Jock Brown’s 70th hornpipe

Also known as Jock Broon’s 70th, Jock Broon’s70th.

There are 6 recordings of a tune by this name.

Jock Brown’s 70th has been added to 4 tune sets.

Jock Brown's 70th has been added to 146 tunebooks.

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Three settings

X: 1
T: Jock Brown's 70th
R: hornpipe
M: 4/4
L: 1/8
K: Amix
cd|:e2ee efed|cAA/A/A eAce|f/g/-g3 gfga|e/f/-f3 fefg|
aeed e3d|cAA/A/A eAcA|GAA/A/A cddA|GAde d2cd:|
|:a2cd ecde|cdac decd|a2cd ecde|cdac dggg|
a2cd ecde|cdac decA|GAA/A/A cddA|1 GAde d2cd:|2 GAde d2dc||
|:AAGA AGAA|GAAG AAdc|AAGA AGAA|GAde d2dc|
AAGA AGAA|GAAG AAdA|GAde d2dA|dcde d2dc:|
# Added by bdh .
X: 2
T: Jock Brown's 70th
R: hornpipe
M: 4/4
L: 1/8
K: Amix
cd|e3 e- efed|cA A/A/A eAcA|g3 g- gfga|f3 f- fefg|
a2 ed e2 ed|cA A/A/A eAcA|GA A/A/A d2 dc|GAde d2:|
|:cd|a2 cd ecde|cdac decd|a2 cd ecde|cdac dgcd|
a2 cd ecde|cdac decA|GA A/A/A d2 dc|GAde d2:|
|:dc|A2 GA- AGAA|GAAG A2 dc|A2 GA- AGAA|GAde d2 dc|
A2 GA- AGAA|GAAG A2 dc|GAde d3 d-|dcde d2:|
X: 3
T: Jock Brown's 70th
R: hornpipe
M: 4/4
L: 1/8
K: Amix
|:e3 e- efed | cA A/A/A eAcA | g3 g- gfga | f3 f- fefg |
a2 ed e2 ed|cA A/A/A eAcA|GA A/A/A d2 dc|1 GAde dBcd:|2 GAde d2 cd||
|: a2 cd ecde | cdac decd | a2 cd ecde | cdac dgcd |
a2 cd ecde | cdac decA | GA A/A/A d2 dc |1 GAde d2 cd :|2 GAde d2 dc ||
|: A2 GA- AGAA | GAAG A2 dc | A2 GA- AGAA | GAde d2 dc |
A2 GA- AGAA | GAAG A2 dc | GAde d3 d-|1 dcde d2 dc :|2 dcde dBcd ||

Nine comments

This is a really crackin’ Gordon Duncan tune. Transcription based on Ross Ainslie’s and Jarleth Henderson’s *Partners in Crime* album.

Posted by .

Great tune….but…..

Hasn’t this tune got 3 parts, and you’ve only posted first and second ? I’m sure Ross and Jarlath played all 3.

Posted by .

Oops

I forgot to paste in the third part. I’ll fix that ASAP.

Posted by .

Updated.

Posted by .

Jock Brown’s 70th, X:2

Roughly as played by Rachel Cross in the above clip.

Re: Jock Brown’s 70th

Thanks DonaldK for the recent addition of the above new transcription. It has worked well for me.

Re: Jock Brown’s 70th

Good tune.
One which gets "interpreted" differently in both sessions and "performances" depending on the player(s). My version is quite basic and not dissimilar to that of Rachel’s above although I don’t always use the "tie notes" in the last part and will vary things depending on how I feel. Also on which instrument I’m using.
I can find this tune tricky to join in with during a session sometimes but there are one or two like that. :-)
Out of curiosity, I’ve just been checking out a few different recordings and You Tube clips. There’s quite a variety of "interpretations" out there.