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Bridgett’s reel

There are 3 recordings of this tune.

Bridgett’s has been added to 3 tune sets.

Bridgett’s has been added to 32 tunebooks.

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Five settings

1
Sheet Music
Sheet Music
Sheet Music
Sheet Music
2
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Sheet Music
Sheet Music
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3
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Sheet Music
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4
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Sheet Music12
Sheet Music
Sheet Music12
5
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Sheet Music
Sheet Music12

Fourteen comments

Bridgett’s Reel

Composed by the late Newfoundland fiddler Emile Benoit; transcription based on the playing of Kelly Russell from the album All the Best Folk Music of St. John’s, Newfoundland. This is a completely different tune from the Bridgett’s that is already in the database.

According to Séamus Creagh’s liner notes for ‘Came the Dawn’, this and the second tune in the set, ‘Jim Hodder’s’ were composed by the Newfoundland fiddler Émile Benoît (see wikipedia entry - http://en.wikipedia.org/wiki/%C3%89mile_Beno%C3%AEt).

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Bridgett’s, X:3

Some variations from The STEP Fiddlers. Have reversed the order of the parts, as this is how Séamus Creagh, Tickle Harbour, and The Celtic Fiddlers play it. Ends more nicely going into other reels this way too. The f#, e, d, B, A, G in the fourth bar of the B Part could have been e, d, B, d, B, G, although, the f# really stands out in a good way.

Bridgett’s, X:4

Slightly different ending, a few variations, different chords, and pick-up notes.

Some other possible variations for second/third passings of the tune: 1st bar of the A Part could be “A2 AB c3d”, 7th bar of the A Part could be “g4 e2 dB” or “g3g e2 dB”, and the 7th bar of the B Part could be “ed B2 e2 dB” or “ed e2 g2 ed”. Tried to fit a long e-roll into the 7th bar of the B Part, but couldn’t make it sound right with the timing / flow of the tune.

For whistlers/flutists, a few good breathe spots for the A Part are to drop the G/A after the held G/A notes, and in the B Part after the e2 in the 6th bar.

Re: Bridgett’s

“e2 Bd e2 dB” also works in the 7th bar of the B Part.

Bridgett’s Reel, X:5

From the playing of Séamus Creagh.

Close to X1, though, in the key Séamus actually plays the tune.

For comparison, this setting transposed down:

K: Edor
|: E3F ~G2GA | B2AG F2A2 | D2DE ~F2FG | A2GF G2B2 |
E2EF ~G2GA | B2AG F2D2 | d2ed B2AF |1 B2AF E2B,2 :|2 B2AF E3A ||
|: B2e2 e2fe | ~d2BA ~B2AF | D2d2 d2ed | ~c2BA F2ED |
E2e2 e2fe | ~d2BA ~B2Bd | BAFA B2AF |1 F2E2 E2EA :|2 F2E2 E2B,2 ||

Having listened to The Reel Of The 51st Division / The Drunken Piper quite a bit now, would guess that Emile derived/composed Bridgett’s Reel from the latter/older Scottish tunes.