcastleton Festival. SID CAIRNS who had known Wattie Robson since they were at school together, was born and brought up in Hawick. Sid lived in Dunfermline in Fife for a number of years and while there became involved in the folk scene. A plumber to trade, he also wrote songs and played guitar, and after returning to Hawick he and Wattie often played together at sessions. BRIAN MILLER was born in Edinburgh in 1950 and at the time of making the recordings he lived in Penicuik. He has sung and played guitar with several folk groups including The Laggan and Swan Arcade and recorded with John Watt and Davey Stewart on their album Shores of the Forth (Springthyme SPRCD 1002). He often plays in a duo with Charlie Soane on fiddle and together they have appeared at festivals throughout Britain and Europe with an album The Favourite Dram (Celtic Music CM006).

The Hughes Family Fiddlers

– 17 –

Bob Hobkirk of Dodburn, Hawick Jack Carruthers of Canonbie

Brian Miller of Penicuik Wattie Robson of Denholm

2: The Musicians

– 18 –


Sound and Video RecordingsSound recordings of Tom Hughes. Wattie Robson, Bob Hobkirk and other Border musicians were made by Peter Shepheard between July 1978 and May 1980. Informal practice sessions were held in the bar of The Fox and Hounds in Denholm, with the main recording sessions taking place in the nearby Bedrule Village Hall. Recordings were made using a crossed pair of microphones, a Revox A77 recorder and 1/4 inch tape running at 15ips. Biographical interviews with Tom and other solo recordings were made at Tom’s home in Jedburgh. Videotape recordings of Tom and Wattie’s playing were made by Robert Innes of Stirling University in Jedburgh and at The Plough in Lilliesleaf in March 1980.

Tunes and words have been transcribed from sound and video recordings and the music set by Peter Shepheard. Transcriptions were initially made from the 1/4 inch tape recordings played at

half and quarter speed. Bowings were assessed and added to the manuscript transcriptions by comparison with the video recordings. The manuscript tune transcriptions were then set using a combination of music typewriter and Notaset transfer and 24 tunes were printed in the booklet included with the LP issued in 1981.

All tunes have been reset for this publication using the Sibelius music programme. The original 24 transcriptions had already been reset using HB Engraver and these were scanned and transferred to Sibelius using PhotoScore. New transcriptions have been made manually into Sibelius using the Transcribe programme that enables tunes to be played at slow speed without pitch change. The Reaper programme has been used in preparation of digital files for the CD. A detailed illustration of transcription methods using Reaper and Transcribe is given opposite.

The Music Transcriptions

Music transcription can only ever be an approx-imation of what is actually played. The intention throughout the book is to provide a transcription that is sufficiently accurate that the player will be able to understand how the music is played – descriptive but not prescriptive – and as accurate as possible while still being visually clear.

Rhythmic complexities are indicated to the best approximation, but rests are usually not shown. For example, the dotted rhythm of a strathspey written as (a) may well sound close to (b).

Where the snap bowing becomes more pro-nounced as in Tom’s version of the Marquis of Lorne’s Hornpipe, it may be written as (c) but may sound closer to (d)

In hornpipes the rhythm often moves in the opposite direction – from the 3/4:1/4 ratio of (e) to the 2/3:1/3 ratio of (f). This move into triplet time is extremely common in hornpipe playing but is often avoided in the written music. This

is understandable since music notation does not lend itself easily to representing triplet time.

In Scotland it has been customary to write horn-pipes as dotted quaver/ semi quaver throughout, whereas in Ireland and North America the horn-pipe is often written with even quavers – that is, as a reel. Both ways are misleading and there is no satisfactory alternative to proper indication of note values. Further discussion on this can be found in the Hornpipes section.

Many of the tunes in the collection are played with extensive use of double stops and open ringing strings and so, to make the melody line easier to read, an open notehead symbol is used to indicate ringing open strings (g) and a miniature notehead is used to indicate a double stop (h).

In the duet and group tracks on the record, Tom Hughes is placed on the left in the stereo sound picture.

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– 19 –

Reaper & Transcribe

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.

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.

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3: Recording & Transcription

– 20 –


Traditional Fiddle Style

In the biographical introduction Tom talks of how he learned to play – picking up the music and the playing styles by ear and eye from his

father, grandfather and uncles. He never learned to read music and he was never taught as such by a trained player. However, he was clearly a very competent player with a wide range of techniques at his disposal. In his later years he became aware that his family style of playing differed from those of younger players.

Many of Tom’s tunes differ from published versions and he was often told that he did not have the tunes ‘right.’ When he took part in fiddle competitions, both solo and with his younger friend Wattie Robson of Hawick, his use of double stops and open ringing strings did not always meet with approval and he was often told that ‘they were not needed.’ An adjudicator would comment, sometimes favourably, sometimes otherwise on Tom’s ‘old’ style.

by, or indicated by, the time signature, it is the internal subdivision of the beats that provides the ‘lift’ that a traditional fiddler will use to inspire the dancer – and it is this internal rhythmic structure that a fiddle and bow are eminently suited to provide.

Rhythmic Structure in Scottish Music

Inégale Note Division

Whether the music is a march, strathspey, hornpipe or polka, the four crotchet divisions of a 4/4 or 2/2 bar are often treated differently – so creating the required rhythm.

In traditional fiddle music the degree of inequality can vary over a wide range – from the simple 3:1 ratio of the dotted quaver and semiquaver to a more extreme 7:1 subdivision of a double dotted quaver and demisemiquaver or to a lesser 2:1 triplet subdivision – or anywhere

The crotchet (Fig 4.1a) may be divided equally into two quavers (b), but the subdivision is more commonly unequal (c & d). The two notes are then formally referred to as inégale notes.

in between. While in many types of music the longer note precedes the shorter – a forward inequality (Fig 4.2), in traditional music the ineqality is often reversed – a reversed inequality (Fig 4.3) with the shorter note preceding the longer.

We may refer to a particular tune as being in common time or 4/4, with four crotchets or quarter note beats to the bar, or in 3/4 or waltz time with three crotchet beats to the bar, or in 6/8 or jig time with two beats to the bar. But, while the overall rhythm of the music is determined

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(a) (b) (c) (d)

– 21 –

4: Traditional Fiddle Style

In Faudenside Polka the tune is more rhythmically diverse and includes gracings but again is played almost entirely with hack bow with occasional slurs.

Fig 4.6 Faudenside Polka

Tom Hughes Examples

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1: Hack and Slur BowingThe most basic use of the bow with alternate upward and downward movements is sometimes referred to as hack bowing – the down bow usually taking the main first beat of a bar. Although some tunes can be played throughout with hack bowing, it is far more usual for a tune to be played using a range of bowing techniques. This is certainly the case with the tunes

Bowing TechniquesNumerous publications on fiddle music have referred to the complexities of bowing and how bowing styles used in traditional music differ from those employed by the classically trained player. The unaccompanied fiddle has the ability to produce complex rhythms with the bow that are often obscured when the fiddle is

part of a larger band. Tom used a wide range of traditional bowing techniques and it is the balance and application of these techniques to the individual tunes that is the essence of his Border Fiddle Style. The techniques will be looked at individually with short transcriptions from tunes that are included in full later in the book.

transcribed from Tom’s playing where he rarely uses hack bowing for any extended period. The three examples shown – a hornpipe, a jig and a polka use a combination of hack and slur bowing.

A slur bow is used for the pickup (or anacrusis) in the Redesdale Hornpipe, and a slur is also used for the fourth beat of the first bar.

In the jig St Patrick’s Day (or Tell Me I Am) the tune is played almost entirely with hack bow with occasional slur.

Fig 4.4 The Redesdale Hornpipe

Fig 4.5 St Patrick’s Day Jig (or Tell Her I Am)

Tom Hughes Examples

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– 22 –


2: Scotch Snap

The reversed inequality has long been recognised as a characteristic element of Scottish song and music. Referred to since the 17th century as the Scotch Snap (or more recently as Scots Snap), it is a rhythmic figure typically consisting of (or written as) a division of a quarter–note (or crotchet) in the ratio of 1:3, that is, a sixteenth note (or semiquaver) on the beat followed by a

dotted quaver or eighth note. In vocal music the two notes would be taken by different syllables. On the fiddle, the snap can either be taken with two bow strokes – a short down bow stroke on the beat followed by a longer up bow as in (a), or the snap can be slurred with a single bow stroke down or up as in (b) and (c).

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Tom uses slurred snaps far more often than bowed snaps. Here is a selection of bowed and slurred snaps taken from tunes in the collection.

More often than not both slurred and bowed snaps include double stops or open string two note chords (or dyads). As discussed in the section on double stops, an open note head is

used throughout the collection to indicate an open string played as secondary to a melody note and a small note head is used in the same way for fingered double stop notes.

In The Wife She Brewed It, bowed Scotch snaps, played with down/up bow start the first two

bars. The remaining note pairs have forward inequality and are played with hack bow.

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Fig 4.8 Bowed and slurred Scotch snaps

Fig 4.9 Double stopped Scotch snaps taken with a slurred bow

Fig 4.10 The Wife She Brewed It

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– 23 –

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The shuffle sequence comprises the alternation of a long down-bow stroke followed by small up/down strokes and then a long up-bow stroke followed by small down/up strokes. The shuffle (often called the simple or Nashville shuffle) is a very common bowing pattern in American

Fig 4.11 Flouers O Edinburgh

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4: Snap Bowing

Perhaps the most characteristic bowing technique used in Scots fiddle playing consists of two bow movements in the same direction – the second note shorter than the first (i.e. forward inequality). The technique is effectively a broken slur and is known as ‘snap bowing’ and the two bow movements can be either both up or both down. Snap bowing is not to be confused with the Scotch snap – a reversed inequality.

William C Honeyman in his Strathspey, Reel and Hornpipe Tutor of 1898 does not use the term snap bow, but refers to “catching the driven note” and describes the technique as “...one bow to each two notes, the short note being caught off the first with a slight jerk of the wrist.”

The rhythm produced by snap bowing is effectively the inverse of the Scotch snap. Written

as a dotted quaver followed by a semiquaver (a), a ratio of 3:1, the technique requires a loose flick of the wrist in the same direction as the main bow stroke with a short pause between the two notes so that the sound produced will be closer to (b). Where the inequality is greater this may be written as (c), a ratio of 7:1, with the sound produced closer to (d) depending on the length of the pause. During the pause the bow may lift or may remain stationary in contact with the string and the short second note may be taken staccato or be quieter than the first longer note.

In hornpipes, where the sub-division of the crotchet is often into triplet rhythm (a ratio close to 2:1), the slur and snap bow are easily interchangeable. So a triplet pair taken with a slur (e) can alternatively be played with a snap bow (f) that would then sound close to (g).

Fig 4.12 Snap Bow Pairs

Snap bowing is considered as a technique particularly characteristic of strathspey playing, but Tom uses the technique in a range of tune types. In the following four tunes, each 4/4 with four crotchet beats to the bar, each beat allocated

one of the following – a snap bow pair, a Scotch snap, a single crotchet or one of several type of triplet run – so creating the rhythm of the four tunes – a schottische, a polka, a strathspey and a hornpipe.


3: Shuffle Bowing

bluegrass fiddling. Where there is a set of four eighth notes, the first two are slurred with the next two played as separate bows. Tom uses the shuffle here and there – particularly in his playing of reels. In Flouers O Edinburgh, the long strokes are mostly played as slurred Scotch snaps.

– 24 –


The fourth tune, Redeside Hornpipe, has internal triplet rhythm throughout. After the anacrusis taken with a slur, the first bar starts with two hack bowed triplet pairs, the triplet feel maintained by the following snap bow pairs with the ratio of the two notes close to 2:1. A lightness and rhythmic

In Orange and Blue, a schottische, the pick-up (or anacrusis) is played with an up snap bow, the first full bar includes two slurred snaps played with down bow and the second full bar has three

examples of snap bow. A ringing open string on G or D is added below the melody wherever possible – indicated with open note head..

In Lilliesleaf Polka the first beat is a slurred Scotch snap followed by a down snap bow. The first

beat of the next bar uses an up bow to combine a slurred snap with a snap bow.

The third tune, Tam’s Wild Rose Strathspey starts with a double open string chord G/D. The first beat of the bar is a further crotchet note entered from a grace note, followed by a snap bow pair, a slurred Scotch snap and finishing the bar with a repeated double open string chord G/D but, in

this case, with the low G the melody note and the open D subservient. The second bar starts with a triplet run played as a birl, followed by snap bow pair, a slurred Scotch snap and a further snap bow pair leads to the next bar of the tune.

definition is provided that would be absent if the snap bowings were replaced by slurs. A triplet run then starts the second bar, followed by three further snap bow pairs. The Scotch snap is absent here and is rarely used in hornpipes.

Fig 4.13 Orange and Blue

Fig 4.14 Lilliesleaf Polka

Fig 4.16 Redeside Hornpipe

Tom Hughes Examples

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– 25 –

As shown already, a Scotch snap can be produced either by a short down bow followed by a longer up-bow stroke or by a slurred bow stroke in either direction. A slurred Scotch snap followed by snap bow written as (a) would be played and sound as (b) with a short silence after the third note in the sequence – the silence produced either when the bow stops or is lifted prior to playing the staccato semiquaver (the ‘driven’ note). The driven bow (or up-driven bow) is the term given

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5: The Up-Driven Bow

to a bowing technique that enables the Scotch snap in this sequence to be bowed rather than slurred (c). The first semiquaver is taken with a short down-bow and the following three notes played with three consecutive up-bows – a long dotted quaver followed by a second dotted quaver played with renewed pressure (indicated by the tenuto sign) – and the final semiquaver played staccato after a short silence. Written as in (c) this would sound as in (d).

Niel Gow (1727-1807) of Inver near Dunkeld in Perthshire is credited with creating the up-driven bow technique. J Murdoch Henderson in The Flowers of Scottish Melody (1935) suggests that it was Niel Gow’s ability to “...lift the bow smartly off the strings with a peculiar jerk of the wrist in the rendering of the semiquavers of a strathspey that gave the dotted quavers that extra length and strength...and the whole strathspey a bolder and more distinctive character.” But perhaps it was the influence of ‘Scotland’s Paganini,’ James Scott Skinner (1843-1927), that made the up-driven bow for some players an essential part of strathspey playing in Scotland’s North East.

However, Tom makes only a very occasional use of an up-driven bow – that is, a short note taken

with a down bow followed by three consecutive notes taken with an up bow with the last note a short staccato ‘driven’ note.

It is interesting to compare the bowings that Tom uses for one of his favourite old strathspeys, The Braes O Mar, with the up-driven bow sequence as specified for the same tune in Honeyman’s Tutor of 1898 and as also specified by Scott Skinner in his Guide to Bowing (ca. 1900).

The timing of the notes is identical in the two versions but Tom uses a slurred Scotch snap/ snap bow sequence for the opening phrase (Fig 4.18) whereas the two actions are combined by both Honeyman and Skinner into a single up-driven bow sequence (Fig 4.19).

Fig 4.17 The Up-Driven Bow

Fig 4.18 The Braes O Mar (as played by Tom Hughes)

Fig 4.19 The Braes O Mar (as specified by Honeyman and Skinner)

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– 26 –


When Tom does use an up-driven bow sequence it does not follow the conventional pattern. In a solo performance of the hornpipe Millicent’s Favourite, the up-driven bow is used as an

In the Marquis of Lorne’s Hornpipe another form of up-driven bow sequence is used. The

alternative way of bowing a phrase. Shown first with the an up-driven bow sequence used twice in the first bar and then with the same notes played with hack bow.

Fig 4.20 Millicent’s Favourite – an up-driven bow sequence

Fig 4.21 Marquis of Lorne’s Hornpipe – another up driven bow sequence

6: The Down-Driven BowThe down-driven bow is a powerful technique in which two beats of the music are taken with a single down-bow stroke, the second beat emphasised with renewed pressure. Tom uses the down-driven bow in two tunes in the collection and, in each case, it is combined with a snap bow to finish the phrase with a driven note. In Lady Mary Ramsay the down-driven bow is used

in the first phrase of the tune with a slide into unisons on the first note, an open string chord G/D for the emphasised second note, followed by a staccato driven note semiquaver on B. In Neil Gow’s famous tune, Farewell to Whisky, the down-driven bow is used in a similar way, with a further G/D chord, an emphasised second note with added open string D and staccato finish.

Fig 4.22 Lady Mary Ramsay – the down-driven bow sequence

Fig 4.23 Farewell to Whisky – with down-driven bow

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sequence is analysed in greater detail when the tune is considered in the section on hornpipes.

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– 27 –

7: The Long BowThree examples of the use of the long bow – the first two in fairly fast hornpipes where the long bow would probably not be used if the speed of

playing were less. In the Nut Brown Maiden the long bow is used first time through the tune but divided into two slurred phrases on the repeat.

Fig 4.24 The Long Bow

Millicent’s Favourite

Nut Brown Maiden

Greencastle Hornpipe

8: The BirlIn Scotland and Cape Breton the birl – three notes on the same pitch – is widely used in pipe tunes that have been taken up by the fiddle. The internal rhythm of the birl is usually written as

in (a) but may be played with more extreme time division (b). Usually starting with a down bow, a birl can be used as an alternative to a Scotch snap or to correct bow direction for a following phrase.

The birl is a rhythmic feature that Tom does not use widely in his playing.

Fig 4.25 The Birl

Galloway Hornpipe

The Banks of Kale Water

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A slash quaver is used in the transcription of some hornpipes – as here in Greencastle Hornpipe. This is an alternative way of indicating the shorter note in the triplet time division of an inégale crotchet pair.

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(a) (b)

– 28 –


9: Spiccato BowingTom preferred a loose, bouncy bow and he used his thumb on the hairs to vary the tension and so vary the bounce of the bow. In the Snap Bow technique the bow leaves the string (or movement is stopped) between two bow strokes that are in the same direction. In the Spiccato Bow technique the bow leaves the string between two bow strokes in opposite directions with a bounce

10: Open String UnisonsThree different open string unisons D, A and E are possible and can be used to provide emphasis, often at the end of a phrase or in the last bar of a tune. An accurately pitched unison is classically produced by the fourth finger on the adjacent lower string. By sliding into a unison, a richer sound is produced due to the changing beat frequencies created as the two notes approach unison. In the transcriptions, a slide is indicated

by a coulé – a short sloped line attached to the note. Most Scottish players use the fourth finger to produce the slide but, in Tom’s family, it was usual to use the second or third finger. Tom’s father usually used the third finger but Tom often preferred to use the second finger as this left him the first finger for a double stop on an upper string and his third finger for a double stop on a lower string.

Sidlaw Hills

The Wife She Brewed It

Fig 4.27 Open String Unisons on D, A and E

Fig 4.28 Using unisons in the last bar of a tune

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Corfu M 3 Jun 13: Listened very carefully to 32 using Transcribe. Made a number of changes to match as played. Tempo to 210.

Note to refer to spiccato bowing.

Su 3 Nov 13. Listened to Tom solo version V14 and returned to video transcription as in original LP Book. Settled on simpler

bowing leading to bar 14. Use ossia staff to show 2nd fiddle alternatives. Save as v13. Tempo 205 in the Tom solo.

M 4 Nov 13. Added last time ending. Save as v14.

T 21 Nov 13. Title to 21pt. Tempo to 12.6pt. 7.2/7.5/10.25 - unique SprFiddle_Morpeth. Save as v15

Versions:

V14 To edit V14.1 for new CD. Tom Solo

32 T&W & Sid used on LP.

53 T&W & Sid. 53.4 is best but not as good as 32.

V65 T& W on Lilliesleaf video/tape. Fun recording with bar noise and table tapping.

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onto the short second note of the pair. A comma is used to indicate the lift of the bow. The technique is used here and there in several tunes in this collection providing lightness and ‘lift’ and may be marked merely with a staccato mark. However, in Morpeth Rant, the spiccato bowing provides an important rhythmic feature that is used throughout the first part of the tune.

– 29 –

D A5 C©‹

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Much of the characteristic sound of Tom Hughes’ traditional fiddle style is produced by his free use of open ringing strings or drones sounded at the same time as melody played on an adjacent string. The most fundamental harmony in music (after the octave) is produced between the tonic and fifth – a relationship of 3:2 in terms of musical frequency. Unlike a tempered instrument such as the piano, the strings of the fiddle are tuned in perfect fifths. So a tune played with D as the

tonic on the 3rd string has G a perfect fifth below on the fourth string and A a fifth above on the second string. Any or all of the four open string notes G/D/A/E can be made use of as open string drone notes at different points in a tune.

After an open string is touched by the bow to set it ringing, the sound gradually fades as indicated by the diminuendo hairpin lines until the same string is damped or played again.

Fig 4.29 Ringing Strings & Drones

Off To California

Lilliesleaf Polka

Cock Yer Leg Up

Tom referred to his method of learning the fiddle as “keeping my fingers down on the strings and lifting them as I needed” – in other words his fingers took up chord shapes much of the time. As well as two note chords that include an open string, Tom plays many two note fingered dyads. Tom’s use of a slack bouncy bow and the

12: Double Stops and Chordsless curved bridge made his use of “double-string work” (as he referred to it) easier if not inevitable. Tom also achieves occasional three note chords – sometimes played as broken chords with the lower string, or pair of strings, bowed first and the upper double stop immediately following. Here are two examples from the collection:

Fig 4.30 Double Stops and three note ChordsLady Mary Ramsay

Greencastle Hornpipe

11: Ringing Strings and Drones


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– 30 –


Several exercise sequences were taught by Tom to his grandson Jimmy Nagle in the 1980s and these provide a useful introduction to the double stops and chords used in the collection. The chord

14: Tam’s Fiddle Exercises YouTube1

names shown indicate the related root chord although each two note chord (or dyad) in the sequence comprises a root and 3rd or an inversion and also lacks a 5th.

Exercise 2 Runs against a drone in the keys of G and D

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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.

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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.

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

1. A video of Jimmy Nagle playing these exercises is on YouTube (Jimmy Nagle 2014.3).

13: Decoration/ Grace NotesThe term ‘grace note’ implies that the notes are added to a tune as ‘optional decoration’ rather than being an integral part of a tune. This may be true, but to a musician who has inherited his music orally/aurally the distinction between optional decoration and being integral to the tune may be academic. In any case, in many of the tunes in this collection the grace notes often seem to be as much part of a tune as any of the other stylistic features although the gracings and other aspects of a tune may vary to some degree from performance to performance.

Fig 4.31 Grace Notes

A single grace note (or acciaccatura) when played from below the main note (a and c) is often referred to as a hammered-on note. A gracing may also be produced as a short slide (d), often from less than a full interval below the main note. When a grace note starts from above the main note (b) this is often referred to as a cut. Double grace notes (e and f) are referred to as mordents. Gracings are often incorporated into longer phrases as in (g) or may form a short run (h). Tom usually plays single grace notes and mordents quite short and on the beat.

(a) (b) (c) (d) (e) (f) (g) (h)

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– 31 –

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


“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.

– 32 –


Tom had roots that were particularly deep in the Border tradition of Scottish fiddle music – his father Thomas Hughes (1880-

1962), grandfather Henry Hughes (1840-1919) and uncles all played fiddle and other instruments such as tambourine, melodeon and tin whistle and his grandfather was a fiddle and tambourine maker. Tom described the circa 1915 family band:

“Ma grandfaither (Henry), faither (Thomas) an Bob Hughes (Tom’s uncle) played fiddles, and Henry played the tambourine (or the fiddle). It wis mostly kirns an weddings – there werenae sae many dances (in halls) in those days. Ma faither played the pipes as well, an the old fashioned melodeon an the tin whistle. Mostly it wis three fiddles an tambourine.”

This makes interesting comparison – fiddles and tambourine – with the village band in Thomas Hardy’s description of a village dance in 19th century Dorset from his novel Far From the Madding Crowd:

“So the dance began. As to the merits of The Soldier’s Joy, there cannot be, and never were, two opinions. It has been observed ... that this melody, at the end of three-quarters of an hour of thunderous footing, still possesses more stimulative properties for the heel and toe than the majority of other dances at their first opening. The Soldier’s Joy has, too, an additional charm, in being so admirably adapted to the tambourine aforesaid – no mean instrument in the hands of a performer who understands the proper convulsions, spasms, St. Vitus’s dances, and fearful frenzies necessary when exhibiting its tones in their highest perfection.”

Hardy’s comment on ‘thunderous footing’ is also interesting in relation to Tom’s quote on shepherds coming in from the hills to dances: “... shepherds an their wives comin in frae the hills wi their big tackety buits – dancin. Muckle big heavy men wi tackety buits, dancin aa night long, walkin hame again – sometimes carryin the bairn on their back.”

When Miss Jean Milligan co-founded The Scottish Country Dance Society in 1923 she set in motion a process that brought world-wide popularity to Scottish Country Dance. She was

an undoubted enthusiast for Scottish dance, but after noting several versions of a particular reel, she would decide on a correct style and this would be the style that was then taught. As Margaret Bennett (1994) has stated:

“She did not love the wild, undisciplined ways of the ‘untrained’ village hall or kitchen-floor dancers ... beginning with footwear (dance-pumps, please) she tackled ‘position’, having decided it should be based on classical ballet.”

The goal was not to revive the Reels or the rural adaptations of Country Dance but to re-create the Country Dance of the 18th century assembly room. The tempo of the strathspeys was therefore chosen to be the slower, more legato pace of the days of elegant hoopskirts (Susan Self, 2002).

In his article Hard Shoe Dancing in Scotland, Colin Robertson (2011) refers to the changes that took place in Scottish Dance over the early decades of the 20th century: “The soft, flexible Ghillie Dance Shoes, often worn by both Country and Highland Dancers today first became part of Scottish Country Dance in the 1940s. Until that time a very different style of dance existed ... and the footwear would have been ordinary daywear shoes or even ‘Tackety Boots’.”

Tom had tunes for several dances including the Petronella and Flowers of Edinburgh known to have been danced in the Scottish Borders in hard-shoe style. Flett and Flett (1964) report that the art of ‘treepling’ (beating out the rhythm of the music with the feet) was still practiced at farm kirns in East Lothian as late as 1914. One old lady recalled dances in stone-floored barns ‘with the men’s tackety boots rattling away.’ Commenting on the survival of stepping in current Northumbrian tradition, an article by the FARNE group (2011) states:

“The single most striking factor which sets Northumbrian traditional dance aside from those traditional dances known in ... other parts of the British Isles is the number of dances which feature vigorous stepping ... the most common step being the rant step, this being found in such dances as The Morpeth Rant, The Quaker’s Wife, The Rifleman, Roxburgh Castle, Soldier’s Joy and The Triumph.”

Traditional Dance

– 33 –

Tom plays several tunes with strong rhythmic features that would suit hard-shoe stepping. His version of Flouers O Edinburgh has accented slurred snaps on the first beat of many bars (Fig 5.1) and often also on the middle beat of a bar. This contrasts with the smoother way the tune is usually played (Fig 5.2). The stamp of the rant step occurs on the first beat of each bar and the way Tom plays his old version of The Morpeth Rant with rhythmic slurred snaps and spiccato bounce certainly fits the rant stepping (Fig 5.3).

The research of the Fletts (1964, 1996) has provided an impetus for others to look at solo step dance and the inclusion of rhythmic stepping in traditional dance in Britain, in Shetland and particularly in Canada among émigré populations – the Gaels of Cape Breton and the French speaking Québecois. Much argument has followed as to the significance in particular of Cape Breton styles both of music and step dance as possibly indicative of earlier Scottish music and dance (Robertson, 2011).

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Fig 5.2 Flouers O Edinburgh (Standard version)

Fig 5.3 Morpeth Rant (Tom Hughes)

What do we know about the music and dance traditions of the more distant past? When Mary Queen of Scots ar-

rived at Holyrood palace in Edinburgh in 1551 she is said to have been welcomed by the throng playing music with “the vilest fiddles and little rebecs.” When the violin began to acquire its modern characteristics in 16th century Italy, mu-sicians quickly replaced their Mediaeval bowed instruments such as the three stringed rebec and the four stringed fiddle and adapted the music and their techniques to the new instrument – while still referring to their instrument as a fiddle.

Discussing a shepherd’s revel and the dances that the shepherds danced, Robert Wedderburn (1549) in The Complaynt of Scotland mentions a number of dances, many of French origin:

“It was ane celest recreation to behald ther lycht

lopene, galmonding, stendling bakuart and forduart, dansand base dansis, pavvans, galzardis, turdions, braulis and branglis, buffons, vitht mony uther lycht dances, the quhilk ar over prolixt to be rehersit.”

The reel is generally thought of as a uniquely Scottish/ Celtic form. Initially a dance for two couples suited to the small dancing space in a croft house (Susan Self, 2002), reels developed in varied forms for larger numbers (e.g. the eightsome reel) and were danced throughout Scotland. The music for the old foursome reel comprised two sections – starting with a strathpey reel in dotted time said to have originated in the Gaelic-speaking Strath Spey of the central Highlands around 1700 (Flett & Flett 1964) and a section in 4/4 reel time.

The 18th and 19th centuries brought many new dances from Europe and from England. The term

5: Traditional Dance

– 34 –


Country Dance was first coined in print by John Playford of London in 1651 in the first of a series of dance volumes The English Dancing Master. By 1700 these new dances had spread to Scotland and were taken up by Edinburgh society.

The new country dances soon spread to the rural areas as itinerant country dancing masters offered classes in the smaller towns and villages, often carrying a small fiddle, called a ‘kit’, which they could play while dancing to demonstrate the steps (Emmerson 1971). By the mid 1700s collections of tunes and dances began to appear. James Oswald a fiddle player from Dunfermline published the first of a series of volumes The Caledonian Pocket Companion between 1743 and 1759. Robert Bremner published A Collection of Scots Reels or Country Dances in several volumes (1751-1761). William McGibbon published his Collection of Scots Tunes in several volumes (1742-1768) and the first of Niel Gow’s A Collection of Strathpey Reels appeared in 1784.

Other dances joined the repertoire: the polka, a Czech peasant dance and the jig in compound time, related to the European baroque dance, the gigue. Around 1800 a dance developed in Europe, the Ecossaise or the Schottische in 4/4 time, almost certainly inspired by the Strathspey but danced with a polka step. In Scotland this ‘Common’ Schottische later evolved into the Highland Schottische with substitution of the reel or highland fling stepping.

The waltz evolved from a 13th century Bavarian peasant dance and arrived in England in 1815. Folk dances in triple time were widespread in Europe: the Bourée – a lively French folk dance with stepping; the Mazurka – a Polish folk dance that came to Britain in the 1840s. Deriving from the Mazurka, the Varsovienne originated around 1850 in Warsaw, Poland. The Spanish Waltz, a progressive circle waltz danced in sets of two couples, originated in England in the 1820s (in recent times known as Waltz Country Dance) and the St Bernard’s Waltz in the 1920s.

Tom was able to recall how the dance repertoire changed between the 1920s when he started playing for dances with

his father and the later years when he had his own bands – the Kalewater Band (from 1939) and the Rulewater Band (1947-49). Referring to the harvest home/ kirn dance held in the granary at Howden in 1919 Tom recalled:

“It started mostly juist wi the dance they ca’d The Triumph. One o the more popular dances wis Drops o Brandy, plenty Eightsome Reels, the Foursome Reel, Polka, Waltzes, the Hielan Schottische, Corn Rigs, Flowers of Edinburgh, Roxburgh Castle, Dashing White Sergeant – juist mostly country dances. An there wis singers an anybody who could tell a story. It wis juist a joyful evenin ye ken – dancin and singin aa the night.”

Other dances that were normally part of the programme at the farm kirns included Speed the Plough, the Spanish Waltz (the Waltz Country Dance), St Bernard’s Waltz and Circle Waltz, Morpeth Rant, Circassian Circle and sometimes Strip the Willow – to jig tunes. Tom never remembered a strathspey as such being danced, but strathspey tunes such as Braes of Mar, Lady Mary Ramsay and Orange and Blue were used for the Highland Schottische. Drops of Brandy had at one time been done to the 9/8 tune of the same name but in the Borders it was done to both hornpipe and strathspey/ schottische tunes.

A few less common dances such as the Common Schottische, Quadrilles and Old Lancers were only requested when the older generation were present – at kirns and weddings. The Foursome Reel was still danced at kirns until they died out around 1930 and occasionally by request at village hall dances and Tom remembered The Rifleman being danced at Howden. By 1938 The Triumph, the Common Schottische and Morpeth Rant had dropped out while other dances such as Dashing White Sergeant had become more popular and ballroom dances such as the Foxtrot and Quickstep became part of the rural dance repertoire and by the time Tom formed the Rulewater Band in 1947 the Gay Gordons had appeared.

By 1950 the life that Tom had known in his childhood had changed beyond recognition. Mechanisation had taken over from the Clydesdale horse. Hiring fairs were a distant memory. Farm populations were greatly reduced with little communal involvement in bringing in the harvest and the farm kirn gatherings were a thing of the past. Three generations of Tom’s family had played fiddle in small farm bands – for farm kirns, village hall weddings and hiring fair dances. We have no better way of gaining an insight into the music of that era than through the recordings of Tom Hughes and friends.

– 35 –

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).

– 36 –


– 37 –

The hornpipe has long been a popular form in England, Scotland and Ireland as tunes to accompany solo step dance,

often in hard shoes. Probably originating in England in the 1600s, the earliest hornpipe tunes were in 3/2 time. By the mid 1700s hornpipes as we now know them, in 4/4 and 2/2 time, were being composed, becoming increasingly popular throughout the 1800s for step dance on stage, in music halls and at fairs and festive events and, by 1900, the older form had dropped out of traditional use. Many well known hornpipe tunes were composed on Tyneside by the Dundee born fiddler and Newcastle publican James Hill (1811-1853) including The Redesdale in this collection. In North America the hornpipe has been popular particularly among the Irish and many hornpipes are included in O’Neill’s collection compiled in the late 1800s from New York Irish tradition. Hornpipes in traditional Northumberland/ Scottish Borders style are still being composed and two are included in this collection – The Redeside by Willie Atkinson of Alnwick and The Copshie Hornpipe by Tom

HornpipesHughes – and hornpipes have remained one of the most popular music forms among traditional musicians of the area. Tom learned many of the older tunes such as Millicent’s Favourite and Marquis of Lorne’s Hornpipe playing fiddle along with his father. When playing for dances, hornpipes were sometimes used for the longways country dance Drops of Brandy, for the Polka and for the Highland Schottische.

The main distinctive feature of many hornpipes is a general triplet feel to the rhythm – where the eighth notes of the bar are played in pairs in an approximately 2:1 ratio. In written music this ratio is difficult to write and, to indicate this bouncy rhythm, it has been customary to write hornpipes with this ratio ‘implied’ by a dotted eighth note/ 16th note division (i.e. a written 3:1 ratio). In Scotland it has been customary to write hornpipes in this dotted time (Fig 6.1a), whereas in Ireland and in North America hornpipes are often written in even time as reels (Fig 6.1b) and, in the US, usually played as reels and often referred to by fiddle players as ‘breakdowns’.

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Fig 6.1 Hornpipe Transcription

Wm Honeyman (1845-1919) in his Strathspey, Reel and Hornpipe Tutor of 1898 (published from his home in Newburgh, Fife) refers to several styles of hornpipe playing – Sailor’s Hornpipe, Newcastle Style and Sand Dance Style. Highland Games usually include a competition class for Sailor’s Hornpipe – often nowadays competed for by young girls and boys dressed in sailor’s outfit – and these tunes are usually played in even time as reels. Hornpipes in Newcastle and Sand Dance styles both have the triplet feel with differing bowing styles described by Honeyman:

“The second (style) which may be named ‘The Newcastle Style,’ is used for clog dancing and other step dancing at an easier pace than ‘The Sailor’s

Hornpipe,’ and is played mostly with the upper half of the bow. The third style may be named ‘The Sand Dance Style,’ as it produces a very sharp and distinct articulation of every note, and is very effective when played pianissimo, as the music is generally wanted in a sand dance, in which every touch and slide of the feet on the stage must be heard.”

Clog dance is still a popular form in the North of England, and step dancing to hornpipes (and other tunes) is going through something of a revival elsewhere – and the tradition still survives among English gypsy travellers to music that is often provided on mouthorgan or melodeon with tunes such as the Liverpool Hornpipe – or variants of this or other well known hornpipes.

6: Hornpipes

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Tom’s playing does not fit neatly into any one of Honeyman’s styles. His playing generally has an internal triplet feel but also moves freely between even time and dotted time with inclusion of occasional Scotch snap. For an accurate transcription, there is no satisfactory alternative to proper indication of note values and, where notes have a clear triplet relationship, they are written to show it (Fig 6.1c). In the transcription of some hornpipes a slash quaver has been used as a neater alternative to indicate the shorter note in the inégale crotchet division (Fig 6.1d).

Redesdale Hornpipe/ Galloway Hornpipe Dundee born James Hill, composer of the High Level Hornpipe and many other fine fiddle tunes, wrote The Redesdale in the mid 1800s under the title The Underhand, the name of a famous

racehorse of the time. However, the popular tune is widely known as The Redesdale by players of today – and is played here in the typical triplet style of the Borders.

The second tune in the set, although widely known as The Galway Hornpipe, is often known by its localised title in the Borders. However, the tune is most likely Irish in origin and is in Allan’s Irish Fiddler which has been cheap, popular and easily available for many years.

The tunes are played here as a set by the full session band: Tom Hughes, Wattie Robson, Bob Hobkirk and Tom Scott on fiddles, Jack Carruthers on tin whistle and Brian Miller on guitar – recorded in the Bedrule Village Hall after a session in the Fox and Hounds in Denholm.

Redesdale Hornpipe cd 01

Fig 6.2 Link from Redesdale to Galloway Hornpipe

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– 39 –

Galloway Hornpipe cd 01

Fig 6.3 Double open string birl

Fig 6.4 Snap bowing throughout bar 10

Tom’s playing of the Galloway Hornpipe includes a wide range of stylistic elements – an optional birl on the first beat of the opening bar followed by a snap bow pair and a third finger slide into a

further two snap bow pairs. The birl is repeated on the first beat of the third bar and, in a solo recording of the tune, Tom gives added power with a birl on double open strings D/A.

An alternative playing of bar 10 shows how slurs are easily interchangeable with snap bowing in

triplet rhythm – the short rests giving a lighter, bouncier feel to the music.

6: Hornpipes

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– 40 –


Marquis of Lorne’s Hornpipe cd 05

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Setting Sun 24 March 13. Bowings finalised PS, Mon 25 March 13. Checked against original LP track Th 16 May and completed open string

note heads.

Corfu T 28 May 13: Made 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

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 SprFiddleSolo2. Save as v9.

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The Marquis of Lorne’s HornpipeThe Marquis of Lorne’s Hornpipe is known in Scottish, Irish and Northumbrian tradition. Tom learned this fine version of the tune from his father. It is in Honeyman’s tutor of 1898 under this title and in O’Neill’s Music of Ireland (1903) under the title The Flowers of Antrim.

Tom’s version contains not only some rhythmically important snaps in the first part

of the tune but also several unusually extended legato phrases taken with a single bow stroke and the resulting version is quite different from any seen in print or heard elsewhere. The tune moves from a dotted rhythm in the first part of the tune through the bouncy triplet rhythm of the typical hornpipe and in the second part of the tune into some bars with even rhythm of eight crotchets to the bar.

– 41 –

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Setting Sun 24 March 13. Bowings finalised PS, Mon 25 March 13. Checked against original LP track Th 16 May and completed open string

note heads.

Corfu T 28 May 13: Made 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

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 SprFiddleSolo2. Save as v9.

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The Marquis of Lorne’s Hornpipe is one of those tunes that could not have been easily transcribed accurately from Tom’s playing without the aid of video. This is particularly true of the snap bowings in the opening bars of the tune. Careful analysis of the video and sound recordings indicate that, in the first bar, after the bow has been lifted from the string to produce the short

Fig 6.5 An alternative analysis of the opening bars

rest, the next note A is in reality doubled – that is a pair of demi-semiquavers or 32nd notes – produced by a shake of wrist on the open A string. When the snap bow is repeated in the next bar, the short 32nd notes are this time on open strings A and then D (or A/D together). This exaggerated form of the snap bow produces a percussive rather than melodic effect.

6: Hornpipes

Boys of Blue Hill cd 26

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M 21Oct 13: Checked bowings. Bar 1 on the A part repeat is difficult but only played once in this solo take (Vid2/34.1). Look at version

TH1/02 T&W. Meantime ignore the difference. Save as v5.

S 16 Nov 13. Add title. Recheck this and Harvest Long In Coming and use V34 on the CD. Use the original, edited take 80 of Marquis of

Lorne as used on the LP for the CD. Save as v5.

T 21 Nov 13. Title to 21pt. Tempo to 12.6pt. 7.2/5.5/9.0 i.e SprFiddleSolo2. Checked tempo as 180. Save as v6.

Th 19 Dec 13. SprFiddleSolo3. Save as v7.

T 24 Dec 13. Added in Ossia: to sort out Play on Repeat.

F 14 Feb 14. Added slash triplets and extended the Ossia. Save as V8s.

T 6 May 14. Simplified bar 9 to removed B repeat. Save as v11s

Recordings:.s

V34 BoysOfBlueHill/HarvestHome. Tom solo.

2 BoysOfBlueHill/HarvestHome. T&W.

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Boys of Blue HillA great tune for tin whistle as well as fiddle, Boys of Blue Hill is one of the most widely known and popularly played hornpipes, as well known in Scotland as in England or Ireland or in North America. Although generally assumed to be of Irish origin, the earliest publication of the tune appears to be in America under the title The Two Sisters in Knauff’s Virginia Reels (1839) and later in Ryan’s Mammoth Collection (1883) as The

Boys of Oak Hill the same name also given in the widely printed Scottish collection Kerr’s Merry Melodies (ca. 1875). The first appearance of the tune as Boys of Bluehill appears to be in O’Neill’s Music of Ireland (1903).

Tom’s version of the tune is fairly standard, in triplet time throughout and with a simple combination of slur and hack bowing.

– 42 –


q q = 190

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Millicent’s Favourite cd 24

Millicent’s Favourite/ Tam’s Untitled HornpipeMillicent’s Favourite is known in Ireland as The Royal Belfast. The second tune, Tam’s Untitled Hornpipe, is one of a number of untitled tunes Tom had learnt from his father.

Tom considered the first tune a difficult one to play, especially the snap bow in the first bar and, as with the Marquis of Lorne’s Hornpipe, the range and combination of bowing techniques makes Tom’s version unique.

The second tune, Tam’s Untitled Hornpipe, is similar to the second part of a Canadian Barn

Dance tune recorded in Canada as Hillbilly Calypso. The tune includes birls in bar 3 and elsewhere, several snap bow pairs and a 3rd finger slide into unisons in the last bar and, as with Tom’s other hornpipes, the playing has a general triplet feel but with even-note divisions in some parts of the tune.

The irregular bar structure suggests Tom’s tune is deficient in some way – although entirely satisfactory as a listening piece. By adding a repeat and changing a few notes Jimmy Nagle has created an alternative 32 bar tune.

– 43 –

q q = 190

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Th 19 Dec 13. SprFiddleSolo3 with Jazz Couke. Save as v9.

W 29 Jan 14. Converted to 32 bar reel by JN with slight amendments PS to conform to the original where possible.

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Corfu F 31 May 13: Saved as HP5. Used open note heads. Reduce length of portamentos in bars 2, 5. Remove slide into double in bar 13.

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.

4 Nov 13. Replaced slide lines with Coule. Save as v7.

T 21 Nov 13. Titles to 21pt.Tempo to 12.6pt. 7.2/5.5/9.0 i.e SprFiddleSolo2. Save as v8.

Th 19 Dec 13. SprFiddleSolo3 with Jazz Couke. Save as v9.

D.S. al Fine

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Tam’s Untitled Hornpipe cd 24

6: Hornpipes

– 44 –


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M 5 Feb 14. Transcribed as played in 35.1. Bar 4 alt is from V1. Checked bowings and happy.

Saved as V1_Cowie'sHornpipe4 and then renamed as 35_Cowie'sHornpipe4

11 Mar 14. Amended bar4 4 and alt 4. Main transcription matches 35 (to go on CD) . Alt matches V1. Save as v5.

NOTE: Use the transcription set of tunes numbered 35 and discard the set numbered V1

Recordings:

V1: Cowie's Hornpipe/ St Patrick Day/ Turkey In The Straw. Tom solo.

31: Tam's own Hornpipe (or Cowie's?)/ St Patrick Day/ Turkey In The Straw. T&W

35.1 Ditto. Tom Solo. To edit and clean and use on CD.

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The first two tunes are almost certainly of Irish origin. Played as a set – hornpipe, jig and reel by Tom & Wattie, the first, known by Tom and Wattie as Cowie’s Hornpipe, is in O’Neill’s as Slievenamon. The second, which Tom referred to, probably in error, as St Patrick’s Day is in O’Neill’s as Tell Her I Am. The third tune, Turkey in the Straw is an American tune as widely played in Scotland as in North America for the longways dance the Virginia Reel, a dance that evolved from the old English county dance Sir Roger de Coverley.

In Cowie’s Hornpipe and Turkey in the Straw the slash quavers are used to indicate a triplet feel. But the ratio between the two quavers in a pair is often closer to even rather that a 2:1 ratio. In

Cowie’s Hornpipe there are several instances of Scotch snap taken with a slur (bars 3, 17, 18). Ringing strings on G and D are used throughout the tune and in bar 12 a long up-bow phrase is taken against a ringing string on A. Tom varied his playing of the tune and the alternative given for bar 4 is from a different solo recordings of his playing. The second tune, St Patrick’s Day (or Tell Her I Am), includes a few fingered double stops and a three note chord. In the third tune, Turkey in the Straw, the rhythm is quite variable moving between triplet rhythm and even note division and with some snap rhythm in the second part. Ringing open strings on G and D are used throughout and in bar 4 is there is a slide into unisons on A.

Cowie’s Hornpipe/ St Patrick’s Day/ Turkey In The Straw

Cowie’s Hornpipe cd 06

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M 5 Feb 14. Transcribed as played in 35.1. Bar 4 alt is from V1. Checked bowings and happy.

Saved as V1_Cowie'sHornpipe4 and then renamed as 35_Cowie'sHornpipe4

11 Mar 14. Amended bar4 4 and alt 4. Main transcription matches 35 (to go on CD) . Alt matches V1. Save as v5.


Recordings:



35.1 Ditto. Tom Solo. To edit and clean and use on CD.

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Recording V1 is not clean enough to use. Use number 35.1

Rename file V1_StPatrick'sDayJig as 35_StPatrick'sDayJig As far as I can see, after checking other versions on YouTube, this is

not St Patrick's Day Jig. The title in O'Neils is Tell her I Am


Recordings:



35.1 Ditto. Tom Solo. To edit and clean up for the CD.

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S 1 Feb 14. Amended as per 35 Tom Solo. Use this version. Change file name from V1_TurkeyInTheStraw3

to 35_TurkeyInTheStraw3

W 12 Mar 14. Reassessed. Double stops and bowing checked.Added slash triplets. Save as v4. And further

amended to give segno, slurred intro notes and Last Time repeat. Save as v5.

Recordings:

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.

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6: Hornpipes

St Patrick’s Day/ Tell Her I Am cd 06

Turkey In The Straw cd 06qq = 190

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13

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35_TurkeyInTheStraw5 SprFiddleSolo3 7.2/8.0/9.0 15/15/15/15 & 20/10

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

S 1 Feb 14. Amended as per 35 Tom Solo. Use this version. Change file name from V1_TurkeyInTheStraw3

to 35_TurkeyInTheStraw3

W 12 Mar 14. Reassessed. Double stops and bowing checked.Added slash triplets. Save as v4. And further

amended to give segno, slurred intro notes and Last Time repeat. Save as v5.

Recordings:

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.

&

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Alternative bar 13

Alternative bar 13

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– 46 –


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7 Feb 13: This version of the file snap bowing shown where probable. The tune includes one of Tom's rare three

note chords.

21 Nov 13: Rechecked against sound file with Reaper. Happy with bowings. Added title at 21pt. Tempo at 180 in

12.6pt. 7.2/5.5/9.0 i.e SprFiddleSolo2. Save as v1.3

W 29 Jan 14. Amended as per JN with some further changes checking on Transcribe.

F 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.

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Greencastle Hornpipe cd 25

Off To California cd 25

q q = 180

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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.

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– 47 –

Tom had no names for the individual tunes in this set, but merely referred to them as Irish Hornpipes. All three are in O’Neill’s Music of Ireland. While they may be tunes of Irish origin, Tom’s versions have a distinct Scottish Borders flavour. The third tune is known in Scotland and Northumberland as The Dundee Hornpipe and may well be of Scottish origin but is named The Kildare Fancy in O’Neill’s.

The first tune, The Greencastle Hornpipe, is taken with Tom’s usual internal triplet feel. The extended slurs taken on an up bow in the second part of the tune are a particular characteristic of Tom’s style of hornpipe playing and the tune also includes an example of his occasional use of a three note chord.

The second tune, Off To California, is in the key

of A but Tom sometimes plays a triplet run with a b7th (G natural) below the lower tonic as shown as an alternative in bar 12 and also played for the last beat of bar 4. A distinctive combination of inégale pairs is used at the start of bars 2, 6 and 14 – a snap bow pair, followed by a slurred Scotch snap. Bar 4 has a nice use of a down bow followed by a slurred run of notes on an up bow with ringing open E string bowed throughout.

The third tune, The Dundee Hornpipe/ Kildare Fancy, again includes snap bowings and an internal triplet rhythm with ringing strings on D and A. The first bar (and its repeats) ends with a strongly accented staccato bounce. The staccato note is reached with an up bow slur from F# to an accented D, the bow then lifted giving separation from the final staccato semiquaver B produced with a short repeated up bow.

6: Hornpipes

The Dundee Hornpipe cd 25

The Greencastle Hornpipe/ Off To California/ The Dundee Hornpipe

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q q = 180

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47_3_DundeeHornpipe3 SprFiddleSolo3 7.2/8.0.9.0 15/15/15/15 & 20/10

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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 v3.2

M 17 Mar 14. Revised throughout. Changed the last notes of bar 1 to remove snap bow. Taken as per JN for bars 10, 11. Removed

snap bow in bar 1 and some elsewhere and replaced by hack. Made bars 3, 7, 16 the same but not as JN. I think this now works.

Save as v3_5s.

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– 48 –


qq = 190

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As played by Jimmy Nagle. Transcribed Th 16 Jan 14 from sound recording and video uploaded to YouTube and played back at

25% speed. Should probably try indicating triplet timing in some more bars.

http://www.youtube.com/watch?v=vK_j5kM8yCE

Reset the slash as 17.5pt. Imprt to SprFiddleSolo3 Notehead 31. Save as v4s.

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The village of Newcastleton beside the Liddell Water in the far south of the Scottish Borders was built on the site of an older community, Copshaw Holm – a name that signifies the Viking roots of the settlement. The older Norse name for the village, Copshawholm or Copshie, is still preferred by locals.

The annual Newcastleton Traditional Music 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 composed tune – played on the occasion by Tom

Copshawholm Hornpipe (or The Copshie Hornpipe)

and his grandson Jimmy Nagle. Never recorded by Tom, Copshie Hornpipe has been transcribed for this collection from Jimmy Nagle’s playing1.

The tune shows many of Tom’s distinctive hornpipe playing traits – played fast with a bouncy triplet feel in parts, shown by slash quavers, and the use of open string drones and Scotch snaps.

1. A video of Jimmy Nagle (2014.2) playing the Copshie Hornpipe is on YouTube.

Copshawholm Hornpipe (or The Copshie Hornpipe) YouTube1

– 49 –

6: Hornpipes

The Harvest’s Long In ComingAlthough Tom was happy to refer to this tune by its widely known name of Harvest Home, he preferred The Harvest’s Long In Coming – the old name by which the tune was known in the Borders and by his family.

Tom always said he had his own way for bowing this tune. The main distinctive bowing is in

the first bar of part A and in its repeats – i.e. bars 1, 5 and 13. After the first two beats in triplet rhythm, the third beat of the bar uses a snap bow with a short staccato semiquaver followed by a slurred Scotch snap in the fourth beat – together giving a bouncing lift the tune. Jimmy Nagle prefers to bow this bar in a slightly different way as shown – producing a similar effect.

q q = 180

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Fig 6.6 An alternative bowing of the opening bar

The Harvest’s Long In Coming cd 26

– 50 –


Glen Aln Hornpipe

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4

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V57_GlenAlnHornpipe8 SprFiddleSolo3 7.2/8.0/9.0 15/15/15/15 & 20/10

Composed by Willie Atkinson

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A hornpipe recorded from Tom Hughes at Lilliesleaf. Played once through. Audio copied from the video recording

(TomHughes_Video4). Jimmy Nagle identified it as a version of the Glen Aln Hornpipe composed by Willie

Atkinson. Tom would often have met with Willie at musical gatherings in the Borders in the 1970s - particularly at

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.

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Glen Aln HornpipeWillie Atkinson of Alnwick, border shepherd, champion mouthorgan player and composer of the Glen Aln Hornpipe was a good friend of Tom’s and of similar age – Willie, born January 1908 being three months younger than Tom.

The tune shows many of Tom’s distinctive hornpipe playing traits, snap bowing, an overall feel of triplet rhythm and use of open string drones.

– 51 –

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Corfu T 4 June 13: Checked V_7s and saved as V_8. Open noteheads. Amended bowings in bars 17 and 21 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.

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Redeside HornpipeAnother tune from Willie Atkinson of Alnwick, The Redeside Hornpipe has become a standard of the Border tradition – played here by Tom along with three other fiddle players – Bob Hobkirk, Wattie Robson and Tom Scott along with Brian Miller on guitar.

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Corfu T 4 June 13: Checked V_7s and saved as V_8. Open noteheads. Amended bowings in bars 17 and 21 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.

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The tune has been transcribed from the group recording and from analysis of a video of Tom in solo performance. The differences between the two are not large but, in the group performance, slurred triplet runs in bars 7 and 20 are played with hack bowings.

Fig 6.7 Hack bowing alternative for bars 7 and 20

6: Hornpipes

Redeside Hornpipe cd 35

– 52 –


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Corfu Th 30 May13: Used open note heads for ringing strings. Tempo to 216. Saved as #7. Then noticed that the transcription (1st line

anyway) is not as played. Changed to 8. Then amended bowings in 1st line - get Jimmy Nagle to check. Saved as #9. This avoids all the

alternative bowings of the first line - and may be perfectly acceptable and much easier to follow - but may not be how Tom played - slurred

across into first bar. In #10 showed the full notation instead of grace note on 3rd beat of bars 1, 2, 5.

W 25 Sep 13: Amended. Staccato dots repositioned. Ties for gracenotes 0, 2, 18, 19, 20 placed manually. Correct time sig to 2/2 not 4/4.

M 4 May 13. Flipped grace note slur in bar 11. Save as v11.

T 21 Nov 13. Title to 21pt.Tempo to 12.6pt. 7.2/5.5/9.0 i.e. SprFiddleSolo2. Save as v12.

Th 19 Dec 13. SprFiddleSolo3 Save as V12.

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

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Flouers O EdinburghThe tunes Flouers O Edinburgh and East Neuk O Fife provide a set for the country dance Flowers of Edinburgh and were played as such by Tom and his father in the 1920s. Both tunes were considered old when they were included in James Oswald’s Caledonian Pocket Companion published in parts between 1745 and 1758.

The first tune appeared in Book 3 (1751) under the title The Flower of Edinburgh and the second in Book 4 (1752) under the title She Griped at the Greatest on’t. This was republished under its now universally known title, The East Neuk of Fife,

Flouers O Edinburgh cd 20

three years later in McGibbon’s Collection of Scots Tunes, Book 3 (1755).

The opening phrase of the first bar of Tom’s version of Flouers O Edinburgh is a distinctive traditional variant of the tune with the slurred Scotch snap from D down to B. These snap rhythms on the first beat of most bars in the first part of the tune may well indicate that the tune was played this way for the old hard-shoe stepped form of the dance. As usual, Tom includes double stops in his playing whenever possible, and even the occasional chord of three notes.

Country Dances & Reels

– 53 –

East Neuk O Fife cd 20

East Neuk O FifeThe East Neuk O Fife commonly has only two parts. Tom’s third part is similar to one of several variations by James Scott Skinner included in his The Scottish Violinist of 1900 and the Harp and Claymore Collection of 1904. The double stop slides in the third part are an unusual feature of Tom’s version and are not present in Skinner’s variation as prepared in manuscript by Gavin Greig (1900) for publication in the Harp and Claymore Collection. The tune naturally ends on

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Corfu Th 30May 13: Amend v4 to make new v5. Tempo to 216 - to match Flooers o Edinburgh. Bar 13/14 could be slurred across a further

note, last two notes of 14 then bowed separately. Changed bar 9 to give slur to start of bar 2. Change bars 23 & 24 to key A. Removed snap in

bar 23. Give slides into first notes of many bars in part C. Tidy up.

W 25Sep13: Amend. Time sig 2/2; Bar 8 triplet up bow; Keep A key - C sharp used. Chord for accompaniment would be A in these two bars

even though G sharp not used in tune.

T 21 Nov 13. Title to 21pt. Tempo to 12.6pt. 7.2/5.5/9.0 i.e. SprFiddleSolo2. Save as v7.

Th 19 Dec 13. SprFiddleSolo3 Save as v7.

S 31 May 14. Extend to 7th system. Save as v8.

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7: Country Dances & Reels

the 6th of the scale but, as played here, the tune is brought back to conclude on the G major chord in the last time ending.

The shuffle-bowing sequence (a long down-bow followed by a short up/down and then the reverse) is used by Tom throughout the first part of Flouers O Edinburgh and again in the third part of East Neuk O Fife.

– 54 –


Farewell to Whisky cd 23

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Corfu F 31 May 13: Save 5s as V6. Use open note heads. Amend some of the gracings to match sound. Tempo to

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 gracings and make several single not double. Add ties in bars 8 & 19. This all works much better. Style

decision: Show or hide DS al Fine.

1 Oct 13. Amended per CM. Listen carefully to solo (V12) and as used. Change several gracings, change gracing

slurs. Reset bar 3 into standard triplet style. Reposition tenuto to above & below for clarity in bars 7, 15. Save as v8.

W 30 Oct 13. Amend CM2. Remove the double indication of tenuto. Correct note in bar 3. Save as v9.

T 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. Regularised bar numbers: 8/8/16. Save as v12.

S 31 Mar 14. Add in DS al Fine & Fine. Remove last fisnish bar.

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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.

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Roxburgh Castle cd 23

– 55 –

Farewell to Whisky/ Roxburgh CastleComposed around 1800 by Niel Gow as a lament for the prohibition of whisky making in 1799, Farewell to Whisky was quickly accepted into the traditional music repertoire both as a country dance tune and as the tune for several songs. The Atholl Collection (1884) refers to the tune as a ‘Scotch Measure’. Tom and his father played the two tunes in a set as here for the country dance Roxburgh Castle, which was still popular in the Border counties in the 1920s.

The down-driven bow is used in several places in the first tune – bars 7, 8, 16 and 18 and, as usual, Tom includes plenty of double string work and the occasional Scotch snap and snap bows. The second tune, Roxburgh Castle, includes a couple of double stop slides, and down beat accents are used leading into the final bar in each part – an accented down-bow followed by three notes taken with an up-bow slur as in bars 7 and 15.

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(Slow version)

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PS 6 Feb 13: I am not convinced that there may not also be other snap bowings: last pair of notes in bars 1, 3 and perhaps 7. But the main

snap bowings are as shown bars 2 & 6 and if this works then that is fine. It would be nice to make a setting to suit for the second part of the

tune!

S 26 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. SprFiddleSolo3. In 3 systems Save as Slow v5.

Th 19 Dec 13. In 4 systems. Save as Slow v6. Better.

W 5 Feb 14. Converted to 2/4 to make layout better.

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

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M 11 Nov 13: Updated from earlier transcription. Cut back from v3 to give the essence of Tom's playing in this recording - 21a. Probably lay

out on the page with the slow version (v3_HighRoadToLinton) above. Include the two recordings one following the other on the CD. 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 SprFiddleSolo2. 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

D.S. al Fine

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High Road to Linton cd 13

High Road to LintonTom remembers working out this, his first tune, on his new fiddle at the age of around seven. Usually played as a reel, Tom sometimes played

the first part at a slower speed. In the regular speed version, double stops and ringing strings are featured particularly in the variations (A#).


– 56 –


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Corfu M 3 Jun 13: Listened very carefully to 32 using Transcribe. Made a number of changes to match as played. Tempo to 210.

Note to refer to spiccato bowing.

Su 3 Nov 13. Listened to Tom solo version V14 and returned to video transcription as in original LP Book. Settled on simpler

bowing leading to bar 14. Use ossia staff to show 2nd fiddle alternatives. Save as v13. Tempo 205 in the Tom solo.

M 4 Nov 13. Added last time ending. Save as v14.

T 21 Nov 13. Title to 21pt. Tempo to 12.6pt. 7.2/7.5/10.25 - unique SprFiddle_Morpeth. Save as v15

Versions:

V14 To edit V14.1 for new CD. Tom Solo

32 T&W & Sid used on LP.

53 T&W & Sid. 53.4 is best but not as good as 32.

V65 T& W on Lilliesleaf video/tape. Fun recording with bar noise and table tapping.

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The Morpeth RantThe Morpeth Rant is still a well known long-ways country dance in Northumberland with its own distinctive ‘rant’ steps. Until the 1930s it was also popular North of the Border in the rural valleys of the Kale Water and the Bowmont on the northern slopes of the Cheviot. Tom learned the tune from his father and often played it for the dance at weddings either with his father or with his own band, the Kalewater Band.1

1. Tom remembered playing for the Morpeth Rant with his father at the school hall at Kirkton near Hawick when they were at The Orchard (1921-26) and later at Whitton village hall in Hownam up the Kale Water when they were at Chatto (1926-31). The dance was still part of the repertoire when Tom had the Kalewater Band when he and his family were at Chatto and they played at Mowhaugh up the Bowmont Water and at Pennymuir between the headwaters of the Oxnam and Kale Waters.

The commonly published tune, dating back at least to the 1700s is different from Tom’s Border version, particularly in the second part. However, Tom had never heard any other tune than the locally known one until he heard the ‘new’ version on the radio played by Jack Armstrong and his Barnstormers (perhaps in the late 1940s).

The rhythm of the rant is distinctive, with its slightly syncopated form – the staccato semiquaver often following the dotted quaver rather sooner than indicated, giving an internal triplet rhythm to the beat (i.e. 2:1 rather than 3:1) Tom plays the staccato semiquaver with a bounced bow – that is, spiccato. The emphatic rhythm with accents on the first and third beat of many bars suits the percussive stepping movements of the rant dance.

The Morpeth Rant cd 27,28

– 57 –

Soldier’s JoyThere could hardly be a traditional fiddle player from Shetland to Cornwall or in North America who did not or does not know The Soldier’s Joy: It is perhaps the most popular and widely known of all fiddle tunes – and almost invariably as here in the key of D.

According to Francis Collinson (1966) the first appearance in print of the tune is in Joshua Campbell’s 1778 A Collection of the Newest and Best Reels and Minuets with Improvements, adapted for the Violin or German Flute.

It was one of the first tunes Tom learned from his father and it was played in the family band of ca. 1915 – two or three fiddles, whistle and tambourine for the dance Soldier’s Joy. Thomas Hardy’s description of a village dance in 19th

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T 4 Feb 14. Looked again at transcription. Matched bowings to V6 solo. The B part is only played once in this V6 recording

but I have transcriped as if played twice with the actual ending shown as a last time ending. This is as played in V46.

Su 23 Mar 14. Amended after listening to V46. I could get Wattie to play this. Save as v6. Changed bowing directions. The

incipit is actually played down/up after an up bow at end of Lady Mary Ramsay (or with two up bows as shown in the

transition). But marked here as slur up bow. There will be no sound file with this.

Recordings:

V6 Lady Mary Ramsay (160)/ Soldier's Joy (200)s. Tom solo. Speeds up from 180 to 190.

V46 Flour of the Quern/ Lady Mary Ramsay (160)/ Soldier's Joy (210). T&W

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The Soldier’s Joy cd 30

century Dorset from his novel Far From the Madding Crowd has already been quoted that: “... three-quarters of an hour of thunderous footing, (to The Soldier’s Joy) still possesses more stimulative properties for the heel and toe than the majority of other dances.”

Perhaps a dance in the Scottish Borders in the early 20th century with the Hughes Family Band was not so different.

Tom often also played the tune as part of a strathspey/ reel set providing the music for the old Foursome Reel – the strathspey Lady Mary Ramsay (page 65) leading with a small increase in tempo into the reel of Soldier’s Joy (Fig 7.1) – no doubt danced at that time to the “thunderous footing” of tackety boots on the barn floor.


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T 4 Feb 14. Looked again at transcription. Matched bowings to V6 solo. The B part is only played once in this V6 recording

but I have transcriped as if played twice with the actual ending shown as a last time ending. This is as played in V46.

Su 23 Mar 14. Amended after listening to V46. I could get Wattie to play this. Save as v6. Changed bowing directions. The

incipit is actually played down/up after an up bow at end of Lady Mary Ramsay (or with two up bows as shown in the

transition). But marked here as slur up bow. There will be no sound file with this.

Recordings:

V6 Lady Mary Ramsay (160)/ Soldier's Joy (200)s. Tom solo. Speeds up from 180 to 190.

V46 Flour of the Quern/ Lady Mary Ramsay (160)/ Soldier's Joy (210). T&W

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Fig 7.1 Link from Lady Mary Ramsay to The Soldier’s Joy

– 58 –


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Checked with Transcribe! PS. Wed 13 Feb 13

Snap bowings indicated where more likely than separate up/down or slur.

F 8 Nov 13. Removed a couple of double stop transcription errors. Lined up the bowing marks. Added ties. Tidied up. Saved as v3. Check B's

tailup or down.

T 21 Nov 13. Title to 21pt.Tempo to 12.6pt. 7.2/5.5/9.0 i.e SprFiddleSolo2. Save as v4.


Recordings:

Only one take: V40 as here. Use on CD.

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The TriumphWhen Tom first started playing fiddle with the family band in the 1920s The Triumph was often the first dance of the night at village hall and kirn dances. A longways set dance, it became a popular country dance throughout the country in the 1800s after being introduced to the London ballrooms near the end of the 18th century. The tune was first published in England in 1790 with versions published in Scotland by 1796 and an edition by Nathaniel Gow in 1805.

Tom’s version of the tune is from his family tradition and differs in minor ways from earlier published versions. Sometimes published as Lady’s Triumph it is by this title that the dance is known today in the United States.

An interesting study has been published by Christopher Walker: ‘The Triumph’ in England,

The Triumph cd 31

Scotland and the United States. Folk Music Journal 8.1 (2001).

The Huntsman’s ChorusA longways dance for 4 to 6 couples, The Huntsman’s Chorus was popular in the Borders in Tom’s youth. Tom learned the tune from his grandfather. A version of the traditional music and the dance was collected in Yorkshire by Leta M Douglas and published in 1901 in a small collection of folk dances entitled Six Dances of the Yorkshire Dales.

The music started life as a chorus in the 1821 opera Der Freischütz (The Marksman) by Carl Maria von Weber, later finding its way into many fiddlers’ tune books in the 19th century. It became a staple in the repertoire of English folk dance bands and variations of the dance have been popular in North America.

– 59 –

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Classical tune: http://classicallife.net/2011/12/16/carlos-kleiber-conducts-the-huntsmens-chorus/

Layout completed Fri 22 March 13. Bowings adjusted for V2 Sat 23 Mar 13.

Der Freischütz (The Marksman or The Freeshooter.) is an opera in three acts by Carl Maria von Weber with a

libretto by Friedrich Kind. It premiered on 18 June 1821 at the Schauspielhaus Berlin. It is considered the first

important German Romantic opera, especially in its national identity and stark emotionality. The plot is based on

the German folk legend of the 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.

Th 3 Oct 13. Renumbered bars from 0. Tidied up and added fingering to gracings in bar 12. Saved as v3.

M 5 Nov 13. Revised for style, bowings, coule slides bar 13, tenuto in bar 27, checked speed at 186. Save as v4.

T 21Nove 13. Title to 21pt. Tempo to 12.6pt. 7.2/5.5/9.0 i.e SprFiddleSolo2. Save as v5.

Recordings:

21 T&WEdOrig3 Tom solo. The only recording. Use on CD.

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13 Mar 13: Transcribed. Bowings assessed.

28 Oct 13. Amended as per CM.

12 Nov 13. Added title and pizz symbol. Check with Transcribe for open strings. Save as v3.

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

Recording:

V68 Vid5/Video4. One recording only - very noisy in Lilliesleaf pub. Bowing indicative. No good for CD.

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Pop Goes the WeaselPublished in London as a new dance in 1853, Pop Goes The Weasel rapidly became very popular, soon acquiring the well known words and becoming a childrens’ singing game. The tune

The Huntsman’s Chorus cd 12

Pop Goes The Weasel

has long been a show piece for country fiddlers with the fiddle often being flourished when the pizzicato open string notes are plucked.


– 60 –


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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//

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Braes O Mar (solo) cd 02

Strathspeys & Schottisches

The music for the old foursome reel comprised two sections – starting with a strathpey reel in dotted time that is said

to have originated in the Gaelic-speaking Strath Spey of the central Highlands around 1700, followed by a section in 4/4 reel time. Around 1800 a dance developed in Europe, the Écossaise or the Schottische in 4/4 time, that was almost certainly inspired by the strathspey but danced

with a polka step. When this older Common Schottische of the early 1800s danced with polka step was adapted to create the Highland Schottische in the mid 1800s with reel stepping, the tunes that were used were the old traditional strathspeys – but played a little faster and with the emphasis on the first and third beats of the bar rather than the more even pulse of the strathspey.

– 61 –

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T&W Duet version. Tom takes lower part. Wattie the upper part.

W 11 Dec 13. Amended to match Wattie's version of the B upper part slightly different from Tom's.

T 17 Dec 13. Added Rehearsal marks and Duet Brackets. Save as v18. Join bar lines. Save as v19

09 Braes of Mar/ Tam's Untitled Hornpipe T&W 9.2 As used 1:2

39 Ditto Tom Solo (TH12Ampex)

V8/9 Ditto Tom Solo & Chat. V48 Ditto T&W. V53 Ditto T&W USE: Tom Solo V8 on the CD

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Braes O Mar (duet) cd 02

8: Strathspeys & Schottisches

The Braes O MarThe tune The Braes of Mar is a favourite old strathspey that was considered old when first published by Robert Bremner in his A Collection of Scots Reels and Country Dances (1757). The original pipe tune is said to have been played when the Earl of Mar raised the Jacobite standard and assembled the clan as at Braemar on Deeside in 1715 before the march to Sherriffmuir. The song, The Standard on the Braes of Mar, was written later by Alexander Laing (1787-1857) and the traditional song Bonnie Lass Come Ower the Burn is also sung to the same tune.1 In several old collections the high, second part (B) of Braes O Mar is referred to as the ‘old’ set, and the low second part (C) (an octave below) as an alternative ‘new’ set. In Honeyman’s Tutor (1898), and in several subsequent collections, the two sets have been combined so that the second part of the tune consists of the low part followed by the high part each played once.

Tom and Wattie play Braes O Mar in the same way that Tom played the tune with his father – the parts first played separately, followed by the

1. Jeannie Robertson (1953)

high and low alternative second parts played together as a duet.

The transcription of Tom’s solo version shows his varied use of Scotch snap – played with a slur or with separate bow strokes (c.f. the snap at the start of bar 4 and its repeat). The forward inégale note pairs are variably played with snap bow or hack bow as in bar 6 – a slurred snap, a snap bow, a hack bowed pair and finishing with a down bow on the dotted quaver with the final semiquaver taken as a slur into a slide into a double stopped crotchet at the start of bar 7.

Extensive use is made of double stops and ringing open strings. In the low second part C of the tune the use of open strings and double stops is varied with addition of the low G open string on the second time through the tune.

In the duet recording of Tom and Wattie where they are playing parts – and in the duet transcription – the high B part is as played by Wattie and shows his slight variations in the tune.

(Duet section from Tom & Wattie)

– 62 –


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Setting T 24 May 13 in Corfu. This is closer to the solo recording than the trio.

Th 5 Dec 13. Separated the ties between groups of 4 notes. Note this is in the pipe scale on A. That is with

flattened 7th - G natural. So the key signature is given as D. Tried a full transcription (v11) and then added the

alternative start as an extra stave at the end.

Recordings:

33 Sidlaw Hills/ Wife She Brewed It Tom Solo 33.1,2 Used 1:6

51 Ditto T&W and Sid 51.3 Used 1:7

V30 Ditto Tom Solo. Very similar to the solo recording 33 but tone a neatness better in 33.

V61 Sidlaw Hills (only) T&W and Sid. Noisy pub session.

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Sidlaw HillsThe tune Sidlaw Hills was composed by Jim Watson of Blairgowrie. Tom picked up the tune from accordionist and fiddler Jock Thomson of Cleuch-head around 1948. Tom’s version is filled with interesting traditional elements – plenty of Scotch snaps, snap bows, a triplet run where each finger covers two strings, a slide into unisons in the last bar of each part, and the usual double stops and open strings that are an integral part of Tom’s style. Tom’s comment after completing the track with Wattie and Sid: “One of the best yet, even though I say it maself.”

The forward inequality between the dotted quaver and semiquaver is quite variable and in places moves away from a 3:1 ratio towards an internal triplet rhythm not shown in the transcription – so the dotted quaver is sometimes shorter and the semiquaver longer giving a 2:1 triplet ratio. In the reversed inequality, the semiquaver is often much shorter than shown and the dotted quaver longer giving the distinctive Scotch snap. In the alternative start, the snaps are bowed rather than slurred and similar alternative bowings are shown in bars 5 and 17.

Sidlaw Hills cd 10,11

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Setting T 24 May 13 in Corfu. This is closer to the solo recording than the trio.

Th 5 Dec 13. Separated the ties between groups of 4 notes. Note this is in the pipe scale on A. That is with

flattened 7th - G natural. So the key signature is given as D. Tried a full transcription (v11) and then added the

alternative start as an extra stave at the end.

Recordings:





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– 63 –

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Corfu: T 28 May 13. Removed part A & B repeats. Bowings misinterpreted.

F 27 Sep 13. Reset in 6 systems. Split at start of B part. Repositioned some grace note slurs.

T 21 Nov 13.Title to 21pt. Tempo to 12.6pt. 7.2/5.5/9.0 i.e. SprFiddleSolo2. Save as v12.

W 4 Dec 13. Compared again to original video transcription and GB Yorkshire p37.

Gliss to unisons now as Coulé in SprFiddleStyle3 at 16pt applied as Jazz Articulation (scoop). Save as v13.

Recordings:





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The Wife She Brewed It cd 10,11

The Wife She Brewed ItTom had known the second tune of the set, The Wife She Brewed It, for many years but had no name for it – identified for us by Jimmy Shand snr who had recorded it many years earlier. The A part of the tune starts off with a sharp bowed snap on the first beat of the first half dozen bars – the reversed inequality exaggerated with a shortened semiquaver and a lengthened dotted quaver. The forward inequality of most of the other pairs is close to the 3:1 ratio as written.

In the B part of the tune, the rhythm becomes more relaxed and settles into triplet rhythm until brought to a halt with two bowed snaps in the last bar and a concluding slide into unisons.

The tune includes several examples of a down bow followed by an extended up-bowed slur over three notes with included gracings and, in several places, an extended up bow finishes with a slurred Scotch snap.

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Corfu: T 28 May 13. Removed part A & B repeats. Bowings misinterpreted.

F 27 Sep 13. Reset in 6 systems. Split at start of B part. Repositioned some grace note slurs.

T 21 Nov 13.Title to 21pt. Tempo to 12.6pt. 7.2/5.5/9.0 i.e. SprFiddleSolo2. Save as v12.

W 4 Dec 13. Compared again to original video transcription and GB Yorkshire p37.

Gliss to unisons now as Coulé in SprFiddleStyle3 at 16pt applied as Jazz Articulation (scoop). Save as v13.

Recordings:





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– 64 –


Tam’s Wild Rose StrathspeyWhen asked about the source of this tune, Tom thought it was one he had learnt from his grandfather. Since Tom and Wattie often played it as part of a set after John Mason’s waltz, Wild Rose of the Mountain, the tune became known as Tam’s Wild Rose Strathspey. Tom uses the snap bow throughout, and Scotch snaps more often slurred than separately bowed. Open string chords are played here and there, a characteristic double stop slide is used in bar 12 and the tune ends with a three note chord.

Lady Mary RamsayNamed for the daughter of George Ramsay, 8th Earl of Dalhousie, and attributed to Nathaniel Gow in his Fourth Collection (1800), Lady Mary Ramsay was one of Tom’s favourite tunes that he played in a variety of sets. Widely known, the tune has evolved in Scotland, Ireland and North America from strathspey to schottische, to reel and Highland Fling.

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Tom suggested this was one of his family stathspeys. Suggested title: Tam's Wild Rose Strathspey - since he played it 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

as 3_Tam'sWildRose_G+ and analysed in Transcribe! This then made the low G more audible.

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

2, 6.

4 Nov 13 Coule for grace note slide. Save as v3.

5 Nov 13: Amended bowings. Save as v4. Tune identification?

21 Nov 13: Title to 21pt.Tempo to 12.6pt. 7.2/5.5/9.0 i.e. SprFiddleSolo2. Save as v5.

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 numbering. Keep 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.

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The opening notes are played by Tom with a form of down-driven bow, the second note played with repeated emphasis of the down bow – shown by the tenuto sign. Tom adds complexity to the phrase with a slide into unisons on the first note D, a chord on the second note (G/D), followed after a short gap with a downward snap-bow flick of the wrist leading to a slurred up bow snap, and concluding the bar with a downward snap-bow pair. For the second time through the tune the bowing is different (bar 17), the first note again produced as a slide into unisons – but played with an up bow and a down-driven bow avoided. The tune ends with a three note chord (A/E/A) produced with the first finger.

Orange and BluePlayed by Tom as a schottische, this old tune is known throughout Scotland and in North America and used in the Scottish Borders for the country dance Orange and Blue.

– 65 –

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Corfu Th 30 May 13: Amend v3: Open string note heads. Flip in bars 4 & 5. Add tenuto in bars 2 & 4. Save as v4.

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&WEd3. Add some 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 Nov 13.Title to 21pt.Tempo to 12.6pt.7.2/5.5/9.0 i.e. SprFiddleSolo2. Save as v7

Th 19 Dec 13. SprFiddleSolo3 with Jazz Coule. Save as v8.

Su 23 Mar 14. Add alternative ending from V46. Save as v10.

Recordings:

03: WildRoseOfTheM/ LadyMR T&W

08: Flour Of The Quern/ LadyMR T&W

15: LadyMaryRamsay/ Orange&Blue T&W

52: WildRoseOfTheMOuntain/ LadyMR T&W&Sid - not good tone

N1/15: LadyMaryRamsay/ Orange&Blue T&W&Brian - Used 2:1 - (referred to as 15)

V6/7: LadyMaryRamsay/ Soldier'sJoy Tom solo

V46: FlourOfThQuern/ LadyMR/ Soldier'sJoy T&W - poor sound recording

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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.

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Lady Mary Ramsay cd 07,21,30

Orange and Blue cd 07,21


– 66 –


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Bowings revisited PS, 20 March 13. Seem OK now.

F 6 Dec 13 Style: SprFiddleSolo3 with coule 16mm.

Recordings:

40 Inverness Gathering/John MacMillan Of Barra. Tom Solo 40.3

01 Ditto. T&W 1.2 to 1.4

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The Inverness GatheringThere are many versions of this old traditional pipe march. The tune no doubt started as a two part tune and this is what Tom plays – but there are pipe versions with as many as six parts. Scott Skinner included the tune in his Harp and Claymore Collection (1904). Tom maintains the flat 7th of the pipe scale – the tune written in D with the flat 7th G. In several places (e.g. bars 1, 4 & 5) the tune is played against a ringing E 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.

The Inverness Gathering

Marches

Barren Rocks Of Aden/ Nut Brown MaidenThe tattie picking time was an opportunity for all the family to work together in the fields – and also a time for fun and enjoyment. Tom had the following words to the Barren Rocks of Aden:

Aa the women wi their breeks tied up, Their breeks tied up, their breeks tied up, Aa the women wi their breeks tied up, Tae gaither in the tatties.

– 67 –

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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 better match for the second tune: Nut Brown Maiden.

Rinuden Fr 18 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. Check. Title 21pt. Tempo 12.6pt. 7.2/5.5/9.0 i.e SprFiddleSolo2. Save as v4.


Recordings:

37 Tam solo. 37.1 to 37.3 Could use on CD

42 T&W Messy

50 T&W & Sid 50.1 to 50.4

57 Albie Tedham 57.1, 2

V42 Tom solo Video V42.1 on Video 2

V69 Tom solo Video V69 on Video 5.

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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

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9: Marches

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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

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Th 19 Dec 13. SprFiddleSolo3 with Jazz Coule. Added alternative start. Save as v5.

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comp. Tom Hughes

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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.

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Tam’s Slow March/ Tommy Hughes’ MarchTom composed and played this march in two forms – as a slow air or slow march and as a regular 4/4 march such as is often used for dances such as the Gay Gordons. Tom had

never given his march a name and, after Tom died, his grandson Jimmy Nagle named the tune in memory of his grandfather in its two forms as Tam’s Slow March and Tommy Hughes’ March.

Tam’s Slow March YouTube1&2

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Th 20 Mar 14. Added up bow to intro. Renumbered bars. Save as (JN)v2.

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Both forms of the march are transcribed and printed as played by Jimmy Nagle1 and, like his grandfather, his playing makes extensive use of open strings and double stops that work particularly well in Tom’s favourite key of G. Jimmy also includes another of Tom’s favourite

1. Jimmy Nagle’s (2014.1) playing is on YouTube.

Tommy Hughes’ March YouTube1

tricks – the 3rd finger slide to A on the D string. The tune became an established part of Border fiddle repertoire after Jimmy taught it to members of the Small Hall Band2.

2. Lori Watson, an original member of the band has recorded a YouTube video of her version of Tam’s Slow March. Lori Watson (2006).

9: Marches

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Setting Mon 25 March 13 with bowings.

If the Set (Tom, Bob, Jack etc & Brian on guitar) is to be included on the CD then it needs editing in Reaper - but

it would be worth it if it can be done.

W 20 nov 13. Checked. Title to 21pt. Tempo dotted to 12.6pt. 7.2/5.5/9.0 i.e SprFiddleSolo2. Save as v4.

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Set of Jigs: Rock and a Wee Puckle Tow/ Teviot Brig/ The Stool of RepentanceThree jigs popular in the Borders played as a set. The first, The Rock and a Wee Puckle Tow, is an ancient tune that has long been popular in Scotland and Northumberland.1 Its earliest known publication was by John Playford in his Musick’s Hand-Maid of 1663 under the title Scotish March and later in his Musick’s Recreation as Montrose’s March. James Oswald applies the usual title A Rock and a wi Pickle Tow in his Curious Collection of 1780. Several songs have been set to the tune.

The second tune, Teviot Brig, was composed by Alexander Givan (1752-1803) of Kelso where the Teviot Bridge is located. The tune is in many Scottish collections and has become very well known in North America and particularly in Canada with some variation to the melody.

The third tune, The Stool of Repentance, is named

1. The word puckle or pickle (depending on regional dialect) is a Scots word for a little of something. So the title refers to hand spinning using a rock (a distaff) with a little tow (flax fibre). Before the invention of the spinning wheel, the spinning of yarn or thread was traditionally done by women using a spindle and a distaff – and often done in the evening at a social gathering – a rocking.

JigsRock and a Wee Puckle Tow cd 18

after the Cuttie Stool of the Presbyterian Church where a sinner was required to sit and repent in front of the congregation. An early version of the melody can be found in the William Dixon (1733) manuscript of tunes written down between 1733 and 1738 in Northumberland. The collection was identified by Matt Seattle (1995) as being music settings for the Border pipes rather than for the fiddle and it is now recognised as the oldest known manuscript of pipe music from the British Isles and the most important source of music for the Border pipes. The tune can also be found as Border Reel in David Young’s Duke of Perth MS. from the same year. In Northumberland it is still considered a local tune and was a favourite played on mouthorgan by Willie Atkinson of Alnwick. The tune is in all the major Scottish collections and is a popular tune for Scottish Country Dance and North American Contra Dance.

All three tunes are played in even triplet time throughout, with the exception of the snap in the final bar of the third tune. This is the typical older style of jig rhythm to be expected of fiddle players – unlike the strongly dotted rhythm more usually played on the Highland pipes or by accordion based dance bands.

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Setting Mon 25 March 13 with bowings - very straight forward - but it would be interesting to compare with a

solo from Tam - but none. The only other is V66 with T&W and Sid - noisy.



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W 20 Nov 13: Checked. Title to 21pt. Tempo dotted to 12.6pt. 7.2/5.5/9.0 i.e SprFiddleSolo2. Save as v2.

Th 26 Jun 14: Changed bowing to give slurresd snap at start of bars 8 & 16 and remove the slur back to start.

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W 20 Nov 13: Checked. Title to 21pt. Tempo dotted to 12.6pt. 7.2/5.5/9.0 i.e SprFiddleSolo2. Save as v2.

Th 26 Jun 14: Changed bowing to give slurresd snap at start of bars 8 & 16 and remove the slur back to start.

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10: Jigs

– 72 –


The Frost is all Over cd 09

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Completed 6 Feb 13.

Su 27 Oct 13. Amended bars 2, 6 etc to properly identify the slurs. Ditto the slurs carrying over from the last

note of bars 8, 9, 17. Strictly the same slur should be shown carring over from last bar 18 to bar 1 when

repeating the tune. Saved as v2. But see v3 for bowings as taken from the Video - which is this recording!

M 12 Nov 13: Added title. Save as v2.


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

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Completed 6 Feb 13.






Recordings:





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Fig 10.2 Alternative for bars 1,2 and 5,6 second time through

Tom includes many of his usual double stop and ringing open string features, but there are also clear elements of Irish style in the playing. The second bar of the first tune, The Frost is all Over, includes a triple grace note where the first of the three comes a little before the beat and is also played along with the ringing open string A. This is shown more clearly in Figure 10.2.

The link from the first tune to the second tune requires a repeated up bow. This is often termed linked bowing (Fig 10.3) and is in effect the same as snap bowing – normally shown as a line above the two notes but omitted in the main

Irish Jigs: The Frost is all Over/ Jackson’s Morning Bush/ The Irish Washerwoman

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Completed 6 Feb 13.






Recordings:





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Fig 10.3 Linked bowing between the first and second tunes

transcription for clarity. The first bar of Jackson’s Morning Brush has a slurred pair of double stops, the first (A/E) produced with the first finger across both strings, the second produced by the second and third fingers.

In the third tune, The Irish Washerwoman, the key of G major is repeatedly emphasised with double stops or two note chords and ringing strings with the tune finishing on a three note chord B/G against a ringing open D.

– 73 –

Irish Washerwoman cd 09

q. = 120

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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. SprFiddleSolo2. Save as v3.


Recordings:





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10: Jigs

– 74 –


Faudenside PolkaWhen Tom first started playing for dances in Yetholm with his father in the early 1920s, the folk from the nearby farm at Faudenside were always asking for a polka. Tom: They were always cryin for a polka and that’s the tune we played – I juist met a man in Jed recently and he says to me, “Can ye mind Faudenside Polka?” I never heard it by any other name. The first two parts of the tune are similar to a tune entitled Hawk’s Polka

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Corfu W 29 May 13: Changed to open string note heads. Removed triplet in bar 23. Changed tempo to 96.

F 27 Sep 23. Amended. Reset grace note slurs. Moved bowing marks above first note bar 4. Corrected bowings

bar 11. Corrected 16th note note heads bars 21, 22, 25, 26. Cut first grace note in bar 22. Saved as v9.

T 21 Nov 13. Title to 21pt. Tempo to 12.6pt. Style 7.2/5.5/9.0 i.e. SprFiddleSolo2. Save as v11.

F 13 Jun 13. Expand to 8 systems. Save as v12.

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discovered by Alistair Anderson in a manuscript book of tunes (ca 1850) in Beamish museum. In the manuscript the tune is attributed to James Hill who, though born in Dundee, lived many years at The Hawk, a pub in Gateshead. The third part of the tune may have been composed by Tom’s father. The tune is played with subtle use of ringing strings and delicately played double stop progressions as in bars 7 and 16.

Polkas

– 75 –

Liberton Pipe Band cd 34q q = 100

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Fig 11.1 Bowing for the first time start of the tune

The opening bars are clearly related to the older Faudenside Polka/ Hawk’s Polka. Tom's third part may have been added from another polka The Kilberry Ball Polka – a two part tune – the two tunes often nowadays played together to make a four part Liberton Pipe Band.

Tom usually starts his tunes with an up bow and does so here (Fig 11.1). The first beat of the first bar of a tune would normally be played with a strong down bow and this would often follow pick-up notes played with an up bow, but here there is no pick-up. When the tune is repeated

the first bar now starts with the more normal down bow. Ringing open strings on D, A and E are used throughout and several staccato snap bowings are indicated in the second and third parts giving lightness and bounce.

11: Polkas

– 76 –


The Lilliesleaf Polka This rather fine old-style polka from Tom’s family is named after the small village of Lilliesleaf near Denholm. Tom uses a range of snap bowings, Scotch snaps, double stops and ringing strings. The extent to which the bow leaves the string during the snap bowings – particularly in the last notes of bars 1, 4, 5 and 13 – is explored in Figure 11.2. The second ‘driven’ note of the pair may be very shortened: Shown as a semiquaver or 16th in the main transcription (e.g bar 1), the note may be closer to a demi-semiquaver or 32nd (Fig 11.2a) or can disappear completely, the bow left ‘hanging’ (Fig 11.2b).

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T 14 Dec 13. Reversed bowings in bar 12 as per bar 16. Ditto bars 10 to 14. Now works well.

Remove the alternatives - but include some short snap bows as illustration. Shorten several of the transcribed snap bows to give 32nd

note (demisemiquaver) - the last snap bow in bars 1, 4. 5, 13.

S 14 Jun 14. Reverted to single dotted notes in bars 1, 4, 5, 13. Reversed bowings (again) in bars 5, 6 to match bars 1 etc. Added extra

bars at the end to illustrate timings for bars 1 etc. Save as v13.

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Champagne CharlieChampagne Charlie is a music hall song composed by Alfred Lee with lyrics by George Leybourne. Leybourne was a popular music hall performer and this was the most famous of his songs, premiered in August 1866 at the Princess Concert Hall in Leeds.

Hamnavoe PolkaTom and Wattie picked up this tune as part of a set of Shetland tunes from Tom Anderson and Aly Bain when they were all guests at the Kinross Festival in the early 1970s.

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S 14 Jun 14. Reverted to single dotted notes in bars 1, 4, 5, 13. Reversed bowings (again) in bars 5, 6 to match bars 1 etc. Added extra

bars at the end to illustrate timings for bars 1 etc. Save as v13.

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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/

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Setting Sut 24 March 13. Bowings finalised PS, Mon 25 March 13.

Bowings not the same both times particuarly in the first half of second part.

The tenuto sign above notes in bars 17 and 25 indicate repeated emphasis with the same bow stroke.

M 21 Oct 13: Removed snap bowings in bars 3, 11 but kept in 16, 22. Amended open string use in bars 25, 26 and added fingering and slide to

bar 31. Save as v2. Save as 49_1_ChampagneCharlie3

T 21 Nov 13. Title to 21pt. Tempo to 12.6pt. 7.2/5.5/9.0 i.e Spr FiddleSolo2. Save as v5.

S 14 June 14. Corrected bowing slurs in bars 14, 15. Save as v5.

S 14 JUne 14. Used repeat in part A to reduce systems to 6 from 7. Save as v6.

Tune identified by Jimmy Shand jnr as Champaign Charlie. Confirmed online e.g.

http://www.youtube.com/watch?v=ROsI7cOZvJU

Champagne Charlie is a music hall song from the 19th century composed by Alfred Lee with lyrics by George Leybourne. Leybourne

popularised the song which premièred in August 1866 at the Princess' Concert Hall in Leeds.

Champagne Charlie is ma name, Champagne drinking is ma game,

There'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,

I'm the idol ofg the barmaid, And Champagne Charlie is ma name.

The tune was published as a polka arranged by Joseph L. Schmitz in 1869 and was recorded as a polka by Jimmy Shand in the 1930s.

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– 78 –


Henry Hughes’ FavouriteTom had no name for this tune, a favourite of his grandfather, now named Henry Hughes’ Favourite in his memory. The tune was used for the Spanish Waltz – a popular dance in the Border counties at that time, a progressive circle dance danced in sets of two couples. The two parts of the tune have the same chord sequence and so were often played in duet as here, adding harmonic content and strength that would be beneficial when the band comprised only two fiddles. Both fiddle parts include plentiful use of double stops and ringing strings.

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Corfu T 4 June 13: Bowings quite variable. Remove segno and DS al segno. Put in normal repeat instead. Amended from

the LP Book transcriptions to closer match as played. Tempo to 156. Saved from v_8 to v_9.

Th 3 Oct 13. Reassessed: the bowings on the LP/CD recording differ from those on the video and this has required a new

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

correct I hope. The bowings are variable in the repeats. This is better and it works.

Th 31 Oct 13. Amended to add fingerings bars 24, 27. Replaced slide lines by Coule. Added trial title in Papyrus font.

Saved as v11.

T 21 Nov 13: Title to 21pt. Tempo to 12.6pt. 7.2/5.5/9.0 i.e SprFiddleSolo2 Save as v12.

Th 19 Dec 13. SprFiddleSolo3 Save as v13

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Auld Graden KirnThis is a tune that Tom often played with his father for the St Bernard’s Waltz – an old time dance that has remained popular. Tom remembers it being requested when he and his father played for the annual kirn dances at the farm of Auld Graden in the 1920s and Tom named the tune in memory of those days. The tune is played with internal triplet rhythm, plentiful use of ringing strings, occasional use of a broken slur or snap bow, and a couple of double stop slides. The bowing is slightly varied in the repeats.

Waltzes & Slow Airs

– 79 –

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Kelso Hiring Fair cd 29

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Kelso Hiring Fair/ Victoria WaltzThe tune here named as Kelso Hiring Fair is referred to as Victoria Valse in one of the few places it has ever been printed – in Köhler’s Violin Repository of 1882 (Book 1, p 42), but the dance seems to have died out, in the Borders at any rate, by the 1920s. Tom acquired the tune from a traveller fiddler playing in the street in Kelso during the Hiring Fair of 1928. The tune, and perhaps the dance too, lingered on in Orkney and was recorded there in 1955 by Peter Kennedy from The Garson Trio with Jim Garson of Kirkwall on fiddle. Jim Garson had, like Tom, learnt the tune from a street musician. Both versions have a slightly irregular

bar structure which suggests errors due to oral transmission. The version in Köhler has a regular 16 bar structure and Tom’s version would correspond to this if the indicated bars (*) were repeated an extra time and the 4/4 bar in the fourth part reduced to 3/4.

Tam’s Victoria WaltzTom had this further tune for the Victoria Waltz but had no other name for the tune. As played by Tom this tune also has an irregular bar structure with two bars in 4/4 that would presumably not have suited the tune when played for dance. An alternative bar in 3/4 is given below the tune.

Tam’s Victoria Waltz cd 04


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Cock Yer Leg Up (Varsovienne)Known by a confusing range of names including Shoe the Donkey and Cock Your Leg Up, the Varsovienne evolved in the 1850s from the Mazurka, a Polish dance introduced from Europe in the 1830s. The dance, in 3/4 time, has a strong beat on the 2nd and 3rd beats of the bar. The

simple repetitive tune often has accompanying words such as ‘Shoe the donkey, shoe the donkey, shoe the donkey’s big toe’ or ‘Cock yer leg up, cock yer leg up, cock yer leg up, said she’ – the latter as known by Tom and his family – with the words often sung along during the dance.

Auld Robin Grey cd 16

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– 83 –

Auld Robin GreyThe beautiful tune Auld Robin Grey was written around 1800 by an Englishman, the Rev. William Leeves, to words by Lady Anne Barnard. In Tom’s family the tune was jokily referred to as ‘the fiddler’s headache,’ due no doubt to its difficulty – with many accidentals, the use of carefully controlled slides and a free

rhythmic treatment. It is not played this way by the younger generation of fiddle players perhaps because published versions are written in common time. Tom and Wattie’s version is essentially a free treatment of 5/8 time and the transcription is intended as an accurate portrayal of the tune as played.


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– 84 –


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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.

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

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The Old Rustic Bridge cd 32

– 85 –

The Old Rustic BridgeComposed by Thomas Peter Keenan (1866-1927) and first published in 1881 in New York with music by Joseph P Skelly, the tune takes its name from an old bridge beside a mill at Castletownroche, County Cork. The composer dedicated the song to Margaret his sweetheart (later his wife) and he is buried in the village.

Tom remembers this as a tune often played by his father and grandfather in the house. The tune provides a challenge to the fiddle player with its

Old Rustic Bridge March cd 32

phrasing and use of accidentals. Tom uses some quite complex fingering such as in bar 12 where a slide into unisons is followed by a further slide into a double stop, and Wattie provides a nicely harmonised second part throughout.

In the faster version, the Old Rustic Bridge March, the tune remains the same but the phrasing is completely different with liberal use of snap bowings, open ringing strings and fingered double stops.

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– 86 –


Tam’s Old Love Song/ The Banks of Kale WaterTom never had titles to these tunes which he learned when he was a boy. The beautiful slow air Tam’s Old Love Song gained its name after many requests for Tom to play ‘that old love song’ and the reel The Banks of Kale Water is named after the area where Tom lived for many years. The slow air is given added power by Wattie’s improvised harmony line and Tom’s occasional use of a snap bow. Since the recording was released in 1981, the tune has become popular among the younger generation of Border fiddle

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As played by Tom Hughes and Wattie Robson, 1980. The tune is often now played in the key of G and with the 2/4 bar regularised into 3/4.

The irregular 2/4 bars could be extended to 3/4 with a "short" sign above. Get Wattie's to add his seconds bowings.

Th 6 Sep 13. Amended. Moved coda bar. Changed slurs bar 3. Added ties bars 3, 6 and improved. Widened systems by selecting style:

SpringthymeFiddle_BraesOMar. (Other changes later have changed this).

Style: SprFiddleDuet7.5_10.5 DS font to 12pt. Save as v6.

T 19 Nov 13. Title to 21pt. Tempo to 12.6pt. Style 7.2/7.5/10.25 i.e. SprFiddleBraesOMar.Save as V8.

T 17 Dec 13. Added stave brackets and staves joined by barlines.

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

regularised much to 3/4. Here is it as played in mix of 2/4 and 3/4.

Tom referred to the tune as the tune of "an Old Love Song:" - hence the title given. The tune has probably derived from a pipe retreat march,

Castle Dangerous, named after the infamous Castle Douglas near Newcastleton in the Scottish Borders. But there are considerable diffences

between Tom's tune and the published pipe tune. Sir Walter Scott used the location and early history of Castle Douglas as the inspiration for

his novel Castle Dangerous. The castle is still sometimes referred to by this alternative name.

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Tam’s Old Love Song cd 03

players and is often now played in the key of G. The irregular 2/4 bars can be regularised into 3/4 – but part of the charm of the tune surely lies in the varying pulse of the music, particularly in the short second part. The second tune The Banks of Kale Water is also irregular as played. Tom was a little uncertain of the descending phrases in bars 9 to 11. With the addition of a single bar in this section and a repeat structure, the tune is easily regularised into a 32 bar reel.

– 87 –

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Setting revised Th 16 May 13 against sound from LP. Good.

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.


S 25 Jan 13. Checked against green book and amended bowings for bars 9, 10, 11 as per Tom solo v22 - although

hack bowed in the duet take.

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Setting revised Th 16 May 13 against sound from LP. Good.

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F 27 Sep 13. Amended. Repositioned grace note slurs bars 3, 7. Added ties bars 2, 4, 6.


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).

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Banks of Kale Water cd 03


– 88 –


The first time I remember hearing Tom Hughes play the fiddle was in June 1978 at Newcastleton, that gem of a traditional

music festival just three miles the ‘right’ side of the Scottish border. Tom was sitting playing fiddle at a bench in the cobbled back yard of The Grapes Hotel in the village square. In different quarters of the small courtyard several other sessions were going strong. At Tom’s table were a couple of other fiddlers, at times playing together, at times taking turns. I had for a long time been interested in different styles of fiddle playing and Tom’s style immediately impressed me as being distinct from the usual Scottish styles and yet at the same time both Scottish and clearly traditional. Tom’s playing included liberal use of ringing open strings and double stopping (or “double string work” as he called it), both being widespread characteristics of older, but now rare styles – but still found in Scandinavian fiddle style, in older Shetland fiddle styles and in American ‘Old Time’ fiddle music.

None of Tom’s family could read music although in his latter years Tom had learned to read a little. His older tunes were all learned within the family circle and Tom considered that his playing style was as he had learned it from his grandfather, father and uncles – in particular from playing with his father. Tom’s unusual variants of tunes and some rare unpublished tunes in his repertoire are evidence of the orally/aurally acquired nature of his repertoire.

When Tom was younger, there were many musical families on the farms in the Borders but the Hughes family in particular were famed in the early years of the 20th century with grandfather Henry and his three sons Thomas, Bob and Harry – all four being fiddle players but usually playing in a band as three fiddles with tambourine and tin whistle. After grandfather Henry died (in 1919) and Tom’s father and family continued to move from farm to farm they joined with other musicians to make up a band for dances – often with other workers on the same or nearby farms. Some of these fiddlers had a style that Tom considered as fitting with that of himself and his father – one such was Jim Kerse, farm steward at Whitton, with whom they made up a band when they were fee’d to Whitton in 1927 and who later joined Tom in his own Kalewater Band when Tom was at Chatto from 1933 to 1947.

Tom played the fiddle with an old style grip – the fiddle cupped in the palm of his left hand, his fingers fairly flat on the finger board, his elbow against his side and the fiddle not always against his chin. Tom maintained that he played with his fingers usually on the finger board in chord shapes – lifting his fingers off when they were not needed rather that placing fingers on the board one at a time. At the time the recording project was started (ca. 1979), Tom knew of no other fiddle players who played with the same or similar style – although Wattie Robson and Tom achieved considerable unity of feel when they were playing together. When playing as a member of the Border Strathspey and Reel Society, Tom had been required to sit at the back so that his different bowings or variations would not be heard. In competition playing, he had sometimes been faulted by the judge for playing double stops where they “werenae needed”. It was not difficult, however, to persuade Tom that his playing was of great interest and that his old style and distinctive repertoire should be valued rather than derided. Initially it had been intended to record several border fiddle players. But the inherently interesting nature of Tom’s style and his unusual tunes and tune variants suggested that the project should be confined to Tom Hughes and his distinctive fiddle repertoire and style of playing.

Of the other fiddle players who joined Tom and Wattie for these recordings, the most notable was Bob Hobkirk who

was a highly rated player who had won the Scottish Fiddle Championship at Perth in the early 1970s. Bob’s style was very much in the single string melody tradition with just occasional touches of a second string as can be heard in his solo recordings from the School of Scottish Studies made in 1973 (Border Traditions 2000). Two other fiddle players who were recorded as part of the project – Tom Scott, who joined in on some of the band tracks and Albie Tedham who is not included on the CD both played very much in hack bow and single string style. A visit was also made to the Northumberland shepherd and fiddler Willy Taylor (1916-2000) who had been recorded by Peter Kennedy for the BBC in 1954 and who later joined with Willie Atkinson on mouthorgan and Joe Hutton on Northumbrian pipes to form The Shepherds recording an album Harthope Burn (MWM 1031) in 1983. Bob Hobkirk’s style has been described

Conclusion:

– 89 –

by Fred Freeman (Border Traditions 2000) as light in comparison with Tom’s style as heavy. The denoting of Tom’s style as ‘heavy’ seems a misnomer. On the contrary, Tom’s playing is often both delicate and sophisticated. The lightness of his touch is evident in many of his recordings and the use of double stopping and ringing strings is not synonymous with heavy. If a term is needed to refer to his playing it should perhaps be simply ‘Old Style’ in the same way that the term Sean Nós is used to refer to old styles of traditional singing and traditional dance in Ireland.

Tom had his fiddle and bow set up in a way that suited his style of playing. He used a fiddle with a less curved bridge that facilitated the playing of double stops, ringing strings and chords. Tom used a conventional bow but with a low tension – held with his thumb below the frog where it could be moved forwards on to the hair to increase the tension and where the pinkie could be placed below the stick and the back of the frog to draw the thumb back again when a springier bow with less tension was needed.

This is precisely the technique that was used by violinists in J S Bach’s time who could play chords by having the hairs of an arched bow held under tension by the player’s thumb and relaxed for the performance of a chord allowing the hairs to contact three or even four strings at one time – and Bach wrote music for the violin that was intended to be played with chords in this way. Michael Sartorius (2014) is his The Baroque German Violin Bow quotes Georg Muffat in the preface to Florilegium Secundum (1698): “In Angreifung des Bogens spielen die meisten Teutschen, indem sie die Haare mit dem Daumen nach Bedarf andrücken, und seyend hierinnen von den Welschen, als welche die Haare unberührt lassen, unterschieden.” “When grasping the bow, most Germans play while pressing the hairs of the bow with the thumb as required, thus having the option of tightening the hairs or leaving them loose.”

Tom recalled that his father and grandfather had some bows where “the stick on those old bows was bent the other way” – as in the Baroque bow and, in a very primitive feature, they had

occasionally used a bow with a cork instead of the frog where the thumb could be “worked” on the cork to push it forwards or back to vary the bow tension.

While Tom’s use of a low curved bridge combined with his ability to change the tension in the hairs of the bow were

perhaps essential for some aspects of his playing – three note chords for example – there is no doubt that many aspects of his playing style can be achieved with conventional bridge and bow – but not perhaps with such ease. Every bit as impor-tant in achieving his Border style is understanding the specifics of his bowings – the snap bow in particular. Tom had no knowledge of the ancestry of his family earlier than his grandfather Henry Hughes (1846-1919) but it seems very likely that the rich tradition of fiddle playing as seen in the Hughes family and their tradition of fiddle and tambourine making must have deep roots in the musical folk tradition of the Borders.

Those with the desire to do so can now compare the elements of this ‘Border Old Style’ with other styles: the North-East styles of James Scott Skinner and Hector MacAndrew, the Gow’s Perthshire style as played by Pete Clark, Irish styles from Sliabh Luachra, Kerry and Clare, older Shetland fiddle styles as documented by Tom Anderson and by Peter Cooke (1976) and with the playing styles that the Scots emigrants took to Cape Breton and the ‘Old-Time’ fiddle styles of the Southern Appalachians (Titon, 2000). There is no doubt that the Hughes family Border style was absolutely suited to social playing at the fireside and, when two or three fiddles came together to form a band with tambourine and tin whistle, this was exactly what was needed for the kirn dance, the wedding celebration or the village hall dance. Once the accordion, drums and amplification were added to make the modern Scottish dance band then there was little need for the fiddle to play other than the melody: double stops and decoration were irrelevant as they would not be heard above the louder instruments of the band. It is good to see a revival of interest in small acoustic groupings where the melodic, harmonic and rhythmic characteristics of the fiddle can once again be heard to valuable effect.

Conclusion

– 90 –


Tom’s Life & Music

Tam Hughes – born 10 October 1907Butchercote, Mertoun Estate, St Boswells

Butchercote, 5m NE St Boswells (till 1910) The Family Band (pre 1910)Henry Hughes (grandfather) – fiddleThomas Hughes (father) – fiddleBob Hughes (uncle) – fiddleHarry Hughes (uncle) – fiddle/ tambourine and tin whistle (sometimes).

Nisbetmill, 5m NW Jedburgh (1910) Morebattle (1916) Howden 2m E Jedburgh (1917)Grandfather’s fiddle making: Tom given his first fiddle at age 7 – October 1914

The Family Band (1912-1920)Henry Hughes (grandfather) – fiddleThomas Hughes (father) – fiddleBob Hughes (uncle) – fiddleHarry Hughes (uncle) – fiddle Henry often played tambourine in his latter years and died in the flu epidemic 1919.

Mervinslaw, 1m S Jedburgh (May term 1920)The Family Band (1920)Thomas Hughes (father) – fiddleBob Hughes (uncle) – fiddleHarry Hughes (uncle) – fiddle/ tambourine and tin whistle (sometimes).

The Orchard, 1m E Hawick (May term 1921-1925)Tom and his father – two fiddles (1921-1925)Tom plays with his father for kirns, village hall dances and weddings around Hawick, up the Teviot, up Borthwick Water.

Bert Water’s Band (1921-1925)Bert Waters (Bedrule) – fiddleJim Morton – fiddle; Tom Hughes – fiddleThomas Hughes (father) – fiddleJim Cairney – pianoBert Waters left in 1925 and went to Newcastle.

Nether Raw, 1m SE Lilliesleaf (May term 1925-1927)Adam Irvine’s Band (1925-1927)Adam Irvine – fiddle; Adam’s wife – piano (or Jim Cairney – piano); Tom Hughes – fiddleThomas Hughes (father) – fiddlePlaying at Kirkton, Bowden, Appletree Hall and around Lilliesleaf.

Whitton, 3m SW Morebattle (1927-1931)The Whitton Band (not named) (1927-1931)Tom Hughes – fiddle; Thomas Hughes (father) – fiddle; Jim Kerse (steward at Whitton) – fiddle .Miss Whitley (Morebattle) – pianoand sometimes Jim Morton – fiddlesPlaying all the kirns and dances in the area.

Beirhope, 12m S Morebattle, Kale Water (May term 1931-1933)Informal Bands (1931-1933)When Tom got married in 1931 he moved to Beirup (Beirhope) out into the hills up the Kale Water and played with anyone who needed a fiddler:Tommy Graham (of Yetholm) – fiddleJim Kerse (of Whitton) – fiddle

Chatto, 6m S Morebattle, Kale Water (1933-1947)The Kalewater BandTom Hughes – fiddle (or accordion when Willie Hall not available)Bill Douglas (shepherd at Chatto) – fiddleJim Kerse (Whitton) – fiddleWillie Hall – accordion.

Ruletownhead, 6m SW Jedburgh Rule Water (1947-1959)The Rulewater Band (1947-1948)Jock Thomson (Cleuch Head) – accordionTom Hughes – fiddleMrs Corrie – piano and a drummer.

The Move to Jedburgh (1959)Tom’s son Thomas took over at Ruletownhead in 1959 and Tom moved in to Jedburgh (aged 51) and, until he retired, he worked at several jobs in the local mills.

Tom not only played fiddle but also tin whistle, mouthorgan, melodeon, accordion and the pipes. He also had a pair of polished ivory bones and could play the tambourine as had been played with the family band in the early days. Tom Hughes & Wattie RobsonThe album Tom Hughes and his Border Fiddle was issued in 1981 by Springthyme Records (SPR 1005). The album contained 19 tracks with 25 tunes and a booklet of fully transcribed tunes.

– 91 –

Tom's Life & Music

Letters

In the final stages of preparing the release of the LP recording of Tom Hughes an article was written about the project and published in several of the Border newspapers asking for information about the Hughes Family and their fiddle tradition and for any photographs and also a request for knowledge of any of the fiddles or tambourines made by Tom’s grandfather Henry Hughes. Several letters were received and several photographs were loaned that were used in the booklet and are also included in this book.

One of the letters was from Thomas Hughes, Newbiggin-By-Sea in Northumberland dated June 1981. This Thomas was son of Henry (Harry) Hughes (born 1884), eldest son of Henry Hughes – Grandfather of Tom Hughes of Jedburgh.1

Another letter was from Mrs Diana M Mabon (née Hunter) a neighbour of Tom’s in Jedburgh dated 18 Sept 1980. Her father (born 1887) would have been a closer contemporary of Tom’s father (born 1880) rather than of Tom.

No information was ever found that led us to any of the fiddles or tambourines made by grandfather Henry Hughes. The nearest was the lead that came from Mrs Steel of Kelso, daughter of Thomas Hughes the left handed fiddler of Kelso, a cousin of Tom’s father. His fiddle, made by grandfather Henry Hughes, was said then (in 1981) to be with Mrs Steel’s brother in England.

1. See Hughes Family Tree page 15.

Thomas hughes, Newbiggin-By-Sea, June 1981 Dear Mr ShepheardI would like to make Ref. to the article you put in the Southern Reporter about the Jed fiddler – that is Tom (i.e. Tam) Hughes my cousin. His father Tom (i.e. Thomas Henry) Hughes, was my uncle. My father Henry (i.e. Harry) Hughes was the eldest of the family and there was a younger brother Bob and they all played the fiddles at all the Border Dances. They were known all over for their music. My grandfather Henry Hughes also played the fiddle and made them. I can remember when I was a boy my father told me that when they lived near Galashiels my uncle Tom (that is, father of Tam Hughes of Jedburgh) was just a boy not even at school (and) my grandfather made a small fiddle for him. He could play all the Scottish tunes, so one day my grandfather was talking to a violin teacher in Galashiels and he told him about Tom. The teacher said he would like to hear him so my grandfather invited him to come and hear him. When he heard him play Strathspeys & Reels he was amazed. He said if my grandfather would send him for lessons neither him nor his family would never need to work again. Of course at that time which was in the late 1800s there was no money and he couldn’t afford it, but he still played up till the time he died also my father played up till he died also my uncle Bob played till his end. Thomas Hughes, Newbiggin-By-Sea, June 1981

Diana m mabon (née Hunter), Jedburgh, September 1980 Dear Sir:I was interested in your letter which appeared in last week’s issue of the Kelso Chronicle & Jedburgh Gazette. I enclose a photo of my late father Adam (Yid) Hunter (born 1887) late Master Joiner, Oxnam Valley, Jedburgh. He was well known all over the Borders for his music. He played piano and fiddle. He, like Tom Hughes, played at Kirns, to mention a few: Upper Nisbet, Harden Mains, and Oxnam Row, he was often joined by Geordie Renton, rabbit catcher from Crailing. He would be seen with his fiddle strapped to his back and of course no other way of transport but his bike. My uncle George also played the fiddle – he used to say to my father, “You may be a fiddler but you will never be a violinist.” George had been taught music and played with the great Scott Skinner. He also made fiddles of all sizes but I never found out where they all went to. My brother George also was a fiddler, he along with George Whillans, Mossburnford, formed the Jedwater Band – that would be in the late 1920s or early 30s. They also played all over the Borders, but the band broke up when he moved to Edinburgh in 1935. Then we had what we called the Family Band made up of different members of the family – my sister played the piano and still does so to this day. Diana M Mabon, Jedburgh, 18 September 1980

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Notes & ReferencesSymbols UsedTo save space, the following symbols are used: � bibliographical source (written word): T audiovisual source; q audio source; � hear audio; � downloadable file; mOnLine; % YouTube file. OnLine internet URLs are in the form of a string: http://goo.gl/pxXSbQ that will expand to the correct link. Dates of access to materials on the internet including YouTube are given in the form [dd.mm.yy].

Places in the Borders: Map linksBedrule 5m SW Jedburgh m goo.gl/5GEaln

BeirhoPe 4m S Morebattle, Kale Water. m goo.gl/NwJKwY

Butchercoat 5m NE St Boswells m goo.gl/G41Oaz

chatto 6m S Morebattle, Kale Water. m goo.gl/KCpbmg

denholm 6m W Jedburgh m goo.gl/tIzVRP

howden 2m E Jedburgh. m goo.gl/pVzTLb

hownam 5m S Morebattle. m goo.gl/O7p4vj

KirKton 3m E Hawick. m goo.gl/5m8iPk

lillieSleaf 10m NW Jedburgh. m goo.gl/0Irhss

mervinSlaw 1m S Jedburgh. m goo.gl/EQLda6

moreBattle 6m SE Kelso. m goo.gl/973jhj

mowhaugh 10m S Yetholm. m goo.gl/7d9lH2

nether raw 1m SE Lilliesleaf. m goo.gl/0Irhss

niSBetmill 5m NW Jedburgh. m goo.gl/dRrVvC

the orchard 1m E Hawick. m goo.gl/OovMC8 Pennymuir 8m S Morebattle. m goo.gl/zgH4X7

ruletownhead 6m SW Jedburgh, Rule Water. m goo.gl/lT2eFE

Smailholm 4m W Kelso m goo.gl/TjyFXO

whitton 3m SW Morebattle. m goo.gl/spnRmk

This section is available online with active URL links at http://goo.gl/cqx0g3

Bibliography� anderSon, Paul (2010) Musical fingerprints of the North-East Scotland fiddle style. In: Crossing Over: Fiddle and Dance Studies from around the North Atlantic 3. Elphinstone Institute, University of Aberdeen (pp 176-183).

� anderSon, Tom and Swing, Pam (1979) Hand Me Doon da Fiddle. University of Stirling.

� Bennett, Margaret (1994) Step-Dancing: Why we Must Learn From Past Mistakes. West Highland Free Press 14.10.1994. m goo.gl/wdgcQe [19.07.14]

� Bowen, Geoff (1993) How to Play the Folk Fiddle. Yorkshire Dales Workshops. m goo.gl/OaSx0V [14.07.14]

� Bowen, Geoff & Liz (2012) Yorkshire Fiddle Tunes and Dances. Yorkshire Dales Workshops. m goo.gl/YwDvJh [14.07.14]

� Bremner, Robert (1751-1761) A Collection of Scots Reels or Country Dances, with Bass for Violoncello etc. Edinburgh.

� Bremner, Robert (1752) A Collection of Scots Reels and Country Dances, etc (Part III), Edinburgh.

� collinSon, Francis (1966) The Traditional and National Music of Scotland. Routledge and Kegan Paul, London.

� cooKe, Peter (1986) The Fiddle Tradition of the Shetland Isles. Cambridge University Press, Cambridge, England. iSBn 0-521-26855-9.

� dixon, William (1734) Wikipedia: The William Dixon Manuscript. m goo.gl/g8pGkr [14.07.14]

� dixon, William (1734) His Tune Book. MS in the AK Bell Library, Perth, Scotland.

� dunmur, Ian (1984) Traditional Step Dancing. m goo.gl/I3hehj [04.06.14]

� elliS, Peter (2002) Old Time Dancing and Music Australian Heritage & Dance. m goo.gl/lfU4sN [22.07.14]

http://goo.gl/5GEaln

http://goo.gl/NwJKwY

http://goo.gl/NwJKwY

http://goo.gl/G41Oaz

http://goo.gl/G41Oaz

http://goo.gl/KCpbmg

http://goo.gl/KCpbmg

http://goo.gl/tIzVRP

http://goo.gl/pVzTLb

http://goo.gl/O7p4vj

http://goo.gl/5m8iPk

http://goo.gl/0Irhss

http://goo.gl/EQLda6

http://goo.gl/973jhj

http://goo.gl/7d9lH2

http://goo.gl/0Irhss

http://goo.gl/dRrVvC

http://goo.gl/OovMC8

http://goo.gl/zgH4X7

http://goo.gl/lT2eFE

http://goo.gl/TjyFXO

http://goo.gl/spnRmk

http://goo.gl/wdgcQe

http://goo.gl/OaSx0V

http://goo.gl/YwDvJh

http://goo.gl/g8pGkr

http://goo.gl/I3hehj

http://goo.gl/lfU4sN

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� emmerSon, George S (1971) Rantin’ Pipe and Tremblin’ String: A History of Scottish Dance Music. McGill-Queen’s University Press, Montreal.

� emmerSon, George S (1972) A Social History of Scottish Dance Music. McGill-Queen’s University Press, Montreal.

� eydmann, Stuart (2006) Unravelling the birl: using basic computer technology to understand traditional fiddle decorations. In: Play It Like It Is: Fiddle and Dance Studies from around the North Atlantic. The Elphinstone Institute, University of Aberdeen (pp 33-41).

� flett, JP & TM (1964) Traditional Dancing in Scotland. Routeledge & Kegan Paul, London.

� flett, JP & tm (1967) The Scottish Country Dance: Its Origins and Development: I. Scottish Studies XI, pp. 1-11.

� flett, JP & tm (1967) The Scottish Country Dance: Its Origins and Development: II. Scottish Studies XI, pp. 125-147.

� flett, JP & tm (1972) The History of the Scottish Reel as a Dance-Form: I. Scottish Studies XVI, pp. 91-119.

� flett, JP & TM (1996) Traditional Step-Dancing in Scotland. Scottish Cultural Press.

� farne (2011) Social Dance Technique: The Rant Step. Folk Archive Resource North East. m goo.gl/MXSKGH [05.07.14]

q Garson Trio (1954) Scapa Flow: Instrumental Music From Orkney, The Garson Trio of Dounby. q Folktrax FTX-064. m goo.gl/dLwcIUand � m goo.gl/2z5oSA [03.06.14]

� gow, Niel (1784) A Collection of Strathspey Reels with a Bass for the Violoncello or the Harpsichord. Edinburgh.

� gow, Nathaniel (1800) A Fourth Collection of Strathspey Reels with a Bass etc Niel Gow & Sons. Edinburgh.

� greig, Gavin (1900) Manuscript of East Neuk o Fife for Skinner’s Harp and Claymore Collection. m goo.gl/pxXSbQ [20.10.14]

� honeyman, Wm C. (1898) The Strathspey, Reel,and Hornpipe Tutor. Honeyman Music Publishing, Newport, Fife (Dundee), Scotland. Republished Dragonfly Music, Northumberland (1988) and Catacol (2008)

T HuGHes, Tom (1980) Tom Hughes and his Border Fiddle. Video of Tom Hughes recorded in Jedburgh and Lilliesleaf by Robert Innes and Peter Shepheard for Stirling University. (Lost)..q HuGHes, Tom (1981) Tom Hughes and his Bor-der Fiddle. Springthyme Records, Fife, Scotland. q sPr 1005 (1981) � sPrC 1005 (1982)

q HuGHes, Tom (2014) Tom Hughes and his Bor-der Fiddle. Springthyme Records, Fife, Scotland. q sPrCD 1044 m goo.gl/wEuOlC [23.07.14]

� HunTer, James (1979) The Fiddle Music of Scotland. Chambers, Edinburgh.

� KöHler, Ernst (1882) Violin Repository of Dance Music. Edinburgh (1881-85). � m goo.gl/070k3q [23.07.14]

� MCGibbon, William (1746-55) Collection of Scots Tunes, Edinburgh. � m goo.gl/MK7NFD [03.06.14]

� MarTin, Christine (2002) Traditional Scottish Fiddling. A Players Guide to Regional Styles, Bowing Techniques, Repertoire and Dances. Taigh na Teud, Skye, Scotland.

� Melin, Mats (2010) ‘Putting the Dirt Back In’: An investigation of step dancing in Scotland. In: Crossing Over: Fiddle and Dance Studies from around the North Atlantic 3. Elphinstone Insti-tute, University of Aberdeen (pp 215-227).

� Murray Neil, J. (2013) The Scots Fiddle: Tunes, Tales & Traditions of the Lothians, Borders & Ayr-shire. Neil Wilson Publishing.

T naGle, Jimmy (2014.1) Tam’s Slow March and Tommy Hughes’ March % youtu.be/pHAk_oHZFdg [24.02.15]

T naGle, Jimmy (2014.2) Copshie Hornpipe % youtu.be/vK_j5kM8yCE [29.09.14]

T naGle, Jimmy (2014.3) Tam's Exercises % youtu.be/i3rrOXVO8go [29.09.14]% youtu.be/6qspyQatocA [20.12.18]

Notes & References

http://goo.gl/MXSKGH

http://goo.gl/dLwcIU

http://goo.gl/2z5oSA

http://goo.gl/pxXSbQ

http://www.springthyme.co.uk/1005

http://goo.gl/wEuOlC

http://goo.gl/070k3q

http://goo.gl/MK7NFD

http://youtu.be/pHAk_oHZFdg

http://youtu.be/vK_j5kM8yCE

http://youtu.be/i3rrOXVO8go

http://youtu.be/6qspyQatocA

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� o’neill, Francis (1895) The Music of Ireland. New edition, music reset and corrected. Ed. Miles Krassen, Oak Publications (1976).

� oswalD, James (1740) The Curious Collection of Scots Tunes, Edinburgh.

� oswalD, James (1745-1758) The Caledonian Pocket Companion, Edinburgh. � m goo.gl/M8Wsyn [04.06.14]

� PlayforD, John (1663) Musick's Hand-Maid m goo.gl/yu2cPw [13.11.14]

� PorTeous, James (1820) A Collection of Strath-speys, Reels and Jigs arranged for the Pianoforte, Violin & Violoncello. Edinburgh.

� roberTson, Colin (2011) Hard Shoe Dancing in Scotland. m goo.gl/ZgMyXu [06.07.14]

� roberTson, James Stewart (1884) The At-hole Collection of Scottish Dance Music. Reprinted Highland Music Trust (2008).

q roberTson, Jeannie (1952) Bonnie Lass Come Ower the Burn Kist O Riches m goo.gl/44qss7 [06.07.14]

� sarTorius, Michael (2014) The Baroque Ger-man Violin Bow. m goo.gl/AKDCGJ [22.11.14]

� seaTTle, Matt (1995) The Master Piper: Nine Notes that Shook the World. A Border Bagpipe Repertoire Prick’d down by William Dixon AD 1733. Dragonfly Music (1995). m goo.gl/VR7gN4[20.12.18]

� self, Susan (2002) Scottish Dance: Towards a Typological-Historical Approach. Studi Celtici 1. m goo.gl/J9jnWe [20.12.18]

� sHePHearD, Peter (1982) Tom Hughes: Border Fiddle. English Dance and Song, 44(2), pp.8-10.

� sKinner, James Scott. (1900) The Scottish Violinist. Bayley & Ferguson, Glasgow.

� sKinner, Scott (1904) The Harp and Claymore Collection. Bayley and Ferguson, Glasgow.

� sKinner, Scott (1904) Culloden Day or The Inverness Gathering. University of Aberdeen. m goo.gl/1ZDGcN [20.10.14]

Scots Language and Dialect of the Scottish Borders:Some words used by Tom Hughes: aa – all; cast oot – fall out; couter – coulter, the iron cutter in front of a ploughshare; fee’d – hired for a fee; haud off – go away; ley – unploughed pasture; sock – ploughshare; thae – those; whiles – sometimes; yince – once.

Other words can be easily accessed through the online Dictionary of the Scots Language:http://www.dsl.ac.uk

The Scots Language – extending from the Old Scots of the Makars (up to 1700) to the Modern Scots (after 1700) of Robert Burns and to the dialects of Scots that continue to this time – is descended from the Old Northumbrian dialect of Old English (up to 1100). Old Northumbrian is itself a sub-dialect of Anglian, as is Mercian, from which descends Standard English. The closest relative of Old English is Frisian; also close are the other West Germanic languages, and particularly Dutch, Flemish and Low German. The Scandinavian languages, descended from Old Norse form a North Germanic branch.

For more information on Scots Languagego to: http://goo.gl/bgvg33

T TaGG, Philip (2011) Scotch Snaps – The Big Picture. m goo.gl/zBP47R [20.12.18]and m goo.gl/L1uncK [20.12.18]

� TaGG, Philip (2012) Downloadable font XPTSymbols. m goo.gl/Kb5RFI [10.06.14]

� TaGG, Philip (2013) Discussion document con-cerning the Reform of Basic Music Theory Terminol-ogy. � m goo.gl/fjB1PS [20.12.18]

� TiTon, Jeff Todd (2006) Old-Time Kentucky Fiddle Tunes. Univ. Press of Kentucky.

% waTson, Lori (2006) Scottish Borders Fiddle m youtu.be/zKS8bB-dVv4 [04.02.14]

� weDDerburn, Robert (1549) The Complaynt of Scotland. e.g. m goo.gl/uUJHXw [10.11.14]

� wiKiPeDia (1). The Bones m goo.gl/I8SveH

� wiKiPeDia (2). The Bodhran m goo.gl/w36IBq

http://goo.gl/M8Wsyn

http://goo.gl/yu2cPw

http://goo.gl/ZgMyXu

http://goo.gl/44qss7

http://goo.gl/AKDCGJ

http://goo.gl/VR7gN4

http://goo.gl/J9jnWe

http://goo.gl/1ZDGcN

http://goo.gl/zBP47R

http://goo.gl/L1uncK

http://goo.gl/Kb5RFI

http://goo.gl/fjB1PS

http://youtu.be/zKS8bB-dVv4

http://goo.gl/uUJHXw

http://goo.gl/I8SveH

http://goo.gl/w36IBq

– 95 –

Index of Tunes in the BookTune Titles Page

Auld Graden Kirn 78Auld Robin Grey 82Banks of Kale Water, The 87Barren Rocks Of Aden 67Boys of Blue Hill 41Braes O Mar (Solo) 60Braes O Mar (Duet) 61Champagne Charlie 77Cock Yer Leg Up 82Copshawholm Hornpipe 48Copshie Hornpipe 48Cowie’s Hornpipe 44Dundee Hornpipe. The 47East Neuk O Fife, The 53Farewell To Whisky 54Faudenside Polka 74Flouers O Edinburgh 52Frost Is All Over, The 72Galloway Hornpipe 39Glen Aln Hornpipe 50Greencastle Hornpipe 46Hamnavoe Polka 77Harvest Home 49Harvest’s Long In Coming, The 49Henry Hughes’ Favourite 79High Road To Linton, The 55High Road To Linton (Slow) 55Huntsman’s Chorus, The 59Inverness Gathering, The 66Irish Washerwoman, The 73Jackson’s Morning Brush 73Kelso Hiring Fair (Victoria Waltz) 80Kildare Fancy, The 47

Lady Mary Ramsay 65Liberton Pipe Band 75Lilliesleaf Polka, The 76Marquis of Lorne’s Hornpipe 40Millicent’s Favourite 42Morpeth Rant, The 56Nut Brown Maiden 67Off to California 46Old Rustic Bridge, The (Slow air) 84Old Rustic Bridge March 85Orange and Blue 65Pop Goes The Weasel 59Redesdale Hornpipe 38Redeside Hornpipe 51Rock and a Wee Puckle Tow 70Roxburgh Castle 54Sidlaw Hills 62Soldier’s Joy, The 57St Patrick’s Day Jig 45Stool Of Repentance 71Tam’s Old Love Song 86Tam’s Slow March 68Tam’s Untitled Hornpipe 43Tam’s Victoria Waltz 81Tam’s Wild Rose Strathspey 64Tell Her I Am 45Teviot Brig 71The Triumph 58The Wife She Brewed It 63Tommy Hughes’ March 69Turkey In The Straw 45Varsovienne 82Victoria Waltz 81

Index of TunesIndex of Tunes

Tune Titles Page

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

March, The Lilliesleaf Polka and Copshawholm Hornpipe (or Copshie Hornpipe) all published by Springthyme Music. All other tunes are Traditional Arranged by Tom Hughes and Wattie Robson and published by Springthyme Music © 1981, 2015.

– 96 –


CD IndexTracks on the Tom Hughes CD

1: Redesdale Hornpipe/ Galloway Hornpipe (Four fiddles, Tin whistle Jack, Guitar Brian)

Bedrule 781018. th1002: Braes O Mar (Two fiddles Tom & Wattie) Bedrule 780714. th093: Tam’s Old Love Song/ Banks of Kale Water (Two

fiddles Tom & Wattie) Bedrule 780715. th124: Tam’s Victoria Waltz (Solo) Bedrule 780715. th115: Marquis Of Lorne’s Hornpipe (Solo) Bedrule 780715. th186: Cowie’s Hornpipe/ St Patrick’s Day or Tell Her I

Am/ Turkey In The Straw (Solo) Bedrule 780812. th357: Lady Mary Ramsay/ Orange and Blue (Solo) Bedrule 780715. th158: Henry Hughes’ Favourite (Two fiddles Tom &

Wattie) Bedrule 780813. th419: The Frost Is All Over/ Jackson’s Morning Brush/

Irish Washerwoman (Solo) Bedrule 780715. th1710: Sidlaw Hills/ The Wife She Brewed It (Solo) Bedrule 780812. th3311: Sidlaw Hills/ The Wife She Brewed It (Two

fiddles Tom & Wattie, Guitar Sid) Bedrule 780813. th5112: The Huntsman’s Chorus (Solo) Bedrule 780715. th2113: The High Road To Linton (Solo) Lilliesleaf 800317. th51/ Jedburgh 780715. thv3214: Barren Rocks Of Aden/ Nut Brown Maiden

(Solo) Bedrule 780812. th3715: Champagne Charlie (Solo) Bedrule 780813. th4916: Auld Robin Grey (Two fiddles Tom and Wattie) Bedrule 780813. th4517: Faudenside Polka (Solo) Bedrule 780813. th4318: The Rock and a Wee Puckle Tow/ Teviot Brig/

The Stool Of Repentance (Four fiddles with Guitar Brian) Bedrule 781018. th101

19: Cock Yer Leg Up (Solo) Bedrule 781018. th7920: Flouers O Edinburgh/ East Neuk O Fife (Two

fiddles Tom & Wattie, Guitar Sid) Bedrule 780717. th2921: Lady Mary Ramsay/ Orange and Blue (Two

fiddles Tom & Wattie, Guitar Sid) Bedrule 800531. thn1/1522: Lilliesleaf Polka (Solo) Jedburgh 800317. thv24

23: Farewell To Whisky/ Roxburgh Castle (Two fiddles Tom & Wattie, Guitar Sid)

Bedrule 780717. th2824: Millicent’s Favourite/ Tam’s Untitled Hornpipe

(Solo) Bedrule 780812. th3425: Greencastle Hornpipe/ Off To California/ The

Dundee Hornpipe (Solo) Bedrule 780813. th4726: Boys Of Blue Hill/ The Harvest’s Long In

Coming (Solo) Lilliesleaf 800317. thv3427: Morpeth Rant (Solo) Jedburgh 800317. thv2428: Morpeth Rant (Two fiddles Tom & Wattie,

Guitar Sid) Bedrule 780717. th3229: Kelso Hiring Fair (Solo) Bedrule 780812. th3830: Lady Mary Ramsay/ Soldier’s Joy (Solo) Jedburgh 800317. thv631: The Triumph (Solo) Lilliesleaf 800317. thv4032: The Old Rustic Bridge (Two fiddles Tom &

Wattie) Bedrule 780813. th4833: Auld Graden Kirn (Solo) Bedrule 780717. th3034: Liberton Pipe Band (Two fiddles Tom &

Wattie) Bedrule 780715. th2335: Redeside Hornpipe (Four fiddles with Brian

Guitar) Bedrule 781018. th99

Musicians: Fiddles: Tom Hughes, Wattie Robson, Bob Hobkirk and Tom Scott. Tin whistle: Jack Carruthers. Guitars: Brian Miller, Sid Cairns.

Recordings made in Bedrule Village Hall 14, 15, 17 July 1978; 12, 13 August 1978; 17, 18 October 1978; Tom’s house (audio & video) in Jedburgh and The Plough, Lilliesleaf 17 March 1980; Bedrule Village Hall 31 May 1980; at Tom’s house Jedburgh 30 May and 26 July 1980 and at Kinross Festival 15 September 1980.

The coding after each track gives the place of recording, the date as year/month/day and the Springthyme/ Tom Hughes archive track number.

Copyrights: All tracks Trad Arr Tom Hughes & Wattie Robson published Springthyme Music except 10, 11 Sidlaw Hills Jim Watson (Mozart Allan), 22 Lilliesleaf Polka Tom Hughes published Springthyme Music and 35 Redeside Hornpipe with permission of the composer Willie Atkinson. © 1981, 2015 Springthyme Music.

– 97 –

Peter Shepheard has been a singer, musician and enthusiast for traditional music for many years. He first remembers hearing Tom Hughes playing fiddle at the back of the Grapes Hotel during the Newcastleton Music Festival of 1978 – and so began a journey to bring recognition to an outstanding tradition bearer who had inherited and preserved an old fiddle style and an interesting repertoire.

9 781906 804787

ISBN 978-1-906804-78-7

ISBN 978-1-906804-78-7 Taigh na Teud

Published in association with

Springthyme muSicwww.springthyme.co.uk

• 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 Country Dances Waltzes & Slow Airs Polkas, Strathspeys & Schottishes

Session in the Fox and Hounds in DenholmNeil Barron (accordion), Rodger Dobson (accordion), Brian Miller (guitar)

Bob Hobkirk (fiddle), Tom Hughes (fiddle), Jack Carruthers (whistle)Tom Scott (fiddle) and Wattie Robson (fiddle).


Scottish BordersTom Hughes and his family were all talented musicians – his grandfather Henry Hughes, father Thomas Hughes and two uncles played together in a family band – two or three fiddles, melodeon and tambourine – playing at the local events, country weddings, harvest home and hiring fair dances. Like his father and grandfather before him, Tom spent his working life as a ploughman on farms in the Border countryside around Jedburgh.

Although Tom’s style includes many characteristic Scottish elements, it is quite different from any mainstream fiddle style or the dominant fiddle style of Scotland’s North East. Through Tom’s playing we are able to gain an insight into an old, traditional, fiddle style stretching back through Tom’s family well into the 1800s.

13 Upper Breakish Is le of Skye IV42 8PY • 13 Breacais Ard An t-Ei lean Sgitheanach Alba

[email protected] www.scotlandsmusic.com

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Date post:	27-Apr-2023
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Traditional Fiddle Music - Springthyme Records

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