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The Braemar Gathering March jig

Also known as Braemar Gathering, The Braemar Gathering, Marcha Escocesa.

There are 7 recordings of this tune.

The Braemar Gathering March has been added to 1 tune set.

The Braemar Gathering March has been added to 18 tunebooks.

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Three settings

1
X: 1
T: The Braemar Gathering March
R: jig
M: 6/8
L: 1/8
K: Amaj
|:E|A2 A A>Bc|A>ce f>ec|B2 B B>cA|B>ce f2 a|
A>AA AcB|A>ce f>ea|f<af eca|A>AA A2:|
|:e|ff/f/f f>ga|fd/e/f f>ec|e2 e e>ga|ee/e/e ecB|
c2 c c>BA|A>cB A>ce|f<af eca|A2 A A2:|
|:E|A2 A c>BA|c>eA c>BA|B2 B B>ce|ff/g/a fec|
AA/A/A c>BA|c>ea c2 e|f<af eca|A>cB A2:|
|:a|f>aa f>ea|f<ae f>ec|f>ee e>ca|f<ea ecA|
c>BA Ac/B/A|B>ce f2 e|f<af eca|AA/A/A A2:|
2
X: 2
T: The Braemar Gathering March
R: jig
M: 6/8
L: 1/8
K: Amaj
|:e|A2 A A>Bc|A>ce f>ec|B2 B B>cA|B>ce f>ga|
A2 A A>Bc|A>ce f>ec|f2 f e>Bc|A2 A A2:|
|:e|f2 f f>ga|f2 f f2 c|e2 e e>fa|e2 e e2 B|
c2 c c>BA|A2 A B>ce|f2 f e>Bc|A2 A A2:|
|:e|A2 A c>BA|c>eA c>BA|B2 B B>ce|f>ga f2 e|
A2 A c>BA|c>eA c2 e|f2 f e>Bc|A2 A A2:|
|:g|a2 f f>ef|f2 a f>ec|f2 e e>ce|f2 c e2 B|
c2 B A2 A|B>ce f2 e|f2 f e>Bc|A2 A A2:|
3
X: 3
T: The Braemar Gathering March
R: jig
M: 6/8
L: 1/8
K: Amaj
|:e|A>AA A>Bc|A>ce f>ec|B>BB B>cA|B>ce f>ga|
A>AA A>Bc|A>ce f>ec|f<af e>Bc|A>AA A2:|
|:e|f>ff f>ga|f>af f2 c|e>ee f>ga|e>fe e2 B|
c>ec c>BA|A>AA B>ce|f<af e>Bc|A>AA A2:|
|:e|A>AA c>BA|c<eA c>BA|B>cB B>ce|fea fec|
A>AA c>BA|c<eA B>ce|f<af e>Bc|A>AA A2:|
|:f/g/|a>ff f>ef|a>ff f>ec|f>ee e>ce|fec ecB|
c>BA A>AA|B>ce f2 e|f<af e>Bc|A>AA A2:|

Fourteen comments

"The Braemar Gathering March" ~ by George S. McLennan (1883-1927)

The tune was composed by Pipe Major George Stewart McLennan in France in 1918, but was not titled. The title "The Braemar Gathering" was latter given by a D.R. MacLennan.

Here is a simpler transcript of this march:

K: A Major (some transcriptions give it as A Mixolydian)
|: e |
A2 A A>Bc | A>ce f>ec | B2 B B>cA | B>ce f>ga |
A2 A A>Bc | A>ce f>ec | f2 f e>Bc | A2 A A2 :|
|: e |
f2 f f>ga | f2 f f2 c | e2 e e>fa | e2 e e2 B |
c2 c c>BA | A2 A B>ce | f2 f e>Bc | A2 A A2 :|
|: e|
A2 A c>BA | c>eA c>BA | B2 B B>ce | f>ga f2 e |
A2 A c>BA | c>eA c2 e | f2 f e>Bc | A2 A A2 :|
|: g |
a2 f f>ef | f2 a f>ec | f2 e e>ce | f2 c e2 B |
c2 B A2 A | B>ce f2 e | f2 f e>Bc | A2 A A2 :|

"Lochiel’s Welcome To Glasgow" ~ sharing the same A-part

Key signature: A Major (though listed as Mixolydian)
Submitted on March 4th 2007 by spoon.
https://thesession.org/tunes/6893

Played on the bagpipes, it would be A mixolydian - more or less.

The A part is very similar to Lochiel’s Welcome. I don’t know which was composed first. Any idea, Ceolachan?

Polygamy is rife in traditional music.

"Played on the bagpipes, it would be A mixolydian - more or less."

I take that back - I see you were talking about the other tune. (In terms of the suggested harmony, I suppose A major would have been more appropriate - although there are no Gs or G-naturals in the melody. But that’s another tune).

O’Sullivans

Seems to have pieces of O’Sullivan in it… maybe a hand or a foot

What spoon, you missed the g’s? You forgot your reading glasses again didn’t you? Tisk, tisk… 😉

I have another transcript to add later, Northumbrian, a favourite fiddler…

Pipe Majors Alexander Cameron & George S. McLennan

If the composer of "Lochiel’s Welcome to Glasgow" was Pipe Major Alexander Cameron, 1848 - 1923, of the 92nd or Gordon Highlanders, then he is by date senior to Pipe Major George Stewart McLennan, 1883 - 1927, which while they were also contemporaries, may suggest that "Lochiel’s Welcome to Glasgow" predates "The Braemar Gathering"?

I’ve asked a friend to ask a friend and will get back to you on it. But this may be seed enough for the Scottish pipers out there to set us right? I hope so… Maybe they both got their start from elsewhere, some even earlier source? 😏

"The Braemar Gathering March" ~ by George S. McLennan

The following is a transcript of made from the playing of this tune by Willy Taylor, shepherd, fiddler, 2-row melodeon player and composer from Wooler, Northumberland:

K: A Major
|: e |
A>AA A>Bc | A>ce f>ec | B>BB B>cA | B>ce f>ga |
A>AA A>Bc | A>ce f>ec | f<af e>Bc | A>AA A2 :|
|: e |
f>ff f>ga | f>af f2 c | e>ee f>ga | e>fe e2 B |
c>ec c>BA | A>AA B>ce | f<af e>Bc | A>AA A2 :|
|: e|
A>AA c>BA | c<eA c>BA | B>cB B>ce | fea fec |
A>AA c>BA | c<eA B>ce | f<af e>Bc | A>AA A2 :|
|: f/g/ |
a>ff f>ef | a>ff f>ec | f>ee e>ce | fec ecB |
c>BA A>AA | B>ce f2 e | f<af e>Bc | A>AA A2 :|

Where did you get this "version" of it , "C" ?

Posted by .

I’m not sure where I first learned this Kenny, but any twists out of the norm are my fault, transcribed from memory. That’s also why I gave the other two transcripts ~ for balance, realizing that some ways I had with it were ‘otherwise’… Apologies to anyone if my brain has done this lovely melody a disservice. When you get comfortable with a tune it sometimes has a mind of its own and nudges you this way and that… Usually I do that in the ‘comments’ and would have normally given the Willy Taylor take as the transcript, except that in this case Taylor takes the tune in a fairly ‘regular’ fashion, but lovely just the same, and I went from memory first, doing the Taylor transcript afterwards. Willy Taylor is a favourite listen…

‘slainte’ got me going on this when he commented about the shared A-part, and I then discovering, surprised, that this wasn’t already on site. 😏

I suspect you’ll have another way with it Kenny? I’d love to see that and give it a try…

It is also likely that I’ve danced to this tune…