On-line Music Resources for musicians.

In these pages you will find some on-line resources consisting of tunes, sets of tunes arranged by myself for Scottish Country Dance Band line-up. The links below will take you to a page that contains the scores and backing tracks and some ‘hints and tips’ that will enable you to play along. These pages are password protected please e-mail me at rscdsmusic@btinternet.com for access.


A Trip to Bavaria (4×32 Reel)

Diamond Waltz for Waverley

Konstan Parempi Valssi (Finnish Waltz)

Rugnavald Brusasson (Two-Step)

The Blooms of Bon Accord (4×32 Reel)

Airie Bennan (5×32 Jig) coming soon

Harmonisation of tunes:

The convention for the chords that appear this collection of music places the bass note first then the chord. Where there is only a single capital Letter then the bass and the chord are the same. Where there is a forward slash then this indicates that the Chord will be the same as the previous beat and that the Bass note will be the 5th of the chord. For example:

G     /     would denote G bass and chord for the first half of the bar followed by D in the bass and a G chord for the second half.

The tunes have been chorded principally aimed at pianos/keyboards. If you are new to the more complex harmonies indicated by the chord extensions (for example E6, Bm7, A7+, Gmaj7) it is the first two letters of the chord symbol which are ‘key’. Where numbers exist the note is calculated by counting the notes from the root of the chord. For example, C6 would contain the notes C,, E, G, A, Bm7 – B, D, F#, A. ‘maj 7’ indicates it is the major version of the chord. Gma7 – G, B, D, F# – the F# being the major 7th note and not the more usual minor 7th in 7th chords. Accordionists will find some of the chords use extensions that are not available on the instrument (for example Bm7, A7+) it is the first two letters of the chord which are most appropriate. Some of the bass and chord combinations are challenging. In this case decide whether it is the bass note or the chord that you feel is important. You might have to ‘fudge’ the aspect that you feel is not important. For example F#/b7 – if in the sequence the F# is important it might be more natural, and therefore easier to use the D chord instead of the Bm chord. Where this is the case I tend to focus on the Bass note of the chord!

Please Note:

Wherever possible I have acknowledged the composer and publisher of the tunes used. These sets are for personal use only and should only be used in this context. They should not copied for use elsewhere without permission.