Betty Lou Beaton

Track 2 : Betty Lou Beaton (Piano)

Alex MacDonnell's Favourite, jig
Queensville Jig
The Green Tree, jig
Gordon Graham's Jig
(all tunes composed by Dan R. MacDonald)

Betty Lou Beaton is Buddy's youngest sister and his association with fine piano players began with his family. The upright piano arrived in the MacMaster home in the early thirties, shipped to the tiny village of Judique by train, arriving on the Judique Flyer complete with a cardboard chart showing the black and white keys and the names of the notes.

Kathleen (Kay), Buddy's oldest sister, was the first to play the piano. She was also a singer and a stepdancer and would accompany all the fiddlers visiting in the home. After Kay left, Buddy's sister Genevieve, also a fine singer, took over playing the piano, followed by Lorraine and eventually Betty Lou.

For this selection Buddy has picked a set of jigs composed by Dan R. MacDonald, one of the family's favourite visitors. Betty Lou accompanied Dan R. and Buddy many times throughout her career as an accompanist and today she is married to fiddler Kinnon Beaton, Donald Angus's son. She played on her niece Natalie MacMaster's 1989 debut recording "Four on The Floor".

Cape Breton Piano Accompaniment

When Buddy MacMaster played his first dance in Troy he was not accompanied by the piano, but by another fiddler, teaming up with Vincent MacMaster to create enough volume to sustain the dancers through the night. The piano had only recently been introduced to Cape Breton music. The pump organ preceded the piano by more than thirty years and it was on this instrument that many of Cape Breton's players started out.

The pump organ could be used to imitate the sounds of the pipes and the pumping of the pedals would create a gentle syncopation and lift for the music. The droning, sustaining quality of the instrument also allowed the pump organ player to use the right hand for melody playing while keeping the fiddler accompanied with the left. The primitive techniques developed on this parlour instrument are the foundation of today's Cape Breton piano accompaniment style.

By the 1930's, upright pianos began to replace the pump organ and eventually became so popular that they arrived on the east coast by the trainload. The upright piano was perfectly suited to the front parlours of the day. The wooden flooring, lime plaster and wainscoting of Inverness county homes would enhance the already rich tones of these instruments. Pianos could be ordered through the Eaton's catalogue and popular brand names included Mason & Risch, Bell, Nordheimer and Sherlock Manning. The most prized of the uprights was the Heintzman and one is featured on several tracks of this recording.

Although there were a few guitar players, the upright piano was quickly adopted as the main accompaniment instrument for Cape Breton fiddle music. Early recording pioneers include Dan Sullivan, Betty Maillet of The Inverness Serenaders and Bess Siddall MacDonald of Antigonish, who recorded on the first 78 rpms of the Celtic label in 1936. As the tradition evolved, each new player brought something unique and individual to the style. Today there are as many styles as there are players and the piano is also recognized as a melody instrument in its own right.

This recording features players from throughout Buddy MacMaster's career, spanning almost the entire history of Cape Breton piano accompaniment. Although they all have different styles, most of these players have at least one thing in common: they've played at Glencoe with Buddy MacMaster!

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