Scotland The Brave Lyrics Guitar Chords
Written by Cliff Hanley 1950, the Ukulele chords are included. The youtube video is by Charlie Zahm. The Corries [ songs ] do a humerus version using different lyrics entirely, there are plenty of pipe band instrumental versions also. This song was voted the second most popular Scottish song of all time, beaten to the top spot by Flower Of Scotland [ song lyrics ]. Also recorded by John McDermot, André Rieu and The Dropkick Murphy's. Scotland the brave tenor guitar / mandola tab in CGDA tuning included.
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[G)Hark when the night is falling,
Hear! hear the pipes are calling, (C)Loudly and (G)proudly calling, (D)Down thro' the glen.(D7) (G)There where the hills are sleeping, Now feel the blood a-leaping, (C)High as the (G)spirits of the (D)old Highland (G)men. Chorus (D)Towering in gallant fame, (G)Scotland my mountain hame, (C)High may your (G)proud standards (D)gloriously wave,(D7) (G)Land of my high endeavour, Land of the shining river, (C)Land of my (G)heart for ever, (D)Scotland the (G)brave. (G)High in the misty Highlands Out by the purple islands, (C)Brave are the (G)hearts that beat Be(D)neath Scottish skies.(D7) (G)Wild are the winds to meet you, Staunch are the friends that greet you, (C)Kind as the (G)love that shines from (D)fair maidens' (G)eyes. 
Another version of Scotland The Brave with different chords
[D]Hark when the night is falling Hear! hear the pipes are calling [G]Loudly and [D]proudly calling [E7]Down through the [A7]glen [D]There where the hills are sleeping Now feel the blood a-leaping [G]High as the [D]spirits Of the [A7]old Highland [D]men Chorus: [A7]Towering in gallant fame [G]Scotland my [D]mountain hame [Bm]High may your [F#m]proud standards [E7]Gloriously [A7]wave [D]Land of my high endeavour Land of the shining river [G]Land of my [D]heart for ever [A7]Scotland the [D]brave High in the misty Highlands Out by the purple islands Brave are the hearts that beat Beneath Scottish skies Wild are the winds to meet you Staunch are the friends that greet you Kind as the love that shines From fair maidens' eyes Far off in sunlit places Sad are the Scottish faces Yearning to feel the kiss Of sweet Scottish rain Where tropic skies are beaming Love sets the heart a-dreaming Longing and dreaming For the homeland again Hot as a burning ember Flaming in bleak December Burning within the hearts Of clansmen afar Calling to home and fire Calling the sweet desire Shining a light that beckons From every star. Scotland The Brave Sheet Music And Tin Whistle Notes Chords for the key of C Major.
Key of C [G]Hark when the night is falling, Hear! hear the pipes are calling, (F)Loudly and (C)proudly calling, (G)Down thro' the glen.(G7) (C)There where the hills are sleeping, Now feel the blood a-leaping, (F)High as the (C)spirits of the (G)old Highland (C)men. Chorus (G)Towering in gallant fame, (C)Scotland my mountain hame, (F)High may your (C)proud standards (G)gloriously wave,(G7) (C)Land of my high endeavour, Land of the shining river, (F)Land of my (C)heart for ever, (G)Scotland the (C)brave. (C)High in the misty Highlands Out by the purple islands, (F)Brave are the (C)hearts that beat Be(G)neath Scottish skies.(G7) (C)Wild are the winds to meet you, Staunch are the friends that greet you, (F)Kind as the (C)love that shines from (G)fair maidens' (C)eyes. |
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Scotland is a country known for its rich cultural heritage, breathtaking landscapes, and fierce sense of national pride. One of the most iconic symbols of Scottish pride is the song “Scotland The Brave”. This rousing anthem has been sung by generations of Scots, evoking a sense of patriotism and nostalgia for the country’s history and traditions. In this thesis, we will explore the origins and significance of “Scotland The Brave”, its lyrical and musical composition, and its enduring impact on Scottish culture.
Origins of “Scotland The Brave”
The origins of “Scotland The Brave” can be traced back to the late 19th century, during a time of great social and political change in Scotland. The song was first composed by Cliff Hanley in 1951 for the Scottish National Party’s annual conference. Hanley, a Scottish journalist and playwright, was inspired by the country’s long history of struggle and resilience against English domination. He wanted to create an anthem that would unite the Scottish people and celebrate their national identity.
Lyrical and Musical Composition
The lyrics of “Scotland The Brave” are a powerful tribute to Scotland’s history, culture, and natural beauty. The song begins with the iconic line “Hark when the night is falling, hear, hear the pipes are calling”. This opening line immediately sets the tone for the rest of the song, invoking a sense of grandeur and pride. The repeated refrain of “Scotland, Scotland, Scotland The Brave” serves as a rallying cry for the Scottish people to stand together and face any challenge with courage and determination.
The music of “Scotland The Brave” is equally stirring and evocative. The melody, composed by Scottish musician and composer, William Henry Miller, is a traditional Scottish folk tune that has been used in various songs and dances throughout the country’s history. Miller’s composition perfectly captures the spirit of the Scottish people, with its uplifting and energetic melody. The combination of Hanley’s lyrics and Miller’s music creates a powerful and unforgettable anthem.
Impact on Scottish Culture
“Scotland The Brave” has become an integral part of Scottish culture, with its enduring popularity and widespread use in various events and occasions. It is often played at national sporting events, including football and rugby matches, to rally the crowd and show support for the Scottish team. The song is also a staple at traditional Scottish events, such as the Highland Games, where it is played during the opening ceremony to set the tone for the festivities.
Moreover, “Scotland The Brave” has been covered by numerous artists and has been featured in various films and television shows, further cementing its place in popular culture. Its use in these mediums not only showcases the song’s widespread appeal but also serves as a reminder of Scotland’s rich heritage and cultural traditions.
Conclusion
In conclusion, “Scotland The Brave” is more than just a song, it is a symbol of Scottish identity and pride. Its origins, lyrical and musical composition, and enduring impact on Scottish culture make it a beloved and important part of the country’s heritage. Whether sung by a lone piper on a misty Scottish hill or belted out by a crowd of passionate Scots, “Scotland The Brave” will continue to evoke a sense of national unity and pride for generations to come.
Origins of “Scotland The Brave”
The origins of “Scotland The Brave” can be traced back to the late 19th century, during a time of great social and political change in Scotland. The song was first composed by Cliff Hanley in 1951 for the Scottish National Party’s annual conference. Hanley, a Scottish journalist and playwright, was inspired by the country’s long history of struggle and resilience against English domination. He wanted to create an anthem that would unite the Scottish people and celebrate their national identity.
Lyrical and Musical Composition
The lyrics of “Scotland The Brave” are a powerful tribute to Scotland’s history, culture, and natural beauty. The song begins with the iconic line “Hark when the night is falling, hear, hear the pipes are calling”. This opening line immediately sets the tone for the rest of the song, invoking a sense of grandeur and pride. The repeated refrain of “Scotland, Scotland, Scotland The Brave” serves as a rallying cry for the Scottish people to stand together and face any challenge with courage and determination.
The music of “Scotland The Brave” is equally stirring and evocative. The melody, composed by Scottish musician and composer, William Henry Miller, is a traditional Scottish folk tune that has been used in various songs and dances throughout the country’s history. Miller’s composition perfectly captures the spirit of the Scottish people, with its uplifting and energetic melody. The combination of Hanley’s lyrics and Miller’s music creates a powerful and unforgettable anthem.
Impact on Scottish Culture
“Scotland The Brave” has become an integral part of Scottish culture, with its enduring popularity and widespread use in various events and occasions. It is often played at national sporting events, including football and rugby matches, to rally the crowd and show support for the Scottish team. The song is also a staple at traditional Scottish events, such as the Highland Games, where it is played during the opening ceremony to set the tone for the festivities.
Moreover, “Scotland The Brave” has been covered by numerous artists and has been featured in various films and television shows, further cementing its place in popular culture. Its use in these mediums not only showcases the song’s widespread appeal but also serves as a reminder of Scotland’s rich heritage and cultural traditions.
Conclusion
In conclusion, “Scotland The Brave” is more than just a song, it is a symbol of Scottish identity and pride. Its origins, lyrical and musical composition, and enduring impact on Scottish culture make it a beloved and important part of the country’s heritage. Whether sung by a lone piper on a misty Scottish hill or belted out by a crowd of passionate Scots, “Scotland The Brave” will continue to evoke a sense of national unity and pride for generations to come.
Scotland the brave guitar tab and chords
Scotland the brave tenor guitar / mandola tab in CGDA tuning
The first thing to be remarked about these songs of Scotland is their transparent simplicity. To the modern ear such songs as these could hardly be more refreshing, for they avoid at the same time the artificiality of the popular hit tune of today and the excessive quaintness of most revived folk songs. One has the impression that here the singer is looking his listener straight in the eye, that he is giving expression to that rare quality of open sentiment which only complete sincerity can bring home to an audience. If we are looking for novelty and escape we must look elsewhere; the compelling appeal of these Scottish songs and ballads is their ability to be content with the everyday world and to find near at hand the thrill that we too often seek afar off. Putting it in its bluntest terms: you can trust a Scot to know on which side his bread is buttered and those who live in the Scottish country side, whether in the Highlands or Lowlands, know better than to write off for travel pamphlets when they can simply look out of their own front window.
A large number of the titles here as songs of local association; they are songs particularly of scenes re- membered. We are carried back to Granny's highland hame, to Bonnie Strathearn and to Rothesay Bay as though they were all places which we ourselves had a special reason to recall. The actual description is couched in conventional terms, but the object is not so much to paint a picture of the setting that is precise in every detail as to convey an attitude towards it. What comes across is not so much the look of the place as the feeling that the writer has for it, a feeling endorsed and reinforced by the composer and made personal by the singer. This feeling of the native for his home neighbourhood, which is the real subject of all these nostalgic songs, is one that can be shared by every listener even though he may live south of the border or far away across the sea.
Perhaps the second chief reflection about this repertoire is that there are no more manly songs on earth than those which hail from Scotland. Who can match the sheer confidence of Scotland the brave or of The Cameronians? The firm stride of the kilted soldier is to be heard in their rhythms and their patriotic words, though they ring out like a call to arms, seek to pick a quarrel with no one. "If the trumpet give forth an un- certain sound," wrote St. Paul to the Ephesians, "who shall prepare himself for the battle?" The invigorating effect of these marching songs is the very opposite of uncertainty.
It would be the most foolish mistake to imagine that the same manliness is in any way lacking from the more tender and reflective songs which provide contrast in a very varied programme. In The bloom is on the rye, for example, we have a love song that is without coyness, direct, straightforward and utterly convincing. The feeling is not strained after; it is to be found in the quality of Kenneth McKellar's voice, a subtle deepening of the tone which has a strange power over us. In this song. and in others such as Dream Angus and The old house the movement is slow and gentle and yet the pace never falters. The sadness and the wistfulness are all within the singer's easy control. Then, for variety, there is an excursion-a purely random one-into the Ireland of Phil the Fluter's ball where the beat of a fast jig is maintained until the listener is almost breathless while the singer remains as fresh as when he started. There is also an introduction of the more modern rhythm and style in Ring the bluebells of Scotland. The same simplicity is to be found here as in the old songs but what stands out most of all is the sense of pure enjoyment of living which Kenneth McKellar imparts to his work.
In his late twenties, at an age when most artists are shyly giving their first solo concert to an audience mainly composed of friends and relations, Kenneth McKellar has already established a name for himself as an accomplished and mature singer. Although his formal training ended only about five years ago, he has already attained peaks of his profession which most of his confrères reach only after years of discouragement. To gain such widespread popularity in such a short time calls for something more than talent and hard work; to these attributes Kenneth McKellar adds a personal quality, treating his songs lovingly and bringing them alive as their composers meant them to live.
Kenneth would be the first to admit that an element of good luck also had aided him on his way to the top. He originally went to Aberdeen University to study Forestry and while training with the Director of Music to the University was advised to take up singing as a career after he had completed the course for his B. Sc. degree. Thus encouraged, he competed for a Caird Scholarship which enabled him to study at the Royal College of Music in London for four years. During the last year there he received from the hands of the Queen Mother the Henry Leslie Prize for singing.
While still studying at the Royal College he had al- ready started to broadcast from Scotland and since then. he has visited the Scottish studios many times to give recitals of classical and Scottish songs and to sing with the B.B.C. Scottish and Scottish Variety Orchestras. Now the Scots, you may be sure, are very particular as to who sings the songs of their own land and the fact that Kenneth as a newcomer was asked back again and again is a measure of his success. More recently he has been appearing on television from Scotland and it is per haps in this, the most personal medium, that he feels most at home.
From 1953 onwards Kenneth McKellar toured Britain with the Carl Rosa Opera Company singing principal roles but it was not long before he established a sufficiently large personal following to be able to launch out on his own. Listeners who are here making their first acquaintance with his work will find him a clear, confident tenor with a cheering, rousing voice. Yet when a note of sadness is called for he brings to bear a range of sympathy and understanding which is astonishing in one so young.
BASIL SAUNDERS
A large number of the titles here as songs of local association; they are songs particularly of scenes re- membered. We are carried back to Granny's highland hame, to Bonnie Strathearn and to Rothesay Bay as though they were all places which we ourselves had a special reason to recall. The actual description is couched in conventional terms, but the object is not so much to paint a picture of the setting that is precise in every detail as to convey an attitude towards it. What comes across is not so much the look of the place as the feeling that the writer has for it, a feeling endorsed and reinforced by the composer and made personal by the singer. This feeling of the native for his home neighbourhood, which is the real subject of all these nostalgic songs, is one that can be shared by every listener even though he may live south of the border or far away across the sea.
Perhaps the second chief reflection about this repertoire is that there are no more manly songs on earth than those which hail from Scotland. Who can match the sheer confidence of Scotland the brave or of The Cameronians? The firm stride of the kilted soldier is to be heard in their rhythms and their patriotic words, though they ring out like a call to arms, seek to pick a quarrel with no one. "If the trumpet give forth an un- certain sound," wrote St. Paul to the Ephesians, "who shall prepare himself for the battle?" The invigorating effect of these marching songs is the very opposite of uncertainty.
It would be the most foolish mistake to imagine that the same manliness is in any way lacking from the more tender and reflective songs which provide contrast in a very varied programme. In The bloom is on the rye, for example, we have a love song that is without coyness, direct, straightforward and utterly convincing. The feeling is not strained after; it is to be found in the quality of Kenneth McKellar's voice, a subtle deepening of the tone which has a strange power over us. In this song. and in others such as Dream Angus and The old house the movement is slow and gentle and yet the pace never falters. The sadness and the wistfulness are all within the singer's easy control. Then, for variety, there is an excursion-a purely random one-into the Ireland of Phil the Fluter's ball where the beat of a fast jig is maintained until the listener is almost breathless while the singer remains as fresh as when he started. There is also an introduction of the more modern rhythm and style in Ring the bluebells of Scotland. The same simplicity is to be found here as in the old songs but what stands out most of all is the sense of pure enjoyment of living which Kenneth McKellar imparts to his work.
In his late twenties, at an age when most artists are shyly giving their first solo concert to an audience mainly composed of friends and relations, Kenneth McKellar has already established a name for himself as an accomplished and mature singer. Although his formal training ended only about five years ago, he has already attained peaks of his profession which most of his confrères reach only after years of discouragement. To gain such widespread popularity in such a short time calls for something more than talent and hard work; to these attributes Kenneth McKellar adds a personal quality, treating his songs lovingly and bringing them alive as their composers meant them to live.
Kenneth would be the first to admit that an element of good luck also had aided him on his way to the top. He originally went to Aberdeen University to study Forestry and while training with the Director of Music to the University was advised to take up singing as a career after he had completed the course for his B. Sc. degree. Thus encouraged, he competed for a Caird Scholarship which enabled him to study at the Royal College of Music in London for four years. During the last year there he received from the hands of the Queen Mother the Henry Leslie Prize for singing.
While still studying at the Royal College he had al- ready started to broadcast from Scotland and since then. he has visited the Scottish studios many times to give recitals of classical and Scottish songs and to sing with the B.B.C. Scottish and Scottish Variety Orchestras. Now the Scots, you may be sure, are very particular as to who sings the songs of their own land and the fact that Kenneth as a newcomer was asked back again and again is a measure of his success. More recently he has been appearing on television from Scotland and it is per haps in this, the most personal medium, that he feels most at home.
From 1953 onwards Kenneth McKellar toured Britain with the Carl Rosa Opera Company singing principal roles but it was not long before he established a sufficiently large personal following to be able to launch out on his own. Listeners who are here making their first acquaintance with his work will find him a clear, confident tenor with a cheering, rousing voice. Yet when a note of sadness is called for he brings to bear a range of sympathy and understanding which is astonishing in one so young.
BASIL SAUNDERS
