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{{Abctune
{{Abctune
|f_tune_title=Brian Boru's March (1)
|f_tune_title=Brian Boru's March (1)
|f_aka=Brian Borouhme, Piper's March (The), Triall Brian Boruma
|f_aka=Brian Borouhme, Triall Brian Boruma, Merino Frock (The), Piper's March,
|f_country=Ireland
|f_country=Ireland
|f_genre=Irish
|f_genre=Irish
Line 9: Line 9:
|f_accidental=NONE
|f_accidental=NONE
|f_mode=Aeolian (minor)
|f_mode=Aeolian (minor)
|f_structure=ABCD
|f_structure=ABCD, AABBCC, AABBCCDD
|f_book_title=Music of Ireland: 1850 Melodies
|f_book_title=Music of Ireland: 1850 Melodies
|f_collector=Francis O'Neill,
|f_collector=Francis O'Neill,
|f_year=1903
|f_year=1903
|f_page=No. 1801, p. 338
|f_page=No. 1801, p. 338
|f_theme_code_index=3b13b1 27bL27bL
|f_score=1
|f_player=Fennig's All-Star String Band
|f_player=Fennig's All-Star String Band
|f_album=Fennigmania
|f_album=Fennigmania
Line 19: Line 21:
|f_recording_date=1981
|f_recording_date=1981
}}
}}
<p><font face="garamond, serif" size="4">
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'''BRIAN BORU'S MARCH [1]'''. AKA and see "Brian Borouhme," "The Piper's March." Irish, March (6/8 time). B Aeolian (Roche): A Minor (S. Johnson, Mallinson, O'Neill, Sullivan): A Dorian (Tubridy). Standard tuning (fiddle). AA'B (Feldman & O'Doherty): AABB (S. Johnson, Roche): AABBCC (Mallinson, Sullivan, Tubridy): ABCD (O'Neill). This piece was thought by Dr. Sigerson (writing in '''The Bards of the Gael and Gall''') to evidence Scandinavian musical influence stemming from the Norse invasions of Ireland c. 800-1050, although Grattan Flood (1905) believes him to be in error and asserts the tune hardly dates from the Norse period or even, for that matter, from Mediaeval days. Printed versions have no great antiquity: the earliest is in the '''Levey Collection''', vol. 2 (1873), although Fleischmann found a version in an issue of the '''Dublin Monthly Magazine''' from 1842 under the title "The March of Brian Borumha" (it also later appears in Kerr's '''Caledonian Collection''' as "Brian Borumha").  It was in the repertoire of the man whom O'Neill calls the "last of the great Irish harpers," Patrick Byrne (c. 1784-1863). O'Neill never heard Byrne play, but an account of a Byrne concert which appeared in '''The Emerald of New York''' in 1870 caught his eye. Byrne played for an assemblage in the household of a Dublin gentleman in 1860, and O'Neill quotes from the article:
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{{#seo:
Byrne's command of the harp was complete, the writer tells us. His
|keywords=fiddle tune finder, find recordings, irish fiddle tunes, original folk music, abc music finder, english country dance, old-time music
touch was singularly delicate yet equally firm. He could make the
|description=The semantic index of North American, British and Irish traditional instrumental music with annotations
strings whisper like the sigh of the rising wind on a summer eve,
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or clang with a martial fierceness that made your pulses beat quicker.
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After quaffing a generous tumbler of punch, he would say, "Now,
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ladies and gentlemen, I am going to play you the celebrated march
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of the great King Brian to the field of Clontarf, when he gave the
 
Danes such a drubbing. The Irish army is far off, but if you listen
 
Attentively you will hear the faint sound of their music." Then his
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fingers would wander over the upper range of strings with so delicate
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a touch that you might fancy it was fairy music heard from a distance.
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Anything more fine, more soft and delicate than this performance, it is
[[ANNOTATION:{{PAGENAME}}|{{PAGENAME}}: Annotations]]
impossible to conceive. "They are coming nearer!" And the sound
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increased in volume. "Now here they are!" And the music rolled
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loud and full. Thus the march went on; the fingers of the minstrel's
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right hand wandering farther down the bass range. You find it hard
----
to keep your feet quiet, and feel inclined to take part in the march
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music assumes a merry, lightsome character, as if it were played for
dancers. "Rejoicing for the victory!" But this abruptly ceases; there
is another shriek and dischord, jangling and confusion in the upper
bass stings. The harper explains as usual, "They have found the old
King murdered in his tent." Then the air becomes much slower and
singularly plaintive. "Mourning for Brian's death." There is a firmer
and louder touch now, with occasional plaintive effects with the left
hand. "They are marching now with the brave old King's body to
Drogheda." The music now assumes a slow and steady tone, the tone
is lowered, and grows momentarily louder and louder, till finally it
dies away...And all these marvellous effects are produced upon what
is used as a simple dance tune in the south of Ireland (pp. 81-82).
</blockquote>
O'Neill (1913) also prints an appreciation of the tune from a German gentleman named Kohl, who heard it played on harp at Drogheda in 1843:
<blockquote>
''The music of this march is wildly powerful and at the same time''<br>
''melancholy. It is at one the music of victory and of mourning. ''<br>
''The rapid modulations and wild beauty of the air was such that''<br>
''I think this march deserves full to obtain a celebrity equal to that''<br>
''of the 'Marseillaise' and the 'Ragotsky.''<br>
</blockquote>
In Drogheda there at one time was performed a dance to this and similar stately music, called the "Droghedy March" or "Dancing Drogheda," reports O'Neill, though the practice had died out by the time of his writing. It was danced by six men or boys, each wielding a stick or shillelagh. They kept time to the music, he states, "with feet, arms and weapons with their bodies swaying right and left." As the dance progressed the movements became more complicated, mimicking the appearance of a rhythmic fencing or battle. "Brian Boru's March" was identified as a pipe tune in the repertoire of Teelin, Donegal, fiddlers Francie and Mickey Byrne, who, according to Feldman & O'Doherty (1979), probably had the tune from travelling piper Mickey Gallagher (a cousin of Donegal fiddler John Doherty's). See also the duple time melodies (which some believe are related) "Dan Sullivan's Reel," "General McBean," "Colonel McBain's," "Sean Frank," "The Devonshire Reel [1]," "The Duke of Clarence Reel" and "Sporting Molly."
<br>
<br>
''Source for notated version'': Francie and Mickey Byrne (County Donegal) [Feldman & O'Doherty].
<br>
<br>
''Printed sources:'' Feldman & O'Doherty ('''The Northern Fiddler'''), 1979; p. 175. S. Johnson ('''The Kitchen Musician No. 4: Collection of Fine Tunes'''), 1983 (revised 1991, 2001); p. 3. Mallinson ('''Enduring'''), 1995; No. 96, p. 40. O'Neill ('''Music of Ireland: 1850 Melodies'''), 1903; No. 1801, p. 338. O'Neill ('''O'Neill's Irish Music'''), 1915; No. 96, pg. 54. '''Roche Collection''', 1912; vol. II, p. 58, No. 334. Sullivan ('''Session Tunes'''), vol. 2; No. 50, p. 21. Tubridy ('''Irish Traditional Music''', Book Two), 1999; p. 5.
<br>
<br>
''Recorded sources:'' Flying Fish FF 355, Critton Hollow Stringband - "By and By" (1985). Front Hall FHR-024, Fennig's All-Star String Band - "Fennigmania" (1981. Learned from the Gallowglass Ceili Band). Green Linnet SIF-104, Joe Burke, Michael Cooney & Terry Corcoran - "The Celts Rise Again" (1990). Green Linnet SIF-1069, Joe Burke , Michael Cooney & Terry Corcoran - "Happy to Meet & Sorry to Part" (1986). See also listings at: Jane Keefer's Folk Music Index: An Index to Recorded Sources [http://ibiblio.unc.edu/keefer/b14.htm#Bribo], Alan Ng's Irishtune.info [http://www.irishtune.info/tune/223/]
<br>
<br>
X:1
X:1
T:Brian Boru's March [1]
T:Brian Borus March [1]
M:6/8
M:6/8
L:1/8
L:1/8
R:March
R:March
K:Ador
B:Stephen Grier music manuscript collection (Book 3, c. 1883, No. 191, p 60)
ed||:cAA Aed|cAA Adc|BGG Gdc|BGG Ged|cAA Aed|cAA A3E|Acd e2d|cAA A:|
B: http://grier.itma.ie/book-three#?c=0&m=0&s=0&cv=59&z=-286.7962%2C358.1348%2C3220.8726%2C1341.25
|:Acd e2d|e2d edB|GBc d2B|d2B dBG|Acd e2d|e2d e2d|cBA e2d|cAA A3:|
N:Stephen Grier (c. 1824-1894) was a piper and fiddler from
|:cBA a2A|cBA a2A|BAG g2G|BAG g2G|cBA a2A|cBA a2a|efe e2d|cAA A3:|
N:Newpark, Bohey, Gortletteragh, south Co. Leitrim.
 
Z:AK/Fiddler’s Companion
</font></p>
K:Amin
 
B|cde efe|efe edc|Bcd ded|ded dBG|
----
cde efe|efe edB|cBA Aed|cAA A2:|
 
|:B|cBA Aed|cBA A2c|BAG Gdc|BAG G2B|
<pre>
cBA Aed|cBA A2B|cde fed|ecA A2:|
|:B|cde/f/ g2a|g2a ged|Bcd d2e|d2 e dBG|
cde/f/ g2a|g2a ged|cBA Aed|cBA A2:|
|:B|cBA a2A|cBA a2 A|BAG g2G|BAG g2G|
cBA a2A|cBA a2A|cde fed|ecA A2:||
<section end=X1 />
<section begin=abc />
X:2
X:2
T:Brian Boru's March [1]
T:Brian Boru's March [1]
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Z:AK/Fiddler's Companion
Z:AK/Fiddler's Companion
K:Amin
K:Amin
(e/d/) | c>BA A2 (e/d/) | c>BA A2 (d/c/) | B>AG G2 (d/c/) | B>AG G2 (e/d/) | c>BA A2 (e/d/) |  
(e/d/) | c>BA A2 (e/d/) | c>BA A2 (d/c/) | B>AG G2 (d/c/) | B>AG G2 (e/d/) |  
c>BA A2a | e>fe e2d | (c<A)A A2 || G | Acd (e2{fe}d) | (e2{fe}d) edB | GBc (d2{ed}B) |  
c>BA A2 (e/d/) | c>BA A2a | e>fe e2d | (c<A)A A2 ||  
(d2{ed}B) dBG | Acd (e2(ed}B) |(e2{fe}d) ecA | cBA (e2{fe}d) | (c<A)A A2 || B | cBA {b}a^ga |  
G | Acd (e2{fe}d) | (e2{fe}d) edB | GBc (d2{ed}B) | (d2{ed}B) dBG |  
cBA {b}a^ga | BAG {a}=g^fg | BAG {a}g^fg | cBA {b}a^ga | cBA a2b | c'ba gfe | dcB A2 ||  
Acd (e2{ed}B) |(e2{fe}d) ecA | cBA (e2{fe}d) | (c<A)A A2 ||  
B | (cd/e/^f) g2a | g2a gdB | (GA/B/c) de | dge dBG | (cd/e/^f) ga | g2a geB | {d}cBA (e2{fe}d) | (cA>)A A2 ||  
B | cBA {b}a^ga | cBA {b}a^ga | BAG {a}=g^fg | BAG {a}g^fg |  
 
cBA {b}a^ga | cBA a2b | c'ba gfe | dcB A2 ||  
</pre>
B | (cd/e/^f) g2a | g2a gdB | (GA/B/c) de | dge dBG |  
----
(cd/e/^f) ga | g2a geB | {d}cBA (e2{fe}d) | (cA>)A A2 ||  
<p><font face="garamond, serif" size="4">
<section end=abc />
'''© 1996-2010  Andrew Kuntz. All Rights Reserved.'''
<section begin=X4 />
<br>
X:1
Engraver Valerio M. Pelliccioni
T:Brian Boru's March [1]
</font></p>
M:6/8
L:1/8
R:March
B:Batt Scanlon - "The Violin Made Easy and Attractive" (San Francisco, 1923, p. 62)
N:Scanlon was a student of George Whelan, a North Kerry fiddle player and teacher
Z:AK/Fiddler's Companion
K:Amin
e/d/|Tc>BA Az"4"e/d/|Tc>BA Az d/c/|TB>AG Gzd/c/|TB>AG Gz"4"e/d/|c>BA A z"4"ed|
Tc>BA !fermata!a2^d|e>fe T(e2d)|c<AA A2::uG|Acd T(e2d)|T(e2d) "4"edB|
ABC T(d2B)|T(d2B) dBG|Acd T(e2d)|T(e2d) "4"ecA|cBA T(e2d)|c<AA A2:|
|:B|cBA {b}(a>^ga)|cBA {b}(a>^ga)|BAG {a}(g>^fg) |BAG {a}(g>^fg)|cBA {b}(a<^ga)|
{d}cBA a2-b|"4"c'ba gfe|dcB A2::B|cd/e/^f (g2a)|(g2a) gec|
(GA/B/c) d2"4"|dge dBG|cd/e/^f (g2a)|(g2a) geB|{d}cBA Te2d|c<AA A2||
<section end=X4 />
<section begin=X9 />
X:1
T:Brian Boru's March [1]
M:6/8
L:1/8
R:March
K:Ador
ed||:cAA Aed|cAA Adc|BGG Gdc|BGG Ged|
cAA Aed|cAA A3E|Acd e2d|cAA A:|
|:Acd e2d|e2d edB|GBc d2B|d2B dBG|
Acd e2d|e2d e2d|cBA e2d|cAA A3:|
|:cBA a2A|cBA a2A|BAG g2G|BAG g2G|
cBA a2A|cBA a2a|efe e2d|cAA A3:|
<section end=X9 />
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[[ANNOTATION:{{PAGENAME}}|{{PAGENAME}}: Annotations]]
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__NOTITLE__

Latest revision as of 17:36, 13 November 2023


Brian Boru's March (1)  Click on the tune title to see or modify Brian Boru's March (1)'s annotations. If the link is red you can create them using the form provided.Browse Properties <br/>Special:Browse/:Brian Boru's March (1)
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 Theme code Index    3b13b1 27bL27bL
 Also known as    Brian Borouhme, Triall Brian Boruma, Merino Frock (The), Piper's March
 Composer/Core Source    
 Region    Ireland
 Genre/Style    Irish
 Meter/Rhythm    March/Marche
 Key/Tonic of    A
 Accidental    NONE
 Mode    Aeolian (minor)
 Time signature    6/8
 History    
 Structure    ABCD, AABBCC, AABBCCDD
 Editor/Compiler    Francis O'Neill
 Book/Manuscript title    Book:Music of Ireland: 1850 Melodies
 Tune and/or Page number    No. 1801, p. 338
 Year of publication/Date of MS    1903
 Artist    Biography:Fennig's All-Star String Band
 Title of recording    Fennigmania
 Record label/Catalogue nr.    Front Hall FHR-024
 Year recorded    1981
 Media    
 Score   (1)   



Brian Boru's March (1): Annotations

X:1 T:Brian Borus March [1] M:6/8 L:1/8 R:March B:Stephen Grier music manuscript collection (Book 3, c. 1883, No. 191, p 60) B: http://grier.itma.ie/book-three#?c=0&m=0&s=0&cv=59&z=-286.7962%2C358.1348%2C3220.8726%2C1341.25 N:Stephen Grier (c. 1824-1894) was a piper and fiddler from N:Newpark, Bohey, Gortletteragh, south Co. Leitrim. Z:AK/Fiddler’s Companion K:Amin B|cde efe|efe edc|Bcd ded|ded dBG| cde efe|efe edB|cBA Aed|cAA A2:| |:B|cBA Aed|cBA A2c|BAG Gdc|BAG G2B| cBA Aed|cBA A2B|cde fed|ecA A2:| |:B|cde/f/ g2a|g2a ged|Bcd d2e|d2 e dBG| cde/f/ g2a|g2a ged|cBA Aed|cBA A2:| |:B|cBA a2A|cBA a2 A|BAG g2G|BAG g2G| cBA a2A|cBA a2A|cde fed|ecA A2:||


X:2 T:Brian Boru's March [1] M:6/8 L:1/8 R:March S:O'Neill's Irish Music (1915) Z:AK/Fiddler's Companion K:Amin (e/d/) | c>BA A2 (e/d/) | c>BA A2 (d/c/) | B>AG G2 (d/c/) | B>AG G2 (e/d/) | c>BA A2 (e/d/) | c>BA A2a | e>fe e2d | (c<A)A A2 || G | Acd (e2{fe}d) | (e2{fe}d) edB | GBc (d2{ed}B) | (d2{ed}B) dBG | Acd (e2{ed}B) |(e2{fe}d) ecA | cBA (e2{fe}d) | (c<A)A A2 || B | cBA {b}a^ga | cBA {b}a^ga | BAG {a}=g^fg | BAG {a}g^fg | cBA {b}a^ga | cBA a2b | c'ba gfe | dcB A2 || B | (cd/e/^f) g2a | g2a gdB | (GA/B/c) de | dge dBG | (cd/e/^f) ga | g2a geB | {d}cBA (e2{fe}d) | (cA>)A A2 ||


X:1 T:Brian Boru's March [1] M:6/8 L:1/8 R:March B:Batt Scanlon - "The Violin Made Easy and Attractive" (San Francisco, 1923, p. 62) N:Scanlon was a student of George Whelan, a North Kerry fiddle player and teacher Z:AK/Fiddler's Companion K:Amin e/d/|Tc>BA Az"4"e/d/|Tc>BA Az d/c/|TB>AG Gzd/c/|TB>AG Gz"4"e/d/|c>BA A z"4"ed| Tc>BA !fermata!a2^d|e>fe T(e2d)|c<AA A2::uG|Acd T(e2d)|T(e2d) "4"edB| ABC T(d2B)|T(d2B) dBG|Acd T(e2d)|T(e2d) "4"ecA|cBA T(e2d)|c<AA A2:| |:B|cBA {b}(a>^ga)|cBA {b}(a>^ga)|BAG {a}(g>^fg) |BAG {a}(g>^fg)|cBA {b}(a<^ga)| {d}cBA a2-b|"4"c'ba gfe|dcB A2::B|cd/e/^f (g2a)|(g2a) gec| (GA/B/c) d2"4"|dge dBG|cd/e/^f (g2a)|(g2a) geB|{d}cBA Te2d|c<AA A2||


X:1 T:Brian Boru's March [1] M:6/8 L:1/8 R:March K:Ador ed||:cAA Aed|cAA Adc|BGG Gdc|BGG Ged| cAA Aed|cAA A3E|Acd e2d|cAA A:| |:Acd e2d|e2d edB|GBc d2B|d2B dBG| Acd e2d|e2d e2d|cBA e2d|cAA A3:| |:cBA a2A|cBA a2A|BAG g2G|BAG g2G| cBA a2A|cBA a2a|efe e2d|cAA A3:|


Brian Boru's March (1): Annotations

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