Ceolas: The Fiddler's Companion

Result of search for "Scots":

A' THE NIGHTS O' THE YEAR, THE CHAPMAN DRINKS NAE WATER. Scottish. Composer John French (1753-1803) had a set of this tune which so impressed the Scots national poet Robert Burns that, in 1793, he tried (via the town provost) to get copies of it (Alburger, 1983). A chapman is a beggar; to 'chap' a door means to knock on it.

ADMIRAL BENBOW. English, Air (3/4 time). G Major. Standard. AB. Walker (History of Music in England, 1924) dates the tune to about 1700. He points out that the melody is also known as a religious carol {"The Land o' the Leal" (Church of England, English Hymnal, 1906), which is simply "Scots wha hae" sung slowly.} Admiral Benbow was an English admiral who defeated a fleet of French warships in West Indian waters at the turn of the 16th century, the only thing marring the victory was the fact that four of this men-of-war refused to join the fight, instead standing-too to watch. The commanders of those ships did not fare well; two were executed, one imprisoned for life, and the last died before punishment could be meted out. The "Admiral Benbow" is the inn in which we first meet Long John Silver in Robert Louis Stevenson's novel "Kidnapped." See also note for the air "Benbow, the Brother Tar." Chappell collected the ballad from Dale's collection, i. 68. Chappell (Popular Music of the Olden Times), Vol. 2, 1859; pg. 92.
T:Admiral Benbow
L:1/8
M:3/4
K:G
G>D|G2B2d2|d>c B2 G>A|B2 cB A>G|G4:|
F>G|A2E2 A>G|F>E D2 GD|G2 GABG|c4 BA|
G2B2d2|d>c B2 GA|B2 cB A>G|G4||

AE FOND KISS. AKA and see "Rory Dall's Port." Scottish, Air (3/4 time). G Major. Standard. One part. The melody was originally "Rory Dall's Port," a triple time tune taken from Oswald (and which some say was Oswald's own) and used by Robert Burns for his song of the above name. Rory Dall was an ancient harper, originally from Ulster, who composed and played primarily in Scotland. Emmerson (1971) notes the tune is of the character of the ancient 'ports' of the harp, a slow Gaelic air, rather than the vulgarly termed 'Scottish Waltz.' Burns composed the heartfelt words, which he set to the tune, in 1791, just after the departure of the young and beautiful Calrinda, Mrs. M'Lehose, who was journeying to Jamaica to meet her husband. Clarinda and the poet were warm friends who had met soon after Burns' poems were first published, and the two were "obviously attracted to one another."
**
Glad we never love sae kindly
Had we never loved sae blindly
Never met--or never parted
We had ne'er been broken-hearted.
**
Burns' words were in fact an adaptation or remolding of the poem "One Kind Kiss before we Part" by Robert Dodsley, and English butler who had risen to be a poet, playwright and major literary publisher, and whose lines were set to music by James Oswald (1710-1769). Neil (The Scots Fiddle), 1991; No. 175, pg. 229.

AFTON WATER. Scottish, Air (6/8 time). D Major. Standard. One part. The air used today for this 1786 pastoral song of Robert Burns is not the one he originally set the song tune, but was substituted by a later editor who thought it more agreeable. The later air was composed in 1850 by Alexander Hume, of Edinburgh, a self-taught musician "who enjoyed an excellent reputation as a chorister and composer of psalms" (Neil, 1991). Burns' original setting was to the melody "The Yellow-Haired Laddie", and presented to Johnston, the editor of the "Scots Musical Museum". Neil (1991) reports that it appears to have been part of a collection of 12 songs the poet first presented to an admirerer named Mrs. Stewart of Stair and Afton, and that the Mary named in the song was probably Mary Campbell (Highland Mary), who was courted by Burns at the time the song was written. Neil (The Scots Fiddle), 1991; Nos. 182 & 183, pg. 237 (old and newer melodys).

AIN KIND DEARIE. AKA - "Ain Kind Deary O," "My Ain Kind Dearie," "Own Kind Deary O." Scottish, Reel. A Major. Standard. AAB. The tune was known, as are many Scots tunes, in County Donegal, Ireland, as evidenced by the old diary entry of a fiddler named William Allingham, employed as a customs officer but whose vocation was traditional music. He visited a poor fiddler named Tom Read in the (probably Ballyshannon) poorhouse who played for him both "Ain Kind Dearie" and "Paudeen O Rafferty" in November of 1847, the time of the famine. Allingham gave George Petrie several tunes which appear in the latter's collection of Irish music. Carlin (The Gow Collection), 1986; No. 408. Gow (Complete Repository), Part 3, 1806; pg. 24. Seattle (William Vickers), 1987, Part 2; No. 294 (appears as "Own Kind Deary O").
T:Ain Kind Dearie
L:1/8
M:C|
S:Gow - 3rd Repository
K:A
B|A>F EF A2 AB|(A/B/c) B>A BFF>B|AFEF A2 Aa|f2 ec eAA:|
f|(ef/g/) ae fe ac|B/B/B c>A BFF>B|A>FEF A2 Aa|f2 ec eAAf|
(ef/g/) ae f>e ac|B/B/B c>A BFFB|AFEF ABce|faef cAA||

ALDRIDGE'S HORNPIPE [1]. Scottish, Hornpipe. A Major (Cole, Kerr): B Flat Major (Atholl). Standard. AABB (Cole, Emmerson): AA'BB (Kerr). Emmerson (1971) explains that toward the end of the 18th century a genre of tunes gained popularity as vehicles for stage hornpipes "performed by the numerous ent'racte dancers then so much in fashion." The name of the hornpipe derives in all probability from the dancer for whom it was composed, Robert Aldridge, whom Chambers describes as 'a famous pantomimist and dancing master'. A doggerel poem in Gentleman's Magazine (January, 1772) describes him as "a dancer of ease." The Irish born Aldridge was a familiar performer in the theaters of London and Dublin in the 1760's and 1770's, and even seems to have resided in Edinburgh for a time at the end of the 1770's where he is recorded to have founded the Boar Club with the elder Schetky. Alexander McGlashan's 1781 Collection of Scots Measures, Hornpipes, Jigs, Allemands, etc. has several items marked "as danced by Aldridge." Cole (1001 Fiddle Tunes), 1940; pg. 86. Emmerson (Rantin' Pipe and Tremblin' String), 1971; No. 85, pg. 163. Kerr (Merry Melodies), Vol. 2; No. 344, pg. 38. Stewart-Robertson (The Athole Collection), 1884.
T:Aldridge's Hornpipe [1]
L:1/8
M:C
K:A
E2|:A2 A2 Acec|defg aecA|BEcE dEcE|BdcB AGFE| A2 A2 Acec|defg aecA|gbge faf^d|
e2 e'2 e2:|
|:cd|ecec eaga|fedc dcBA|GABc defg|afe^d e2 E2|AcAc BdBd|cAce aecA|GEGB dBAG|
A2a2A2:|

ALL THE WAY TO GALWAY [1] ("An Bealach ar fad go Gaillimh" or "An Botar Ar Fad Go Gaillim"). AKA and see "A' the Way to Galloway," "The Sarsfield March," "The Road to Lisdoonvarna," "Slash Away the Pressing Gang," "The March of the Tribes to Galway." Irish (originally), American; Reel or Air. D Mixolydian. Standard. AB (Cole, Stanford/Petrie, Taylor): AAB (O'Neill): AABB (Breathnach). The air was set to a Jacobite era (early 18th century) song and was the precursor to "Yankee Doodle," which it resembles, particularly in the 'B' part. Breathnach (1976) finds the first printing of the tune in Aird's Selections (1780-1803) under the title "The Galway Girls." He quotes Crofton Crocker's The Popular Songs of Ireland (1839) which states "'All the way from Gallaway, early in the morning' is the burden of a popular song descriptive of the march of the Galway militia." See also the Scots relatives "Ciorsdan Mhor", "Big Kirsty", "Miss Stewart Bun Rannoch" and "A' the Way to Galloway." Source for notated version: flute and whistle player Micko Russell (Doolin, Co. Clare, Ireland) [Breathnach]. Breathnach (CRE II), 1976; No. 282, pg. 144. Cole (1001 Fiddle Tunes), 1940; pg. 21. O'Neill (1001 Gems), 1986; No. 999, pg. 172. Stanford/Petrie (Complete Collection), 1905; No. 849, pg. 212. Chieftains - "Chieftains 3." Green Linnet SIF 3005, The Bothy Band - "Old Hag You Have Killed Me" (1981. A reissue of the 1976 Mulligan LP).
T:All the Way to Galway [1]
L:1/8
M:C
S:O'Neill - 1001 Gems (999)
K:D Mix
A|d>efd cAA>c|BGGA/B/ cAA>c|d>efd cAA>c|BGAF|D2D:|
G|A>BAG ABcA|G>AGF EFGE|A>BAG ABcd|cAGE D2 DG|
A>BAG ABcA|G>AGF EFGE|A>BAG AddB|cAGE D2D:|

ALL THE WAY TO GALWAY [4]. Irish, Highland. Ireland, County Donegal. A Dorian. Standard. AABB'. This tune is related to "All the Way to Galway" [1]. See also Scots relatives "Ciorsdan Mhor", "Big Kirsty", "Miss Stewart Bun Rannoch" and "A'
the Way to Galloway." Source for notated version: fiddler Simon Doherty (County Donegal) [Feldman & O'Doherty]. Feldman & O'Doherty (The Northern Fiddler), 1979; pg. 109 (appears as "Untitled Highland).

ANDERSON'S RANT. Scottish, Reel. C Major. Standard. AAB (Glen): AABBC (Marshall). Composed by the great Scots fiddle-composer William Marshall (1748-1833), and first published in his 1781 Collection, although, according to Glen (1895) it did not appear in his collective and posthumous works. Susan Cowie, in her book The Life and Times of William Marshall (1999), states the reel is dedicated to the Reverend John Anderson, a cleric who helped educate Marshall when he came to Gordon Castle as a young lad (Marshall was said to have only had six months of grammer school education prior to joining the castle staff as house boy). Anderson at one time held both the post of parish minister and commissioner upon the Gordon estates, but when this dual role was challenged by the General Assembly Anderson in 1819 opted to remain commissioner, the more lucrative of the two jobs. Glen (The Glen Collection of Scottish Dance Music), Vol. 2, 1895; pg. 19. Marshall, Fiddlecase Edition, 1978; 1781 Collection, pg. 7.
T:Anderson's Rant
L:1/8
M:C|
S:Glen Collection
K:C
CEGE c2 ce|GECE D2 DE|CEGE cdfa|gede c/c/c c2:|
gecg ecge|gece d2d2|gecg ecge|fdge c/c/c c2|gecg ecge|
gece d2d2|GcFc Ecfa|gede c/c/c c2||

ANGUS ON THE TURNPIKE. Canadian, Reel. Canada, Cape Breton. The Scots' answer to the Irish "Paddy on the Turnpike." Atlantica Music 02 77657 50222 26, Natalie MacMaster - "Atlantic Fiddles" (1994). Canadian Broadcasting Corp. NMAS 1972, Natalie MacMaster - "Fit as a Fiddle" (1993).

ANNIE LAURIE. Scottish, Air (4/4 time) or Strathspey. D Major. Standard. One part (Bain): AAB (Neil): AABB (Kerr). Neil (1991) writes that the air and a portion words were written by Lady Jane Scott (1810-1890), after an old ballad composed by Douglas of Fingland in honor of Annie, the youngest daughter of Sir Robert Laurie, 1st Baronet of the Maxwelton family, whose seat of Maxwelton was located on the banks of the valley of Bairn in Dumfriesshire, Scotland. Sir Robert and Annie were lovers, though secret ones, who had met at a ball in Edingburgh; they trysted often in the woods around Maxwelton, but Robert, committed to the Jacobite cause, was eventually forced to flee the country. J. Murray Neil (1991) informs us: "It is said the Annie was very slim and graceful. She was a classic beauty with a longish face, large blue eyes and brown hair, which she left unpowdered, contrary to the custom of the day. Her hands and feet were small so that the reference in the ballad ("Like dew on the gowan lying, Is the fa' o;' her fairy feet") would seem to be based in fact." Lady Scott's song enjoyed great poplarity, which only waned after the Second World War. She was the eldest daughter of her generation of the Spottiswoode family and married John Scott, the third son of the Duke of Buccleugh. He died in 1860, but ten years later Lady Jane inherited the estates of her family of origin, near Lauder in Berwickshire, and, in accordance with her father's will, returned to her maiden name, Alicia of Spottiswoode, when she assumed the property. As a parlor song it was popular in the English speaking world in the late Victorian era [Neil]. The great Scots composer William Marshall wrote a strathspey in her honor (see "Lady John Scott"). Bain (50 Fiddle Solos),1989; pg. 41. Kerr (Merry Melodies), Vol. 4; No. 42, pg. 7. Neil (The Scots Fiddle), 1991; No. 35, pg. 45. Rounder 0089, "Oscar & Eugene Wright: Old Time Fiddle and Guitar Music from West Virginia."

ANWICK LODGE. Scottish, Scots Measure. B Flat Major. Standard. AAB. "Very slow" (Gow, 1817). Composed by the Earl of Eglinton. Gow (Complete Repository), Part 4, 1817; pg. 14.
T:Anwick Lodge
L:1/8
M:C
S:Gow - 4th Repository
K:B_
d2 d>e f2 f>f|(gf)(ed) c2B2|d2 d>e f2 f>f|(gf)(e>d) (d2c2):|
d2 d>d c3B|c>Bcd (e2c2)|d2 d>d dfed|c3B B4|d2 d>d {d}c3B|
{d}c>Bcd {f}e2c2|d2 d>d (dfe)d|c3B B4||

ARCHIBALD MACDONALD OF KEPPOCH. Scottish, Slow Air (6/8 time). D Minor. Standard. AAB. See "Keppoch A Wilderness" for related history of the MacDonalds of Keppoch. The tune was first published by the Scots fiddler, collector and composer Captain Simon Fraser (1773-1852) of Ardachie, near Fort Augustus. Fraser's work The Airs and Melodies Peculiar to the Highlands of Scotland and the Isles contained many works collected from vaious sources during the period 1715-1745. The MacDonalds of Keppoch were a distinguished branch of Clan MacDonald, who supported the Stewart monarchs in the 17th century, culminating with their participation in the Jacobite risings of the 18th century. They fought entry on the side of Bonnie Prince Charlie in the Jacobit Archibald MacDonald lived from 1678 to 1745, dying just prior to the entrance of the MacDonald's of Keppoch on the side of Bonnie Prince Charlie in his ill-fated attempt to gain the crown of Scotland and England. The MacDonalds of Keppoch are a very distinguished branch of the Clan Macdonald who played vital roles in providing support for the Stewart monarchs in the 17th century and then wholeheartedly supported the Jacobite risings in the 18th century. As a result of their support for the Jacobite cause they lost their lands in Lochaber/ Roy Bridge and they are currently without an officially recognised clan chief.
Lerwick (Kilted Fiddler), 1985; pg. 71. Martin (Ceol na Fidhle), Vol. 2, 1988; pg. 20 (includes a harmony part). Matthiesen (Waltz Book II), 1995; pg. 2. Green Linnet SIF 1047, Johnny Cunningham - "Fair Warning" (1985). Elke Baker & Liz Donaldson - "Terpsichore."

ARTHUR('S) SEAT [1]. Scottish, Hornpipe. B-Flat Major. Standard. AABB (Hardie): AA'BB (Brody). Composed by the famous Scots composer and fiddler J. Scott Skinner, appearing first in his Cairngorm Series (Pt. 6), titled after a prominent Edinburgh landmark, a high volcanic plug. In fact, the name is quite ancient having been first recorded by Giraldus Cambrensis in the 12th century as 'Cathedra Arturi' (the Greek word cathedra means throne), and stems from the time the area was Brittonic, prior to the invasions of the Anglo-Saxon tribes. Bill Hardie notes that the cross bowing he indicates in his printed version of the tune "is particularly suited to the chromatic writing in the second strain." Skinner recorded the tune in the early 1920's as part of "The Celebrated Hornpipes" medley. Source for notated version: Jean Carignan (Montreal, Canada) [Brody]. Brody (Fiddler's Fakebook), 1983; pg. 26. Hardie (Caledonian Companion), 1986; pg. 39. Flying Fish FF 70572, Frank Ferrel - "Yankee Dreams: Wicked Good Fiddling from New England" (1991). Folkways FG3531, Jean Carignan- "Old Time Fiddle Tunes" (first tune of 'Bank'). Philo 2001, "Jean Carignan" (first tune of 'Banks Medley'). Topic 12T280, J. Scott Skinner- "The Strathspey King."

ATHOLE CUMMERS, THE [1]. AKA and see "Bog An Lochan." Scottish, Strathspey. E Minor. Standard. AABBCDD' (Kerr): AA'BB'CD (Athole). The title first appears in Bremner's 1757 collection (pg. 78), according to Glen. Athole (or Atholl) derives from the Gaelic ath Fodla, generally translated as New Ireland, and stems from the first invasion of the northern land by the Irish tribe the Scots in the 7th century (Matthews, 1972). The Scottish dialect word 'cummer' probably refers to a girl or woman, the title then meaning 'Athole Lasses'. It has been suggested that 'cummer' was derived from the Old French word 'commere', which itself is probably an elided form of 'comme mere', which translates as "like mother." Kerr (Merry Melodies), Vol. 1; 4th Set, No. 3, pg. 5. McGlashan (Collection of Strathspey Reels), c. 1780/81; pg. 10. Stewart-Robertson (The Athole Collection), 1884; pg. 252.
T:Athole Cummers
L:1/8
M:C
R:Strathspey
B:The Athole Collection
K:E Minor
F|:E/E/E ~E2 E>FB>F|E/E/E ~E2 F<D A>F|E/E/E ~E2 D>FB>A|1
B<d A>d F>DA>F:|2 B<dA<d F<D D>d||
|:B<E B>A B<E E>e|B<E B>A F<D D>d|B<E B>A d>ef>e|1
d/^c/B/A/ d>A F<D D>d:|2 d/^c/B/A/ d>A F<D D>f||
e/e/e e2 d>fb>f|e/e/e e2 f>da>f|e/e/e d2 d>fb>f|g<eb<e df/g/ a>f|
g>eb>e g<e b>e|g<e b>e df/g/ a<f|g<eb<e d>ef>e|d/^c/B/A/ d>A F<DD<d||
B<E B>A B<E E>e|B<E B>A F<D D>d|B<E B>A d>ef>e|
d/^c/B/A/ d>A F<D D>d|B<E B>A B<E E>e|B<E B>A F<D D>d|
B<E B>A d>ef>e|d/^c/B/A/ dA F>DD||

ATHOL(L) HOUSE. AKA - "Athole House." Scottish, Reel. F Major. Standard. AAB. One of the most famous compositions of Edingburgh music teacher Daniel (or perhaps Donald) Dow (c. 1783). Little is known about Dow, who was born in Kirkmichael, Perthshire, but "his compositions were highly esteemed in their time and still live" (Emmerson, 1971). The tune was originally published as a country dance in the Edinburgh Magazine and Review in 1773. Originally printed without dotted rhythms, the Gows later added them in places to change the tune to a strathspey (Alburger says this may illustrate Niel Gow's up-driven bowing style). The piece first appears published by Dow (pg. 1) in his c. 1775 collection.
***
Athole (or Atholl) House was the seat of the Duke of Atholl, who in the mid-18th century was the first patron of the famous Scots fiddler and composer Niel Gow, who besides his noted skill on his instrument, also possessed an earthy frankness and who was not intimidated by social standing. On one occasion when he was playing for dancing at Atholl, a portion of the invited party lingered in the ballroom, loath to forsake the dancing. Gow, not impressed with the fashionable indifference to the waiting supper, soon became exasperated and called out to the remaining crowd: "Gang doun to your supper, ye daft limmers, and dinna hand me reelin' here, as if hunger and drouth were unkent i' the land--a'body can naethin' done for you!" The name Athole (or Atholl) derives from the Gaelic ath Fodla, generally translated as New Ireland, and stems from the first invasion of the northern land by the Irish tribe the Scots in the 7th century (Matthews, 1972).
***
Alburger (Scottish Fiddlers and Their Music), 1983; Ex. 60, pg. 97. Glen (The Glen Collection of Scottish Dance Music), Vol. II, 1895; pg. 25. Gow (Complete Repository), Part 1, 1799; pg. 31. MacDonald (The Skye Collection), 1887; pg. 151. McGlashan (A Collection of Reels), c. 1786; pg. 27. Stewart-Robertson (The Athole Collection), 1884; pg. 211.
T:Athole House
L:1/8
M:C|
R:Reel
B:The Athole Collection
K:F
f|cFAF cF d/c/B/A/|cFAF EGGf|cFAF cAfc|d/c/B/A/ cC DFF:|
c|~f2 a/g/f/e/ fcAc|Fc d/c/B/A/ BGGc|~f2 a/g/f/e/ fcAc|d/e/f e/f/g cf~fc|
fcaf ecbg|afcf eggb|afcf dBGB|AFcC DF~F||

ATHOLL HIGHLANDERS, THE. AKA - "Athol Highlanders Jig." AKA and see "Lord Athlone's March," "The Three Sisters" (Shetland). Scottish (originally), Irish; Pipe March (6/8 time) or Jig. Scotland, Perthshire. Ireland, Donegal. A Major/Mixolydian (Brody, Hinds, Martin, Neil, Songer, Sweet): G Major (Kerr). Standard. AABB (Kerr): AABB' (Neil): AABBCC (Brody): ABCD (Sweet): AABBCCDD (Hinds, Martin, Songer). The name Athole (or Atholl) derives from the Gaelic ath Fodla, generally translated as New Ireland, and stems from the first invasion of the northern land by the Irish tribe the Scots in the 7th century (Matthews, 1972). The tune, described sometimes as a Scottish warpipes melody, is dedicated to the private army of the Duke of Atholl, the last private army still legally existing {albeit on a token level} in the British Isles (Boys of the Lough). Musically, the tune contains a characteristic melodic cliché in Scottish music in which a figure is followed by the same or a related figure on the triad one tone below or above (Emmerson, 1971). The original Athole Highlanders (and the ones associated with the tune) were the old 77th Highland Regiment, raised in 1778 and commanded by Colonel James Murray. The 77th served in Ireland and was not engaged in active service, though its garrison services were apparently useful in freeing other units for the conflicts with America and France. They were disbanded in 1783 after those conflicts ended (though the disbanding may have come about because of a mutiny). The tune was later taken up as a march past by the 2nd Battalion of the Cameronians, the 90th Light Infantry, who over the years had shed their Scottish origins. However, when pipers were introduced in 1881 they recollected their Perthshire origins and chose to play "The Atholl Highlanders" (also known in pipe literature as "The Gathering of the Grahams"). Susan Songer notes that when played for contra dances once through the tune is twice through a dance. Source for notated version: the tune was first brought to the Portland, Oregon, area by Seattle accordion player Laurie Andres and Olympia fiddler John Culhane in 1989 when playing at the first Spring Festival, and subsequently entered contra dance repertoire in that region [Songer]. Brody (Fiddler's Fakebook), 1983; pg. 27. Hinds/Hebert (Grumbling Old Woman), 1981; pg. 20 (appears as "Athol Highlanders Jig"). Kerr (Merry Melodies), Vol. 3; No. 265, pg. 29. Martin (Ceol na Fidhle), Vol. 1, 1991; pg. 23. Neil (The Scots Fiddle), 1991; No. 117, pg. 155. Songer (Portland Collection), 1997, pg. 21. Sweet (Fifer's Delight), 1964; pg. 37. Banff SBS5406, "Graham Townsend, Champion Folk Fiddler." Green Linnett GLCD 3090, Mairead Ní Mhaonaigh & Frankie Kennedy - "Ceol Aduaidh" (1983/1994). Nimbus NI 5320, Ciaran Tourish et al. - "Fiddle Sticks: Irish Traditional Music from Donegal" (1991). Philo 1042, Boys of the Lough- "Piper's Broken Finger" (1976). Tradition 2118, "Scottish Dances: Jigs, Waltzes and Reels" (1979). Transatlantic 341, Dave Swarbrick- "Swarbrick 2." "Bob Smith's Ideal Band, Better Than an Orchesta" (1977).

AULD CHAPEL BRAE. Scottish, Air (4/4 time). G Major. Standard. AB. Composed by Bert Murray in memory of his grandfather, Alexander (Sandy) Murray of Banchory, Kincardine-shire. The air takes its name from the hill called Chapel Brae, where Murray's old cottar house was situated. Sandy was a fiddler who played at Lowlands social gatherings, often accompanied by his brother on the cornet and cousin on double bass. J. Murray Neil (1991) relates:
***
Sandy was an acquaintance of James Scott Skinner, who visited
him regularly. On those occasions, the children would sit
under the bed, which had been raised on blocks, while the
two men chatted and perhaps had a 'dram'. Scott Skinner
would often pass a small plug of tobacco through the spars
to the boys, which they would smoke in their clay pipes.
Sandy composed a number of fiddle tunes, which he wrote
out on strips of paper and left on the mantle-piece, and which
occasionally could not be found after such a visit.
***
Neil (The Scots Fiddle), 1991; No. 95, pg. 128.

AULD HOUSE, THE. Scottish, Highland Schottische. G Major. Standard. One part (Neil): AABB (Kerrs). The tune and song in the traditonal style are by Lady Nairne, popular until before the Second World War.
***
The mavis still doth sweetly sing,
The bluebells sweetly blaw,
The bonny Earn's clear winding still,
But the Auld House is awa'.
The Auld House, the Auld House,
Deserted tho' ye be,
There ne'er can be a new house
Will seem sae fair to me?
***
Kerr (Merry Melodies), Vol. 3; No. 207, pg. 24. Neil (The Scots Fiddle), 1991; No. 109, pg. 146.

AULD LANG SYNE. Scottish, Air (2/4 time) or Strathsepy. F Major (Neil): A Major (Stewart-Robertson). Standard. AABB. Robert Burns (1759-1796) had the air to which he wrote his famous lyrics from an old man's singing, and immediately wrote it down upon hearing as he thought it "exceedingly expressive" and which he later remarked "has often thrilled through my soul." The song was sent by him to Johnson for inclusion in the Scots Musical Museum with a note that it was an old song with additions and alterations (Neil, 1991). Fuld (1966) states that the extent of Burns' responsibility for the words and tune has always been controversial, and states that it is "generally agreed that he was not the author of the words of the first verse," which he points out is the only one everyone knows. According to Robert Chambers [Scottish Songs Prior to Burns, 1890], the earliest printing of a song called "Old-Long-Syne" [sic] with the famous opening line is in James Watson's Scots Poems, Part III, pg. 71 (Edingburgh, 1711). Chambers wrote that he song appears "as early as the reign of Chas. I, its associations conveyed in a song of many (10) stanzas", finally "brought together (in Watson's book) in a song of many stanzas." In fact, there were ten stanzas given in Scots Poems. These early printings, including Burns' version, were to melodies other than the air famous in modern times (interestingly, Burns wrote another song to the "Auld Lang Syne" melody that is substantially the one we know today, which he called "O Can Ye Labor Lea, Young Man," also known as "I Fee'd a Man at Martinmas," found in the Scots Musical Museum [Edinburgh, 1792-1793]).
***
Fuld finds identifying motifs for the modern melody for "Auld Lang Syne" in Playford's "The Duke of Bucclugh's Tune" in Appolo's Banquet (1687), and subsequently and more elaborately as "The Miller's Wedding" (in Bremner's Scots Reels, c. 1765), "The Miller's Daughter," "The Lasses of the Ferry," "Sir Alexander Don's Strathspey," "Roger's Farewell," and the "Overture" to William Shield's opera Rosina (London, 1783). The words and the present melody were first printed together in 1799 in George Thompson's A Select Collection of Original Scottish Airs (London), but, Fuld states, "it is not clear whether Thomson or Burns brought the words and melody together," and it is not clear exactly which air Burns heard the aforementioned old man singing.
***
Stewart-Robertson prints a strathspey version of the tune arranged by John MacAlpin of Killin, for dancing. Ludwig van Beethoven arranged a setting of "Auld Lang Syne" early in the 19th century.
***
As a young man Mark Twain thought to learn music and tried first one instrument, then another, before finally settling down with an accordion. After determining its rudiments, he learned the popular air "Auld Land Syne," and for about a week he continued to torture his unwilling listeners with the melody, when he, being of an ingenious turn of mind, endeavored to improve upon the original melody by adding some variations of his own device. Just as he finished the tune with a suitable flourish, his landlady stepped into his room and said, "Do you know any other tune but that, Mr. Twain?" He told her meekly he did not. "Well then," said she, "stick to it just as it is; don't put any variations on it; because it is rough enough on the boarders the way it is now." As it happened, half the boarders left anyway, while the other half would have had not the landlady discharged Twain first. The aspiring musician went from house to house, but none would undertake to keep him after one night's music, so, at least, in sheer desperation he went to board with an Italian lady--Mrs. Murphy, by name. He says:
***
The first time I stuck up the variations, a haggard care-worn,
cadaverous old man walked into my room and stood beaming
upon me a smile of ineffable happiness. Then he placed his hand
upon my head, and looking devoutly aloft, he said with feeling
unction: "God bless you, young man! God bless you! for you
have done that for me which is beyond all praise. For year I
have suffered from an incurable disease, and knowing my doom
was sealed, and that I must die, I have striven with all my power
to resign myself to my fate, but in vain--the love of life was too
strong within me. But heaven bless you, my benefactor! For since
I heard you play that tune and those variations, I do not want to
live any longer--I am willing to die--in fact, I am anxious to die."
And then the old man fell upon my neck and wept a flood of happy
tears. I was surprised at these things, but I could not help giving the
old gentleman a parting blast, in the way of some peculiarly lacerating
variations, as he went out of the door. They doubled him up like a
jackknife, and the next time he left his bed of pain and suffering he
was all right, in a metallic coffin.
***
At last Twain gave up the instrument, and from then on gave amateur musicians a wide berth. Ashman (The Ironbridge Hornpipe), 1991; No. 72b, pg. 30. Neil (The Scots Fiddle), 1991; No. 189, pg. 244. Stewart-Robertson (Athole Collection), 1884; pg. 1.
T:Auld Lang Syne
L:1/8
M:C
N:"As arranged by John McAlpin, Killen"
B:The Athole Collection
S:Strathspey
K:A
E|A2A>c B>AB>c|AAA>a f2f>a|e<cc>A B>AB>c|A>FE>F A2A:|
|:a|e<cc>A B>AB>c|e<cc>e f>ga>f|e>cc>A B>AB>c|A>FE>F A2A:|

AULD ROBIN GRAY [1]. Scottish, Slow Air (4/4 time). G Major (Hunter): F Major (Neil). Standard. One part (Hunter): AB (Neil). The air which superseded the older air was composed by the Englishman Rev. W. Leeves (1748-1828), rector of Wrington in Somerset, to words composed by the Lady Anne Barnard (nee Lindsay, born 1750, the eldest daughter of the 5th Earl of Balcarres in Fife). The melody was set to a song by Lady Barnard, who wrote her lyrics to the favorite tune of one Suphy Johnson of Hilton. Suphy, incidently, became "one of the intelligent eccentrics of Edinburgh society--the girl who, as an experiment, was left to educate herself, who dressed in an oddly masculine manner, who practised blacksmithing as a hobby, and played the fiddle!" (Emmerson, 1971). Lady Barnard had the reputation of being comely, quick witted, and vivacious and has been referred to as 'the daughter of a hunderd earls' (Neil, 1991). She married at the rather advanced age of 43 to one Andrew Barnard, Bishop of Limerick, who died in 1807. Lady Anne apparently preferred her work to remain anonymous and shunned publicity, however, Neil (1991) tells the story that, on one occasion, she sang "Auld Robin Gray" for Lady Jane Scott (the writer of the modern "Annie Laurie"), who remarked "that she had sung it as if it were her own, and if Lady Barnard would give her a copy, she would keep the secret" (Neil, 1991). The following is one verse composed by Lady Anne (who either originally set the words to the Scottish tune "The Bridgroom Grat" or composed the original air herself):
***
I gang like a ghaist and I carena to spin,
I darena think o' Jamie, for that wad be a sin;
But I'll do my best a gude wife to be,
For auld Robin Gray is kind to me.
***
The real Robin Grey was a shepherd on her father's estate of whom the children were rather fond, but the tale related in the song seems to have been fashioned from fantasy. It tells of a young woman, forced by poverty to wed an elderly man, Auld Robin Grey, though she loves young Jamie. She is forced to endure a number of travails, such as Jamie going off to sea, her father breaking his arm, her mother sick, her marriage, but the final sorrow was supplied by Lady Anne's younger sister, Elizabeth, who suggested "steal the cow, sister Anne", and the verse was completed. The melody was a favorite piece de resistance of many Scottish fiddlers, including J.S. Skinner in the latter 1800's. Davie's Caledonian Repository. Hunter (Fiddle Music of Scotland), 1988; No. 8. Neil (The Scots Fiddle), 1991; No. 15, pg. 21.

AULD SPRINGS (TUNES) GEES NAE PRICE. Scottish, Strathspey. G Major. Standard. AAB. Spring is a Scots term for tune. Carlin (The Gow Collection), 1986; No. 7. Gow (Complete Repository), Part 2, 1802; pg. 11.
T:Auld Springs Gees Nae Price
L:1/8
M:C
S:Gow - 2nd Repository
K:G
G2{G}g>e (e/d/)c/B/ d2|GA/B/ gB A>GAB|G2 {f}g>e e/d/c/B/ d2|(g>a/2b/2) ag e>deg:|
(gb)(eg) de {c}B2|de/f/ gB A>GAB|gbeg de {c}B2|de/f/ gd e>deg|(gb)(eg) de/d/ (c<B)|
de/f/ gB A>GAB|G2{G}g>e (e/d/)c/B/ d2|(g>a/2b/2) ag e>deg||

AULD STEWART'S/STUART'S BACK AGAIN. AKA and see "Old Stewart's Back Again." Scottish, Reel. D Mixolydian. Standard. AAB (Gow, Vickers): AABB' (Athole). According to John Glen the piece was first published in Neil Stewart's 1761 collection (pg. 23), however, the tune appears to be popularly known somewhat earlier than that, as evidenced by this excerpt from a letter written by Ralph Bigland in 1749 of an entertainment on the London stage (quoted by Emmerson, 1972):
***
I have since I came here [London] been lately two or three times at the play
and what invited me most was to see a new dance called the Scots Dance
consisting of about 20 lads and lasses dress'd after the Highland fashion. The
scene represents a very romantic, rocky, or mountainous country seemingly,
at the most distant view you behold a glorious pair (which far surpass all the
other actors) sitting among the rocks, while the rest are dancing below among
groves of trees. Some are also representing with their wheels a spinning; all
the while the music plays either Prince Charlie's minuet or the Auld Stewarts
Back Again. At last descends from the mountains the glorious pair which to
appearance is a prince and princess. Then all the actors retire on each side
while the royal youth and his favourite dance so fine, in a word that the
whole audience clap their hands for joy. Then in a moment the spinning
wheels are thrown aside and every lad and lass join in the dance and jerk
it away as quick as possible while the music briskly plays--Over the Water
to Charlie, a bagpipe being in the band. In short it was so ravishing seemingly
to the whole audience that the people to express their joy clap their hands in a
most extraordinary manner indeed.
***
Carlin (The Gow Collection), 1986; No. 525. Gow (Complete Repository), Part 2, 1802; pg. 37. Seattle (William Vickers), 1987, Part 3; No. 516. Stewart-Robertson (The Athole Collection), 1884; pg. 102.
T:Auld Stewart's Back Again, The
L:1/8
M:C|
R:Reel
B:The Athole Collection
K:D
=c|BGAG F>GA=c|BGAF BEE=c|BGAG F>GAg|fdec dDD:|
|:g|f>gaf gabg|f>gaf beeg|1 f>gaf gabg|fdec dDD:|2 fgaf gabg|faef dDD||

AYRSHIRE LASSIE, THE [1]. Scottish, Reel. G Major. AB. From Scots fifer David P. Henderson. Source for notated version: Hiram Clinton Horner (Western Pa.) [Bayard]. Bayard (Dance to the Fiddle), 1981; No. 187, pg. 144.

BAKASKIE. Scottish. Robin Williamson thinks the title may refer to Sir William Bruce of Balcaskie, the architect of Holyrood Palace, which stands in Edinburgh today (rebuilt between 1671 and 1679). The air appears in the Panmure MS #9454 Seventy-Seven Dances, Songs and Scots Airs for the Violin, c. 1675. Flying Fish, Robin Williamson - "Legacy of the Scottish Harpers, Vol. 2."

BALLINDALLOCH'S RANT/REEL. Scottish. The melody was used by the Scots national poet Robert Burns for one of his songs.

BAND OF FREEMAN. American, March (4/4 time). USA, Pa. D Major. Standard. AB. From the Pennsylvania fifing tradition. The title comes from a song called "The Old Granite State," popularized in the early 1800's by the Hutchinson family of singers, and which had a repeated chorus-line of "We're a band of freeman." The tune was used for several spirituals and camp-meeting songs, especially by the Millerites. Bayard (1981) "emphatically" disputes Winston Wilkinson's assertion that the tune is the air or the Irish reel "Take Her Out and Air Her." He also thinks that the tune may possibly be a derivative of a Scots march by Oswald, "The Tulip." Source for notated version: fifer Hiram Horner (Western Pa., 1944) [Bayard]. Bayard (Dance to the Fiddle), 1981; No. 287, pg. 241.

BANKS OF ANNAN, THE. Scottish, Air (3/4 time). G Major. Standard. One part. Neil found this air in Watlen's A Choice Collection of Old Scots Songs, Plain and Simple Without Being Italinised in the Least (1793). Neil (The Scots Fiddle), 1991; No. 38, pg. 49.

BANKS O' FORTH, THE. Scottish, Air (4/4 time). D Major. Standard. AABB. The air, referring to the Firth of Forth, was composed by Edinburgh dancing master, singer, and composer James Oswald (b. 1711) and published in his Curious Collection of Scots Tunes. Oswald left for London in 1741 where he continued to compose and publish. Neil (The Scots Fiddle), 1991; No. 9, pg. 11.

BANKS OF HELICON, THE. Scottish. "From a manuscript of 1566, printed by Stenhouse, the tune to a song composed in very florid style to celebrate the beauties of the unfortunate Mary, Queen of Scots, whose troubles were in that year soon to begin, with the murder of her favourite, David Riccio, in March. Helicon, in Greek mythology, is a mountain sacred to the Nine Muses, where flows the Fountain of Hippocrene, often referred to as the source of poetic inspiration" (Williamson). Flying Fish FF358, Robin Williamson - "Legacy of the Scottish Harpers, Vol. 1."

BARROWBURN. AKA - "Barrow Burn Reel." Scottish, Irish; Reel. D Major. Standard. AABB. A modern composition by Addie Harper of Wick, Scotland. 'Burn' is a Scots word for stream. The tune is identified as a traditional Shetland reel on Sharon Shannon's album, who was apparently unaware that it is a modern composition. Taylor (Where's the Crack?), 1989; pg. 14. CCF2, Cape Cod Fiddlers - "Concert Collection II" (1999). Green Linnet GLCD 3127, Sharon Shannon - "The Best of Sharon Shannon: Spellbound" (1999. Appears as first tune of "Bag of Cats" medley).
T:The Barrowburn reel
C:Addie Harper
M:4/4
L:1/8
Q:1/4=150
Z:Transcribed by Paul de Grae
K:D
A2|:D2 DE FAAd|B2 BA BddB|A2 AB d2 de|fedB AFEF|
D2 DE FAAd|B2 BA Bdde|f2 af egfe|1dBAB d2 D2 :|
2 dBAB d2|:cd |
e2 ef ecBA|f2 fg fdBA|g2 ga gecA|a2 ag f2 ef|
g2 ga gecA|a2 ag f2 ef|g2 ag f2 ed|BAAB d2 :|

BARWICK BILLY. AKA and see "Go to Berwick Johnnie," "Berwick Johnny," "Berwick Jockey," "The New Road to Berwick." English, Double Hornpipe (3/4 time). England, Northumberland. F Major. Standard. AABBCCDD. Double hornpipes are generally from Lancashire and Cheshire. "Barwick is an old spelling of Berwick (as in Berwick-On-Tweed). Time signature 6/8 (in William Vicker's original) but notes grouped in 3/4 throughout. This would appear to have been one of the most popular Double Hornpipes to judge by its many surviving versions; only the 'Dusty Miller' rivals it in this respect. Vicker's setting is the only one I have seen with four strains, others having two or three" (Seattle). Seattle (William Vickers), 1987, Part 2; No. 254. Stokoe & Bruce, Northumbrian Minstrelsy, 1882; pg. 18 (appears as "Go to Berwick, Johnnie"). Mooney, Choicest Scots Tunes, 1982; pg. 1 (appears as "Go to Berwick, Johnnie"). Seattle, Bewick's Pipe Tunes, 1986; No. 34 (appears as "Berwick Johnny"). Offord, John of the Greeny Cheshire Way, 1985; pg. 3 (appears as "Berwick Jockey").

BATTLE OF HARLAW, THE. AKA - "The Desperate Battle." Scottish, Fiddle Pibroch (4/4 time). D Major. Standard. AABBCCDDEEFFGGHHIIJJKKLLMMNNOOPPQQRRSST (theme and variations). The Battle of Harlaw took place on July 24th, 1411, and pitted the Lowlands lairds against the followers of Donald of the Isles in the latter's claim as successor to the Earldom of Ross. The battle established the territorial limits of the Lords of the Isles and Highlanders still regard it as a victory, though the Lowland ballad also claims victory due to the death of Red Hector, one of the leading Highlanders. Johnson (1983) dates the fiddle version of the tune which he prints to 1720 on stylistic grounds, however, the original melody was probably written as a harp piece "immediately after the battle it commemorates, which took place in Aberdeenshire in 1411" (Johnson, pg. 123). From the harp it may have been transferred to the pipes, he speculates, as the entire piece is in the range of the bagpipes and is in modern pipe repertory (with small alterations) as "The Desperate Battle." The title as a song appears in The Complaynt of Scotland (1548), and as a bagpipe piece in a c. 1650 poem by Drummond of Hawthornden. Lyrics for the tune appear in Allan Ramsay's Ever Green (1724).
***
Bagpipe music appears in a manuscript of 1624-25, though the first published appearance of the tune is in Daniel Dow's Ancient Scots Music (c. 1775). It later appeared in Johnson's Scots Musical Museum, though that publisher altered the second strain from that printed by Dow. Gratten Flood thought the piece did not bear the marks of a 15th century work but thought it bore all the characteristics of a 17th century tune. Johnson states it should be played on as many open strings as possible to maximize the resonance. Collinson (1975) is of the opinion that "the tune will hardly survive the test of píobaireachd requirements," but concedes when played at the proper adagio tempo there is a faint suggestion, in the melodic progressions and repetitions, of the sound of the píobaireachd. This tune, or one by the same name, metamorphasized into several other dance and song airs--see Bayard's extensive note for "Over the River to Charlie." One version of the ballad, as sung by the late Lucy Stewart of Fetterangus, appears recorded by Scotland's Battlefield Band on their album "At the Front" (Topic 12TS381, 1978). Source for notated version: Ancient Scots Music by Dow [Johnson]. Johnson (Scottish Fiddle Music in the 18th Century), 1984; No. 57, pgs. 135-137. Purser (Scotland's Music), 1992; Ex. 8, pg. 76.

BATTLE OF KINLOCH LOCHY, THE. AKA - "Blar Leine." Scottish, Slow Air. G Minor. Standard. AABB. The event at Kinlochlochy (the head of Loch Lochy) in 1544 was a fierce clan conflict between the MacDonalds of Lochaber and Glengarry (aided by the Camerons) against the Clan Fraser, aided by the Grants and Clan Chattan. It arose from a dispute regarding the chieftanship of the Clanranald; the MacDonalds supported one Ian Moideartach (John Moydartach or John of Moidart), while the Frasers promoted Ranad Gallda or Galda (Ronald Gualda), the grandson of the chief of the Clan Fraser, Lord Lovat. The King's agent in the north of Scotland, the Earl of Huntly, took the opporunity to punish Clanranald for their plundering of the lands of the Grants, and marched north with his army, joining with the Frasers, Grants, Clan Chatten and others. This alliance succeeded in placing Ronald Gallda in charge of Moidart, but on the return journey Huntly, who now led the force, divided them at a stream flowing into Loch Lochy. One part of this divided force, comprised of the Frasers under Gallda, along with men of Urquhart and Glen Morrison, was set upon by Ian Moideartach and his men as they came to a narrow pass the the south end of the Loch. A great defeat was dealt to the Frasers and Gallda was slain, along with Lord Lovat and many of the clan gentry. Neil (1991) says "it was probably one of the fiercest battles that has ever been fought by the clans involved and many of the traditions regarding it still persist in Highland song and story." Captain Simon Fraser, who composed the tune, erroneously translated the alternate title as having to do shirts, but Neil maintains the name "Blar Leine" came from the ground the battle was fought on--the Gaelic 'blar' being a plain or field, and 'leine' signifying a wet plain, and, in fact, he says there are several place names in the area of the battle such as Lianachan and Lianda which refer to marshy ground. Fraser (The Airs and Melodies Peculiar to the Highlands of Scotland and the Isles), 1874; No. 8, pg. 3. Neil (The Scots Fiddle), 1991; No. 153, pg. 197.
T:Battle of Kinloch Lochy
T:Blar Leine
L:1/8
M:3/4
S:Fraser Collection
K:C Minor
G>^F|G2 B2 c>=B|c2 d2 e>c|d2 g2 fg|c2 BG e>c|d2 g2 b>d|c2 BG e>g|
d2 c2 d/c/=B/c/|G4:|
|:E/F/G/B/|e4 f/e/d/c/|d2 c2 (3cdf|g4 g/f/e/d/|e2 G2 f/e/d/c/|d2 g2 b>d|
c2 BG e>g|d2 c2 d/c/=B/c/|G4:|

BATTLE OF STIRLING, THE. Scottish, March (4/4 time). B Flat Major. Standard. AA'. The battle of Stirling Bridge was fought in 1297 by the Scots hero William Wallace, aided by Andrew De Moray, against the English invaders under Cressingham. The narrow bridge crossed the Forth of Firth and Cressingham foolishly allowed his army to be strung out across its length, which had been weakened by the Scots, and Wallace and De Moray slaughtered the vanguard and sent the rest reeling in disarray, killing Cressingham in the process. Wallace lost a subsequent more conventional battle, Falkirk, but then engaged in a guerilla campaign which eventually led to Scottish independence, though he did not live to see it. Neil (The Scots Fiddle), 1991; No. 22, pg. 31.

BECAUSE HE/I WAS A BONNIE/BONNY LAD (she bid him aye come back). AKA and See "Boney (Bonny) Lad(s)," "Jack's Favourwright (Favorite)." Scottish, Shetland, English, Cape Breton; Country Dance (cut time) or Reel. England, Northumbria. Shetland, Whalsay. G Major (Cole, Raven): A Major (Athole, Gow, Hunter, Kerr, Skye). Standard. AB (Cole, Hunter, McGlashan): AAB (Athole, Gow, Kerr, Skye): AABB (Raven). A popular country dance dating back to at least 1752, according to Alburger (1983), when fiddler and dancing master John McGill of Girvan wrote down the instructions for his pupils. Glen finds its earliest appearence in print in Bremner's 1757 collection (pg. 14). The tune appears, however, in the somewhat earlier Drummond Castle Manuscript, which is inscribed "A Collection of Country Dances written for the use of his Grace the Duke of Perth by Dav. Young, 1734." Young's MS was in the possession of the Earl of Ancaster at Drummond Castle in the early 1970's, and hence its present-day title. It retained its popularity through that century and into the next, for the title appears in Henry Robson's list of popular Northumbrian song and dance tunes, which he wrote c. 1800./ The tune, attached to an alternate 'B' parts, turns up in southwestern Pa. as 1) a fife tune (4/4 time) in the repertory of Hiram Horner (1944) who had the tune from a Scots fifer, and known simply as "Old Bagpipe Air" [Bayard, 1981; No. 252, pg. 216], and 2) as a jig called "Nancy Fat" played by fifers in Greene County, Pa., and by one "crippled Jack Anderson" in particular [Bayard, 1981; No. 566, pg. 503]. Bruce & Stokoe (Northumbrian Minstrelsy), 1882; pg. 155. Cole (1001 Fiddle Tunes), 1940; pg. 46. Gow (Complete Collection), Part 1, 1799; pg. 23. Hunter (Fiddle Music of Scotland), 1988; No. 118. Kerr (Merry Melodies), Vol. 2; No. 10, pg. 4. MacDonald (The Skye Collection), 1887; pg. 9. McGlashan (A Collection of Reels), 1786; pg. 44. Raven (English Country Dance Tunes), 1984; pg. 183. Stewart-Robertson (The Athole Collection), 1884; pg. 13. Rounder 7011, "The Beatons of Mabou: Scottish Violin Musci from Cape Breton" (1978).
X:1
T:Because He Was a Bonny Lad
L:1/8
M:C|
S:Reel
B:The Athole Collection
K:A
e|c>BA>a (f/g/a (ec|d>fe>c B/B/B ~B>e|c>BA>a (f/g/a (e>c|dfec A/A/A A:|
e|cBAc defd|cAec B/B/B (Bd|cBAc defg|agac A/A/A (Ae|cAeA fA eA|
cAec B/B/B (Bg|afge efec|dfec A/A/A A||
X:2
T:Because He Was a Bonny Lad
L:1/8
M:C
S: Bruce & Stokoe - Northumbrian Minstrelsy
K:G
d|B>Agg e/f/g d>B|c>edB cAAc|B>Agg e/f/g d>B|c>edc BGG:|
|:d|BGdG eGdG|c>edB cAAc|BGdB eGdG|c>edc BGG:|

BERT MURRAY. Scottish, Hornpipe. D Major ('A' part) & G Major ('B' part). Standard. AB. This hornpipe was composed by Scottish fiddler Arthur S. Robertson in honor of Bert Murray (b. Aberdeen, 1913), a largely self-taught fiddler and composer of over 350 tunes. He has been a leading figure in traditional Scots fiddling in the latter 20th century. Neil (The Scots Fiddle), 1991; No. 79, pg. 105.

BERWICK. Scottish, Fling. G Major. Standard. AABB. The Old English name Berwick has to do with a dwelling place or outlying farm involved with barley. The town of Berwick-on-Tweed the northernmost town in England and was constantly the scene of disputes with the neighboring Scots, so much so that it changed hands thirteen times since it was founded in 870 before passing finally to England in 1482. Queen Elizabeth I began a fortification of the city in 1558 (completed in 1565) called the Elizbethan Wall. Hardings All Round Collection, 1905; No. 16, pg. 5.

BERWICK JOHNNY. AKA and see "Barwick Billy," "Berwick Jockey" [2], "Go to Berwick, Johnny." This title appears in Henry Robson's list of popular Northumbrian song and dance tunes, which he wrote c. 1800. The Old English name Berwick has to do with a dwelling place or outlying farm involved with barley. The town of Berwick-on-Tweed the northernmost town in England and was constantly the scene of disputes with the neighboring Scots, so much so that it changed hands thirteen times since it was founded in 870 before passing finally to England in 1482. Queen Elizabeth I began a fortification of the city in 1558 (completed in 1565) called the Elizbethan Wall.

BERWICK LASSES. English, Country Dance Tune (4/4 time). England, Yorkshire. D Major. Standard. AABB. The editors identify this tune as a variant of the Lowland/Border tune "Carrick's Rant," which itself is a variant of "Mary Scott." The Old English name Berwick has to do with a dwelling place or outlying farm involved with barley. The town of Berwick-on-Tweed the northernmost town in England and was constantly the scene of disputes with the neighboring Scots, so much so that it changed hands thirteen times since it was founded in 870 before passing finally to England in 1482. Queen Elizabeth I began a fortification of the city in 1558 (completed in 1565) called the Elizbethan Wall. Source for notated version: a MS by fiddler Lawrence Leadley, 1827-1897 (Helperby, Yorkshire) [Merryweather & Seattle]. Merryweather & Seattle (The Fiddler of Helperby), 1994; No. 124, pg. 65.

BESSY BELL AND MARY GRAY. Scottish, English; Air and Jig. D Mixolydian. Standard. AABB. The tune was used as an early vehicle for the song "Vicar of Bray," as published in Walsh's British Musical Miscellany (vol. I, 1734). Kidson calls it a "quite unvocal and inappropriate tune" for the song, and it the words to "Vicar" were set to "Country Garden" late in the 18th century. McGlashan (Collection of Scots Measures), 177?; pg. 5.
T:Bessy Bell and Mary Gray
L:1/8
M:6/8
B:McGlashan - Collection of Scots Measures
K:D Mix
A|F>GA ABc|B>AB G2G|F>GA A>BA|d3 (g2f/g/)|aAA ABc|
BAG g2 f/g/|agf gfe|d3f2:|
|:f/g/|afd dfd|gec efg|a/g/f/e/d d>fd|f3 (g2f/g/)|afd faf|gec efg|agf gfe|d3f2||

BETTY M. STRAUGHAN. English, Waltz. England, Northumbria. D Major. Standard. ABBCC. This waltz was composed by Ron Purvis, a farmer born in 1920, near Alnwick, Northumberland. Neil (1991) tells us that Purvis took up the fiddle at age 20, perhaps inspired by his mandolinist mother and from hearing a band playing at school, and has been composing since 1950. Neil (The Scots Fiddle), 1991; No. 46, pg. 61.

BETTY WASHINGTON. Scottish, Strathspey. D Major. Standard. AB. Betty Washington was a music hall artist, states James Hunter (1988). Composed by the great Scots composer and fiddler J. Scott Skinner (1843-1927), but only first published in 1979 by Hunter. Hunter (Fiddle Music of Scotland), 1988; No. 89.

BIRKS OF ABERGELDIE. AKA and see "Bonny Lassie, Will You Go," "Cast a Bell," "The De'els Dead." Scottish, Strathspey. D Major (Kerr, Neil): F Major (Athole, Gow). Standard. AAB (Athole, Gow): AABB (Kerr, Neil). The tune appears in a notebook of six pages of country dances called the Holmain Manuscript (1710-50) and in Walsh's Third Book of the Compleat Country Dancing-Master (1735). Somewhat later it appears in Bremner's 1757 collection (pg. 35), the Caledonian Pocket Companion of 1760, and the Gillespie Manuscript (1768). Neil (1991), however, remarks that the melody first appears in Playford's Dancing Master of 1657 under the title "A Scotch Ayre" (it also appears in later editions). It was later republished by Playford in his 1700 collection of Scottish dance tunes under the title "Berks of Abergeldie." As with many fashionable tunes it attracted other titles: Thompson included it in his Compleat Collection of 200 Favourite Country Dances, Vol. 2 (1765) under the title "The De'els Dead;" it was printed by Wright in his Compleat Collection of Celebrated Country Dances (1740) as "Cast a Bell"; and as "Bonny Lassie, Will You Go" in the Scots Musical Museum, Vol. 2 (1788).
**
Poet Robert Burns set lyrics to the melody inspired while standing under the Falls of Moness on a 1787 Highlands excursion with his friend William Nicol. The classical composer Franz Joseph Haydn fashioned an arrangement of the tune, although Purser (1992) is of the opinion that his effort fails, as do those of other non-Scottish classical composers of the time who try to set Scottish music: "...it seems that they gild lillies with great skill, intrusive harmonies, and foolishly fussy harpsichord accompaniment." Aird (A Selection of Scotch, English, Irish and Foreign Airs), Vol. III, 1788; pg. 166. Gow (Complete Repository), Part 1, 1799; pg. 26. Kerr (Merry Melodies), Vol. 3; No. 7, pg. 4. Neil (The Scots Fiddle), 1991; No. 104, pg. 140. Stewart-Robertson (The Athole Collection), 1884; pg. 209.
T:Birks of Abergeldy
L:1/8
M:C|
R:Reel
B:The Athole Collection
K:F
FGAc ~f2 f>c|~f2 fa gfga|FGAc ~fgag|~fdcA G2d2:|
FGAd dFAF|cFAc d/c/B/A/ GA|FGAc ~fgag|~fdcA G2d2|
FGAf cfAf|cfAc d/c/B/A/ GA|FGAc ~fgag|~fdcA G2d2||

BLUE BONNETS OVER THE BORDER [1]. AKA and see "All the Blue Bonnets are Over the Border," "Over the Border," "Blue Bonnets Jig," "Blue Bonnets," "Scotch Come Over the Border" (Pa.). Scottish, Slow Air (6/8 time), Jig, Country Dance Tune or March. B Flat Major (Athole, Skye): D Major (Neil). Standard. AAB. Samuel Bayard thinks this tune was fashioned in the 1740's into a quick dance piece in 6/8 from a slow 3/4 time song tune from about 1710 or earlier called "O Dear Mother (Minnie) What Shall I Do?" This "Blue Bonnets Over the Border" was in turn the basis for a 4/4 version called "Braes of Auchtertyre/Auchentyre," "Belles of Tipperary" and "Beaus of Albany;" out of this group of tunes came "Billy in the Lowground/Low Land." Michael Diack's, on the other hand, has written in his Scottish Country Dances that "Blue Bonnets" is derived from a 17th-century
Scottish tune called "Lesley's March to Scotland." If this is the "Leslie's March" printed by Oswald (1755) and Watts' Musical Miscellany (1731), then the resemblance seems obscure and based on a few motifs. The tune, correctly classified a jig, often appears under the label 'country dance tune' because of its long association with the dance. Neil's (1991) version is an adaptation of one appearing in Uilleam Ross's Collection of Pipe Music (1869), and the piece is said to be a quickstep march of the Black Watch. 'Blue bonnets' is a euphemism for the Scots, stemming from the custom of Jacobite troops to identify themselves with a white cockade worn on a blue bonnet. The white cockade emblem is said to have originated when Bonnie Prince Charlie plucked a wild rose and pinned it to his hat. Lyrics to the tune were written by Sir Walter Scott, who based them on an old Cavalier song (Scott also mentions the song in his novel The Monastery).
***
March! march! Ettrick and Leviotdale,
Why, my lads dinna ye march forward in order?
March! march! Eskdale and Liddesdale,
All the blue bonnets are over the Border.
Come from the hills where your hirsels (i.e. sheep) are grazing,
Come from the glen of the buck and the roe,
Come with the buckler, the lance and the bow
Trumpets are sounding, war-steeds are bounding
Stand to your arms and march in good order
England shall many a day tell of the bloody frey
When the blue bonnets come over the Border.
***
MacDonald (The Skye Collection), 1887; pg. 162. Neil (The Scots Fiddle), 1991; No. 25, pg. 34. Stewart-Robertson (The Athole Collection), 1884; pg. 145. A & M Records 79602 2000-2, Ashley MacIsaac - "Close to the Floor" (1992). Culbernie Records CUL 102, Alasdair Fraser & Jody Stecher - "The Driven Bow" (1988). Rounder RO 7023, Natalie MacMaster - "No Boundaries" (1996. A jig setting learned from her uncle, fiddler Buddy MacMaster).
T:Blue Bonnets Ow'r the Border
L:1/8
M:6/8
R:Country Dance
B:The Athole Collection
K:B_
B,3 B,>CD|B>cd B2F|BGG G2g|g>fd c2B|B,3 B,>CD|B>(3c/d/c/) BGF|
G3 FDF|FBD C2B:|
|:Bdf fdB|gfd c2B|Bdf g>ab|B>(3c/d/e/) c2B|Bdf fdB|gfd cBc|G3 FDF|
FBD C2B:|

BLYTHSOME BRIDAL, THE. Scottish, (9/4 time). F Major. Standard. AB. This odd-timed tune appears in Johnson's Scots Musical Museum, 1787; No. 58. Emmerson (Rantin' Pipe and Tremblin' String), 1971; No. 76, pg. 157.

BLACK ALMAIN, THE. English, March or Processional (4/4). G Major. Standard. AABBAB. The tune was written in the 1550's. Merryweather (1989) states the dance of the title is an English imitation of a dance style originally German, while the tune is, he believes, from Parisian publishers and printers Gervaise and/or Attaignant. Merryweather (English Bagpipe), 1989; pg. 25.

BLACK DANCE, THE. Scottish, Scots Measure. G Major. Standard. AB. The second part is half the length of the first. The tune was adapted from a collection published by Rutherford in 1772. The 'B' part is the same as "Perry's Victory." John Glen finds the melody first printed in Joshua Campbell's 1778 collection (pg. 58). McGlashan (Collection of Scots Measures), 177?; pg. 1.
T:Black Dance
L:1/8
M:2/4
B:McGlashan - Collection of Scots Measures
K:G
GG A/B/c/A/|d/e/d/c/ Bd|GG A/B/c/A/|d/e/d/c/ Bd|GG A/B/c/A/|d/e/d/c/ Bd|GG A/B/c/A/|
d/e/d/c/ B||e/f/|gg gf/e/|dd dc/B/|GA/B/ cB/A/|GG G||

BLACK GIRL IS NOT CHEERFUL, THE (Cha n eil fonn aira n ighean duibh). Scottish, Slow Strathspey. G Minor. Standard. AAB. An anonymous composition from Donald Dow's (1732-1783) Collection of Ancient Scots Music. Alburger (Scottish Fiddlers and Their Music), 1983; Ex. 43, pg. 66.

BLACK HEADED DEARIE ("Ceann Dubh Dilis" or "Cean Dub Oilir"). AKA - "Black Haired Darling." AKA and see "The Auld Jew," "The Old Jew," "Love and the Novice," "The Irish Round," "Kennington Wells." Irish, Air or March (3/4 or 6/8 {"airily"} time). D Mixolydian (O'Sullivan/Bunting): D Major (O'Neill): D Minor/Dorian (O'Neill). Standard. AB (most air versions): AAB (O'Neill--march version). This beautiful air is thought to have been composed in Ireland during the first decade of the 17th century or earlier, and early versions were often set in a minor key (though the great Irish collector Edward Bunting maintains "it was sung by the peasantry to this day" {i.e. around 1840} in the mixolydian mode). In England it was known as "The Irish Round" or "Kennington Wells" and was printed by Playford in the 1713 edition of his Dancing Master (pg. 146); in Scotland it was called "The Auld Jew." In addition to the printed sources listed below, Bunting finds the tune in a "small collection of Irish airs, published about 1726 by Neal, of Christ Church Yard, Dublin...and by Burke Thumouth as well as Oswald in his Caledonian Pocket Companion." O'Neill (1850 collection) prints the air in major and minor keys and then renders the tune as a major key march. Source for notated version: the index to the Irish collector Edward Bunting's 1840 collection states the piece was noted from "T. Conlan in 1831." Brysson (Curious Selection of Favourite Tunes), No. 19{a} (appears as "The Old Jew"). D'Urfey (Pills to Purge Melancholy), volume II, No. 14 (appears as "A Consolatory Ode to Her Majesty"). Holden (Collection of Old-Established Irish Slow and Quick Tunes), volume II, No. 13 (appears as "Ceann Dubh Deelish"). McFadden (Repository of Scots and Irish Airs), c. 1796. Neal (Collection of the most Celebrated Irish Tunes), pg. 16 (appears as "Can dubh dilish"). O'Neill (1850), 1903/1979; Nos. 453, 454 & 1836, pgs. 79 & 345. O'Sullivan/Bunting, 1983; No. 101, pgs. 146-148. Stanford-Petrie (Compete Collection), 1905; No. 1062. Thompson (Hibernian Muse), No. 20 (appears as "Curri Kown Dilich"). Walker (Historical Memoires of the Irish Bards), No. 31 (appears as "Cur do cheann dilis -- Lay the dear head"). Wright (Aria di Camera), No. 62 (appears as "Can dubh dilich"). RCA 09026-61490-2, The Chieftains - "The Celtic Harp" (1993).

BLACK JOKE [1]. AKA and see "Black Joker," "Black Jack," "Black Jock," "The Black Joak," "But the House and Ben the House" (Shetland), "Sprig of Shillelah" [1]. English, Scottish, Shetlands; Country Dance, Jig and Morris Dance Tune (6/8 time). England; Northumberland, Yorkshire. G Major (Bacon, Carlin, Cooke, Mallinson, Raven, Vickers): A Major (Bacon, Gow, Merryweather & Seattle). Standard or AEAE (McLean). AB (Bacon {Stanton Harcourt}, Gow): AAB {x6} (Bacon {Ilmington}, Carlin, Cooke (two versions), Mallinson {Adderbury version}): AABB {x4} (Hall & Stafford, Mallinson {Bledington version}, Merryweather & Seattle, Raven, Vickers). "The Black Joke" was a widely popular, vulgar and bawdy street song in England in the early 1700's, though its popularity continued into the 19th century in that country and its colonies (including America). Irregular in form in many versions, its opening phrase has six measures, while the second has ten. It was heard in London as early as 1734 in Henry Carey's burlesque stage piece Chrononhotonthologos where it was called "that lowbrow little tune that has been used as an interval tune for years," referring to the music for dances performed in the entr'acte interval at the playhouses. Early English collections which contain the tune are Johnson's Wrights Collection (London, c. 1742) and Thompson 200 Country Dances Volume II. John Kirkpatrick (1976) dates the tune to 1715 without citing his source.
**
It is played today as the tune for the Lichfield Morris Dance The Barefooted Quaker, and for dances from other morris traditions. Mallinson's morris dance tune versions, for example, are from the Adderbury and Bledington areas of England's Cotswolds, while Bacon's are from the Adderbury, Ascot-under-Wychwood, Bledington, Ilmington, and Stanton Harcourt. A version of the tune from Badby, Northhamptonshire, is known as "Old Black Joe" [1], and lacks the distinctive two measure ending to both parts typical of most "Black Joke" versions. John Kirkpatrick (1976) is of the opinion that the Badby dance "flows more perfectly than any in the Cotswold Morris. No jumps, no jerky backwards movements, no need to fiddle the feet to get them right. An absolute joy." The tune collected with the dance in Bucknell (under the title "Old Black Joe") is perhaps nearest the original.
**
The tune is known as "But the House and Ben the House" in Shetland, and Cooke says some informants gave the first lines as:
But your house and ben your house
This house is like a bridal house.
The tune played by his source from the islands was the one commonly known throughout Britain and Ireland during the 18th century as "The Black Joke" (or Jock). A variety of songs were set to it, all of them bawdy and all concerned with sexual intercourse. "Some of the texts are the creations of music-hall hacks, such as the earliest published verses, entitled 'The Original black Joke, Sent from Dublin', which begin: 'No mortal sure can blame ye man/Who prompted by nature will act as he can'...(song sheet, c. 1720 Mitchell Library, Glasgow). Simple and more direct 'folk' versions were known in Scotland. Burns wrote a parody beginning 'My girl she's airy...'" (Cooke, 1986). The lyrics which appear below are taken from Andrew Crawford's 1826-28 Collection of Ballads and Songs:
**
A wee black thing sat on a cushion
Was hairy without and toothless within
Wi' her black Jock and her belley so white
**
A piper and twa little drummers came there
To play wi the wee thing well covered o'er wi hair
**
The piper went in and he jigged about
The twa little drummers stood ruffling without
**
But when he came out he hang doon his head
He look'd like a snail that was trodden to dead
**
Say's he thay wa'd need to hae something to spare
That meddle wi you or your wee pickle hair. (Cooke)
**
Cooke's informant, John Irvine, played it as a middle tune between two reels for the ceremony of the "bedding of the bride" around the turn of the century. This ceremony, in which the women of the community escorted the bride to her bed, was performed to fiddle music. "The use of the 'Black Joke' in this context is intriguing, Robert Irvine's knowledge of part of the chorus suggests that in earlier days the whole song might have been known and, unless the fiddler was having his own private joke by playing this piece, possibly even sung by the bride's attendants. Genuine bawdry is often found in such situations elsewhere in the world. According to Legman (1964), 'the purpose of such songs...was and is evidently apotropaic, being intended to ward off the evil eye...dangerously present at all moments of happiness, or of success and victory' (The Horn Book, 1964, p. 388). It is likely, too, that such humour served to release anxiety on the part of the young initiate. Finally, if the text were anything like the Crawfurd text, the explicit detail could have served also as a piece of last-minute sex education--an example of how music is sometimes used in a situation that allows one to sing what might be too embarrassing to say" (Cooke, 1986).
**
The Scotch versions are based on an English tune which was known as "Black Jock" in Scotland from about 1735 (Johnson). Johnson thinks the name was changed either on purpose, to 'Scottisize' it (it was known as "Black Jack" in Northumberland), or to distance it from the extremely obscene lyrics. If the latter, the distancing was largely hypocriphal, for the lyrics were well-known throughout the country. The Scots poet Robert Burns (who was no stranger to ribaldry) penned to the melody, in September, 1784, the words "My girl she's airy, she's buxom and gay," one of his earliest bawdy songs:
Her slender neck, her handsome waist,
Her hair well buckl'd, her stays well lad'd,
Her taper white leg with an et, and a, c,
For her a,b,e,d, and her c,u,n,t,
And Oh, for the joys of a long winter night!!!
The tune appears in the McFarlane Manuscript (1740) in a long variation set (18 strains) by Charles McLean, in Bremner's Scots Tunes (1759) in 30 strains, the Gillespie Manuscript (1768), the Sharpe Manuscript (c. 1790) with 18 strains, and a flute MS. of c. 1770; all have basically the same variations, though in different order.
**
In Ireland, Flood (1906) reports that Madame Violante set off a furor in Dublin's Smock-Alley Theatre in December, 1729, when Cummins danced the "White Joke," a set off to the then-popular "Black Joke."
**
American audiences heard the melody as the tune for air 13 in Andrew Barten's ballad opera The Disappointment (New York, 1767).
**
Sources for notated versions: Bremner (Scots Tunes, 1759) [Johnson]; John Mason via Cecil Sharpe (Stow on the Wold, England) [Bacon]; a MS by fiddler Lawrence Leadley, 1827-1897 (Helperby, Yorkshire) [Merryweather & Seattle]. Bacon (The Morris Ring), 1974, pgs. 15, 95, 210, 295. Carlin (The Master Collection of Dance Music for Violin), 1984; No. 47, pg. 37. Cooke (The Fiddle Tradition of the Shetland Isles), 1986; pgs. 86-87. Gow (Complete Collection), Part 4, 1817; pg. 10 (appears as "Black Jock"). Hall & Stafford (Charlton Memorial Tune Book), 1974; pg. 20 (appears as "Black Jack"). Johnson (Scottish Fiddle Music in the 18th Century), 1984; No. 32, pgs. 86-89. Mallinson (Mally's Cotswold Morris Book), 1988; No. 1, pg. 8 and No. 35, pg. 24. Merryweather & Seattle (The Fiddler of Helperby), 1994; No. 81, pgs. 48-49 (includes six sets of variations). Offord (John of Greeny Cheshire Way), 1985; pg. 107. Raven (English Country Dance Tunes), 1984; pg. 116 (Black Jack), 81 & 95. Seattle (William Vickers), 1987, Part 2; No. 206. Gourd Music 110, Barry Phillips - "The World Turned Upside Down" (1992). Topic TSCD458, John Kirkpatrick - "Plain Capers" (1976).
T:Black Jock
L:1/8
M:6/8
S:Gow - 4th Repository
K:A
E|E2A AGA|BcB BAB|c>dc cBA|BcB BAF|A3 F2E|EFA A2 E/D/|
(CE)A AGA|(Bd)c BAG|(Ac)e edc|Bdc {c}BAG|~A>Bc ~F>GA|
EFG A2||d|(c2d e2)e|fdf {f}e2d|c2d e>fe|f>ga edc|d2b c2a|BcB {c}BAB|
~c>dc cBA|B>cB BAF|A3 ~F2E|EFA A2d|(cA)c (ec)e|(fd)f e2d|
(cA)c (ec)e|(fd)f {f}e2c|ddd ccc|Bdc B2A|(Ac)e (ed)c|(Bd)c {c}BAG|
~A>Bc ~F>GA|EFG A2||

BLACKAMOORE'S JIG, THE. Scottish (?), Jig. D Minor. Standard. ABB. McGlashan (Collection of Scots Measures), c. 1780; pg. 22.
T:Blackamoore's Jig, The
L:1/8
M:6/8
R:Jig
B:McGlashan - Collection of Scots Measures
K:D Minor
f|d^cd D2E|F>GA fgf|e3 c2e|f>ga gfe|f>ga Ad^c|d3 D2f|d^cd D2E|
FGA fgf|e3 c2g|a>ba gfe|f>ga Ad^c|d3 D2||E|F>G/A/=B/ cBA|Gec C2D|
E3 A,2 E|FED GFE|FED Ad^c|d3 D2:|

BONNIE BANKS O' LOCH LOMOND. Scottish, March or Air (4/4 time). G Major. Standard. AB (Neil): ABC (Kerr). The tune is one of the most famous of Scots airs and appears to be based melodically on "Kind Robin." It is thought to date from the year 1746, and the lyrics are supposed to refer to one of Bonnie Prince Charlie's ill-fated followers who was about to be executed for rebellion. His sweetheart had come to Carlisle, perhaps to seek his release, but he told her he would be taking the 'low road', or grave, back to Loch Lomond, where they had spent their happiest hours.
***
O, ye'll tak' the high road
And I'll tak' the low road,
And I'll be in Scotland afore ye;
But I and my true love will never meet again,
On the bonnie, bonnie, banks o' Loch Lomond.
***
Kerr (Merry Melodies), Vol. 3; No. 407, pg. 45. Neil (The Scots Fiddle), 1991; No. 113, pg. 151.
T:The Bonnie Banks of Loch Lomond
B:Allan's Violin Gems
Z:Nigel Gatherer
M:4/4
L:1/8
K:G
D2|G2 GA B2 AG|A2 AG E2 D2|G2 G2 G2 Bd|e4 d2 d2|e2 ed B2 Bd|
cBAG E2 DE|G2 Bd e2 dB|A4 g2 D2|G2 GA B2 AG|ABAG E2 DE|
G2 G2 G2 Bd|e4 d2 d2|e2 ge d2 Bd|cBAG E2 DE|GGBd e2 dB|A4 G2|]

BONNIE CHARLIE [1]. Scottish, Scottish Measure (4/4 time, "Slowish"). D Minor. Standard. AAB (Gatherer, Gow, Songer): AABB (Harding). Gatherer credits the tune to the famous Scots fiddler and composer Niel Gow (1727-1807), born in Inver. Source for notated version: Eileen Witler via Lanny Martin [Songer]. Carlin (Gow Collection), 1986; No. 13. Gatherer (Gatherer's Musical Museum), 1987; pg. 30. Gow (Complete Repository), Part 3, 1806; pg. 5. Hardings All Round Collection, 1905; No. 151, pg. 48 {Reel}. Songer (Portland Collection), 1997; pg. 34. Philo 1031, Boys of the Lough - "Lochaber No More."
T:Bonny Charlie [1]
L:1/8
M:C
S:Gow - 3rd Repository
K:D Minor
A,2|D2 (DE) F2FG|(AB) (GA) F2 (3GAB|A2D2 D3F|(EF) (GE) C2 F>E|D2 (DE) F2 (FG)|
(AB) (GA) F2 (3GAB|A2D2 (FE) (D^C)|(D4d2):|
A2|d>edc A2A2|d>edc A3f|(ef) ge c2c2|(efg)e c2 f>g|(a2 f>)a (g2 e>)g|
{g}(f2 d>)f (fe) (d^c)|~d3e (fe) (d=c)|(A2 d2) d3A|d>edc A2A2|f2f2A3c|
(BA) (GF) (GF) (ED)|(EFG)E C2 F>G|A2 F>A c2 A>c|(de) fg (fe) (d^c)|
(d>=c) (BA) (AG) (FE)|(D4 d2)||

BONNY CHRISTY. Scottish. Appears in Munro's Scots Tunes, 1732.

BONNY GREY-EYED MORN BEGINS TO PEEP. AKA and see "The Bonny Grey-eyed Morn," "Jockey rous'd with love." Scottish. Chappell (1859) asserts the Scots appropriated "The Bonny Grey-eyed Morn" or "Jockey rous'd with love," composed by Jeremiah Clark, for their tune.

BONNY JEAN OF ABERDEEN. AKA - "Bonny Jane," "Bonny Jean of Aberdeen." Scottish, Reel. G Major. Standard. AABB. Popular in the 18th and early 19th century, but does not generally appear in collections later than that. There are six main text versions of the tune: The Cumming Manuscript (1723), Munro's Scots Tunes (1732, as a sonata and Munro's "masterpiece"), the McFarlane Manuscript (1740), a flute MS. of 1770, the McLean Collection (1772), the Little Manuscript (c. 1775). Johnson (1983) clearly traces the transmission of the tune through these manuscripts. A tune called "Bonney Jean" is in the Gillespie Manuscript of 1768. Purser (1992) says of Munro's sonata: "(The piece) shows how a Scots song can, with a little rhythmic ingenuity and melodic gift, become as lovely a minuet or as lively a gavotte as any thoroughbred classic." Johnson (Scottish Fiddle Music in the 18th Century), 1983; No. 65, pg. 170-179 (Munro's sonata version).

BONNIE KATE OF EDINBURGH. Scottish, Slow Air (4/4 time). C Major. Standard. AABB. The melody appears in William McGibbon's 1762 publication A Collection of Scots Tunes for the violin or German Flute. Neil (The Scots Fiddle), 1991; No. 10, pg. 13.

BONNIE LASS O' BALLOCHMYLE, THE. Scottish, Air (4/4 time). F Major. Standard. One part. The music, a modern air, is by William Jackson, with lyrics by Robert Burns, though he originally set them to the tune "Johnnie's Grey Breeks." Burns wrote his words while on a stroll one evening along the banks of the Ayr river. The braes of Ballochmyle run along the right or north side of the water, about two miles from Burns' farm of Mossgiel. According to Neil (1991) they "form the most distinctive part of the estate of Ballochmyle, owned by Claude Alexander." The 'bonnie lass' was Claude's sister, Wilhelmina Alexander, to whom Burns sent a copy of the verses in 1786, asking her leave to publish them. She did not deign to reply at the time, but later, after the poet had become famous, she had both the song and the letter accompanying it framed and hung in the hall of her home.
***
Fair is the morn in flowery May
And sweet is night in autumn mild,
When roving through the garden gay
Or wandering in the lonely wild.
But woman, nature's darling child!
There all her charms she does compile,
Ev'n there her other works are foil'd
By the bonnie lass o' Ballochmyle.
***
Neil (The Scots Fiddle), 1991; No. 184, pg. 239.

BONNIE LASS OF BON ACCORD. Scottish, Air or March (4/4 time). A Major. Standard. AAB. Of the 600 tunes composed by J. Scott Skinner (1843-1927), this is one of his best and most famous, composed in 1884 and still popular today. 'Bon Accord' is an affectionate name for the city of Aberdeen, Scotland, and is ensconsed over the arms of the city -- it means "happy to meet, sorry to part, happy to meet again." Its origins are thought to date to 1308, when it was a watchword or 'cri de guerre' of the burghers of ther town who at that time overcame the English garrisoning the town. "'It's inspirer,' wrote Skinner, 'was a young girl named Wilhelmina Bell (who later became Mrs. Peters, and whom Skinner had met at a house party in Union Terrace, Aberdeen, in December 1884)...[whose] father used to play bass fiddle for my father.' She was a splendid dancer, but was having to work as a servant, for her father had been ruined by taking on a friend's debts. 'Never mind, my lassie,' said I, cheerfully...'I'll ma' a tune that'll maybe keep ye in min' when we're baith deid'" (Alburger, 1983). This is perhaps close to the literal truth, for the opening bars of the tune were inscribed on Skinner's gravestone in Aberdeen's Allenvale cemetary (Hardie, 1992). Skinner wrote the tune the next morning after meeting Mina, and later that day, having completed the melody, he showed to an Aberdeen photographer named Alexander Dinnie. Dinnie was impressed by the tune and suggested that Skinner "make it something about Bon-Accord. Just at that point Mina passed on an errand. Scott Skinner whispered to Dinnie that she was the bonnie lass that the tune was about. 'I've got it,' exclaimed Dinnie, 'Ca' it the bonnie lass o' Bon-Accord' and he did" (Neil, 1991). It was first published in Skinner's Logie Collection. Purser (1992) remarks that the tune follows the same formal pattern as Niel Gow's "Lament for the Death of His Second Wife," repeating its second strain three times in slightly different versions. Alburger (Scottish Fiddlers and Their Music), 1983; Ex. 107, pg. 184. Brody (Fiddler's Fakebook), 1983; pg. 53. Hardie (Caledonian Companion), 1992; pg. 82 (includes variations). Hunter (The Fiddle Music of Scotland), 1988; No. 21 (includes variations). MacDonald (The Skye Collection), 1887; pg. 152 (includes one set of variations). Neil (The Scots Fiddle), 1991; No. 87, pg. 117. Skinner (The Scottish Violinist), pg. 1 (includes variations). Green Linnet 1015, Eugene O'Donnell- "Slow Airs and Set Dances." Philo 1051, Boys of the Lough - "Good Friends, Good Music" (1977). Rounder 7001, Joseph Cormier- "Scottish Violin Music of Cape Breton" (1974). Topic 12T280, J. Scott Skinner- "The Strathspey King."
T:Bonnie Lass o' Bon Accord
L:1/8
M:C
Q:80
S:MacDonald - The Skye Collection
K:A
E|A>B {aB}c>B AA,CE|A{BAG}A/f/ e/c/{c}B/A/ {A}B2 Bc|
A>B {A/B/}c>B AcE=G|(F/D/F/A/) (G/E/G/B/) A2 A:|
{efg}a>cd>f eA a(g/f/)|eA (f/e/)(d/c/) {c}B2 B(3e/f/g/|a>c (df) (e/A/c/A/) (a=G)|
(F/D/F/A/) (G/E/G/B/) A2 A (3e/f/g/|a>c df eA a(g/f/)|eA (f/e/)(d/c/) {c}B2 B>c|
(A,/C/E/A/) c>B AC E>=G|(F/D/F/A/) (G/E/G/B/) A2 A||
E|{B/}(A/G/A/B/) {AB}(c/B/A/G/) (A/A,/B,/C/ E/F/G/G/)|
(A/G/)(A/f/) (e/c/){c}(B/A/) {A}B2 B>c|
(A/G/A/B/) (c/B/A/G/) (A/A,/B,/C/ D/E/F/=G/)|(F/D/F/A/) (G/E/G/B/) A2 A:|
|{efg}a/g/f/e/ d/c/B/A/ e/A/c/A/ a/(G/A/)B/|c/A/e/A/ a/e/d/c/ {c}B2 B (3e/f/g/|
a/g/f/e/ d/c/B/A/ e/A/c/A/ a/(G/A/=G/)|(F/D/F/A/) G/E/G/B/ A2 A (3e/f/g/|
a/g/f/e/ d/c/B/A/ c/A/e/A/ ag/f/|e/(G/A/a/) f/e/d/c/ B2 B>c|A,/C/E/A/ c>G AC E>=G|
(F/D/F/A/ G/f/e/G/) {G}A2A||

BONNIE LASS O' FYVIE, THE. AKA and see "Eveleen's Bower," "Peggy Darby." Scottish, Air (4/4 time). D Major. Standard. AA. A 'bothy' ballad, bothy being the name of the hut where itinerent workers lived on a farm in the 19th century. Hunter (The Fiddle Music of Scotland), 1988; No. 359. Neil (The Scots Fiddle), 1991; No. 71, pg. 95.

BONNIE LASSIE TAKE ADVICE. AKA and see "Mo chailinn og thoir le toigh an aire dhomh." Scottish, Slow Air (4/4 time). G Minor. Standard. AAB. "There are verses sung to this air, attributed to (John MacMurdo or MacRae of Kintail) giving a curious account of the various obstacles which stood in the way of his entering into the matrimonial state, and cautioning the girl he had in view from rashly listening to inconsiderate or delusive addresses, which he minutely pictures to her. There is a Scots air, called 'Mount Your Baggage', evidently built upon this melody which will be found quite inferior to this little plaintive air" (Fraser). Fraser (The Airs and Melodies Peculiar to the Highlands of Scotland and the Isles), 1874; No. 227, pg. 92.
T:Bonnie lassie take advice
T:Mo chailinn og thoir le toigh an aire dhomh
L:1/8
M:C
S:Fraser Collection
K:E_
E>F|G3F G4|G2c2 B3E|G2F2F2 E>F|G3F G4|G2e2 d3=B|c2G2G2:|
~e>f|g3f e2 dc|=Bc F2 G3F|E3F G4|G2e2d3=B|c2G2G2 ~e>f|
g3f e2dc|=Bc F2 G3F|E3 C E2 zF|G2e2 d3c|B2G2G2||

BONNIE WELLS O' WEARIE, THE. Scottish, Air (4/4 time). G Major. Standard. AB. The melody was composed by the self-taught musician John Charles Greive, who proved skilled enough in his craft to lecture on harmony at Heriot-Watt College and to start up a "kind of children's opera" (Neil, 1991). The Wells o' Wearie were to be found in Holyrood Park at the foot of Arthur's Seat opposite 'Samson's Ribs' and were once used by washer women from a nearby village (Echo Bank) and, perhaps because of this, were a gathering place for young men. In 1831 one of Scotland's first railways was built which ran nearby, according to Neil (1991), and was called "The Innocent Railway" because the cars (which carried coal from Dalkeith to Edinburgh) were pulled by horses due to popular fears about the use of steam engines. Words to the tune were written by Alexander MacLagan, a contemporary of Grieve's who lived in Edinburgh and a regular contributor to the Edinburgh Literary Review.
**
O lang may bonnie lassies fair,
Wi' nature's charms around them,
Still bleach their claes on flow'ry braes
Wi' nae sad cares to wound them.
Lang may her sons' mid fairy scenes,
Wi' hearts richt leal and cheerie,
Still meet to sing their patriot sangs
Beside the Wells o' Wearie.
**
Neil (The Scots Fiddle), 1991; No. 20, pg. 26.

BORDER MAIDEN, THE. Scottish, Air (4/4 time). G Minor ('A' and 'C' parts) & G Major ('B' and 'D' parts). Standard. ABB'CC. Composed by E. Berger.
**
A maiden sat 'lone in her green wood bow'r,
A sun beam fell on her golden hair,
And she sang as she wove the silken flow'r,
In the banner her own true love should bear.
The war cry ran through the morning grey,
O, bravely our lads of the Border fought,
And aye in the thick of the deadly fray,
Shone the silken banner the maiden wrought.
A knight on the moorland brown and bare,
Lies cold and dead, when the fight is done,
And the maiden will moan in her wild despair,
When the spearmen return at the set of sun.
For home must be guarded whatever betide,
Home must be guarded whatever betide,
And the brave lads of Yarrow must saddle and ride
When the beacon is lit on the border.
**
Signal fires, or beacons, were lit to signal to the countryside of the approach of an enemy. In Scotland, they stretched from Hume to Soutra, onward to Edinburgh, and across the Forth into Fife and Stirling, to call men to war. Neil (The Scots Fiddle), 1991; No. 30, pg. 39.

BORDER PASTORALE. Scottish, Slow Air (6/8 time). C Minor ('A' part) & E Flat Major ('B' part). Standard. AB. A modern composition by fiddler Arthur S. Robertson, inspired by the now peacefull Scottish-English borderlands, and dedicated to J. Murray Neil. Neil (The Scots Fiddle), 1991; No. 40, pg. 51.

BORRY ROYALL. Scottish. The tune appears in the Panmure MS #9454, Seventy Seven Dances, Songs and Scots Airs for Violin, c. 1675. Robin Williamson says 'borry' is probably a spelling of burgh, a royal town. Flying Fish, Robin Williamson - "Legacy of the Scottish Harpers, Vol. 2."

BOTTOM OF THE PUNCH BOWL, THE [1]. Scottish, English, Irish; Country Dance, Scottish Measure, Reel, March or Hornpipe. D Major. Standard. AABB. Composed by James Oswald, born in Dunfermline c. 1711, died in Knebworth, England, 1769. The tune meets the criteria for a Scottish measure and should more properly be characterized as such rather than the generic description 'country dance'. It appears in the Gillespie Manuscript of 1768. Bayard (1981) believes it to be a tune a "special development" of the air "Boyne Water." Bottom of the Punch Bowl is also the name of a Scottish country dance frequently taught in country dancing schools of the 19th century. The word 'punch' derives from a Hindi word, panch, meaning 'five', because of its five ingredients: spirits, water, lemon-juice, sugar and spices. The word was first recorded in English in 1669. Source for notated version: fiddler Ward Beebe (Seattle) [Songer]. Alburger (Scottish Fiddlers and Their Music), 1983; Ex. 22, pg. 45. Carlin (The Gow Collection), 1986; No. 237. Huntington (William Litten's), 1977; pg. 18. Jarman (Old Time Fiddlin' Tunes), No. or pg. 24. Kennedy (Fiddlers Tune Book), Vol. 2, 1954; pg. 24. Kerr (Merry Melodies), Vol. 1; No. 8, pg. 26. Lerwick (Kilted Fiddler), 1985; pg. 8. MacDonald (The Skye Collection), 1887; pg. 168. McGlashan (Collection of Scots Measures), 177?; pg. 4. Phillips (Traditional American Fiddle Tunes), 1994; pg. 35. Raven (English Country Dance Tunes), 1984; pg. 144. Roche Collection, 1982; Vol. III, pg. 17, No. 232. Songer (Porland Collection), 1997; pg. 37. Stewart-Robertson (The Athole Collection), 1884; pg. 148. Noted to have been in a manuscript collection of 1768 (Emmerson){from Huntington}. The Fish Family - "Fluke Hits."
T:Bottom of the Punch Bowl, The
L:1/8
M:C|
R:Country Dance
B:The Athole Collection
K:D
FE|D2D2d3e|d2D2 FGAF|E2E2 efgf|e2E2 FGAF|D2D2 d3e|
fedB d3A|B3F A3E|F2D2D2:|
|:de|fedB ABde|fedB d3e|A3B ABde|f2e2e2de|fedB ABde|
fedB d3A|BdBF ABAE|F2D2D2:|

BOVAGLIE'S PLAID. AKA "Roualeyn's Plaid." Scottish, "Pastoral" or Slow Air (4/4 time). A Major. Standard. AAB. From the Logie Collection, composed by J. Scott Skinner. The 'Roualeyn' of the alternate title (Skinner's original title for the tune) refers to Roualeyn Gordon Cumming, a famous local eccentric character of Fort Augustus in the 19th century. Neil (1991) tells several charming anecdotes of this man who was a big game hunter in Africa for a time, and who dressed in full Highland kit when he came to town, though donned only in shirt and stockings in the country on hot days. A congenial and well mannered man, he was sometimes to be found in the woods of Glenmoriston where he sought hazel to make walking sticks, when he was not puttering about his showroom where he housed his trophies. He was a great friend of the huge village blacksmith, Donald Cumming, who himself was blessed with "a high intellect and warm personality. They both died within a short period of one another and Fort Augustus lost two of its outstanding characters" (Neil, 1991). The title 'Bovaglie's Plaid' is from a description of Queen Victoria's of a location on the farm or place of Bovaglie, thought to be near Crathie in Deeside, in which a belt of trees seemed to her to stand in the shape of a plaid. The melody was one of the tunes recorded as played by the composer on tour in 1921, late in his life, in a set romantically entitled "Spey's Fury's." Caoimhin Mac Aoidh points out the the first few bars of "Bovaglie's" overlap with "The Lowlands of Holland." Hunter (Fiddle Music of Scotland), 1988; No. 24. Neil (The Scots Fiddle), 1991; No. 85, pg. 115. Skinner (The Scottish Violinist), pg. 36. Comhaltas Ceoltoiri Éireann CL 13, "Tommy Peoples." Rounder 7020, Alex Francis MacKay - " A Lifelong Home - An Dachaidh Dha Mo Shaoghal." SG155, Alasdair Fraser - "The Road North." Natalie MacMaster - "Road to the Isles."
T:Bovaglie's Plaid
M:C
L:1/8
C:J Scott Skinner
Q:100
Z:transcribed by John Erdman
K:A
A|"D"(FE/C/) "A"E>F A>B c>A|"D"dc/B/ "A"{B}(ec) "Bm"{c}BA (F/A)
z/|"A"(FE/C/) (E>F) A>B"D"c>d|
"A"ec/A/ "E7"G/d/z/G/ "A"{G}A2 A::e|"A"ag/a/ (3 ecA "D"(3 fdA "A"(3
ecA|(3(CEA) (3(cea) "E"{cd}c>B(B>e)|
"A"ag/a/ (3ecA "D"(3(FAd) "A"(3 (EAc)|"Bm"(3(DFB) "E7"(E/d/)z/G/ "A"{G}(A2
A) e|"A"{g}a(4b/a/g/f/ (3ecA "D"(3fdA "A"(3ecA|
"A"ae/d/ cB/A/ "E"B>BB A/G/|"D"(FG/A/) "A"(EG/A/) "Bm"(DG/A/) "A"{CD}(3
CB,A,|(3(ECA,) "E7"G,/D/z/G,/ "A"(A,2 A,):|

BOW BRIG. Scottish, March (4/4 time). D Major. Standard. AABBCCDD. For 150 years the stone Bow bridge, a one-arch span over the River Lossie between Elgin and New Spymie, was the only dry crossing in the region. Begun in 1630 by the magistrates of the town of Elgin, it took five years to complete but greatly improved commerce between the towns and the surrounding countryside, states J. Murray Neil (1991). The melody was composed by William Macpherson. Neil (The Scots Fiddle), 1991; No. 57, pg. 79.

BOYNE WATER, THE [1] (Briseadh na Bóinne). AKA and see "As Vanquished Erin," "The Battle of the Boyne Water," "Bayne Water" (W.Va.), "Barbara Allan" (Pa.), "The Bottom of the Punch Bowl," "Boyne Water Quickstep," "Cameronian Rant," "The Cavalcade of the Boyne," "Come Kiss Wi' Me, Come Clap Wi' Me," "Findlay," "King William's March," "Lass If I Come Near You," "Leading/Driving the Calves," "Leading the Calves in the Pasture," "Native Swords," "One Pleasant Morning Beside the Glen," "Playing Amang the Rashes," "Praises of Limerick," "The Rashes," "Rosc Catha na Mumhan," "Sheila Ni Gowna," "Song of the Volunteers," "Such a Parcel of Rogues in a Nation," "To Look for My Calves I Sent My Child," "The Wee German Lairdie" "Wha the Deil Hae We Gotten For a King," "When the King Came O'er the Water." Irish, Air or March (4/4 time). A Dorian (Breathnach, O'Neill, Perlman, Roche): E Minor (Joyce). Standard. AB (most versions): AA'BB (Breathnach). The name Boyne itself is derived from the name of the goddess Boinn, literally 'cow-white', "a name well suited to a pastoral people whose wealth was chiefly in cattle" (Matthews, 1972). The name of the tune, however, commemorates the Battle of the Boyne (named for the Boyne River in County Meath, eastern Ireland, though the battle itself was fought three miles west of Drogheda), fought July 1st, 1690, in which the English monarch King William III defeated the Irish forces under King James II. "It has always been, and still is, very popular among the Orangemen of Ulster (for it dashed the hopes of the Irish for religious freedom and the Stuarts for Kingship). The ballad follows the historical accounts of the battle correctly enough. The air is well known in the south (of Ireland) also, where it is commonly called Sebladh na n-gamhan, 'Leading the Calves,' A good setting is given by Bunting in his second collection: the Munster and Connaught versions are given by Petrie in his Ancient Music of Ireland, vol. II, p. 12. I print it here as I learned it in my youth from the singing of the people of Limerick, not indeed to 'The Boyne Water' of Ulster, but to other words (given below). My setting differs only slightly from that of Bunting; and it is nearly the same as I heard it played some years ago by a band on a 12th of July in Warrenpoint" (Joyce).
***
Samuel Bayard (1981) believes "Boyne Water" was composed in the seventeenth century, and thinks it has always been more of a vocal air rather than an instrumental tune. As witnessed by the myriad of titles in the beginning of this entry, it has been a popular air in the British Isles and, as Bayard states, "altogether, the forms suggest that it has undergone a long traditional development." He believes the second half may have been the original tune, with the first half being fashioned out of elements from earlier strains. Bronson discerns the origins of the whole tune family in a Scottish melody found in the Skene Manuscript of c. 1615. Flood (1913) dates the tune from c. 1645, long before the famous battle, though how he arrived at this date is obscure. Cowdery (1990) believes it may be from a reference to a melody published by Petrie (1855), called "To Seed for the Lambs I Have Sent My Child," in which the latter writer declared, "in its superior purity of expression, and in its passionate depth of feeling, affords intrinsic evidence of an original intention, and consequent priority of antiquity, which will not be found in that which I consider to be the derived from of it called 'The Boyne Water.'" O'Neill (1913) concludes the same Gaelic airs printed by Petrie are early antecedents of "Boyne Water," Nos. 1529 ("A Long mo Gamain" {To look for my calves I sent my child"}) and 1530 ("An Tuainirc na nGainna". Breathnach (1985), in CRE II (No. 124), gives a polka setting and remarks it was used for the last figure of the Clare polka set, and says that "Rosc Catha na Mumhan" (The Munster War-Cry) is sung to this air.
***
However old it actually is in oral tradition, Bayard (1991) finds the earliest printed appearances of the tune in William Graham's Lute Book of 1694 (as "Playing Amang the Rashes") and in D'Urfey's Pills to Purge Melancholy (where it appears as an untitled air). The melody remained in popular usage throughout the British Isles for well over two hundred years. Robert Burns set three songs to it in Johnson's Scots Musical Museum, and it was the vehicle for the Scots songs "The Wee, Wee German Lairdie" and "Andro and His Cutty Gun" (the latter from Alan Ramsay's 1740 edition of the Tea-Table Miscellany). In Ireland, Sir Thomas Moore used the melody for his c. 1825 song "As Vanquished Erin." The air was widespread in American usage, often heard as the tune the popular song "Barbara Allan" was sung to, which fact has been noted by several writers (Bayard, Cowdery, Cazden). It is, for example, identified by Cowdery (1990) as one of four tunes which carry the tale of "(Bonny) Barbara Allen" (the second strain of both Joyce's version and Bunting's "To seek for the Lambs..." is the portion of the Irish tune which corresponds to the America "Barbara Allen"). As "The Battle of the Boyne" it was included in a Philadelphia chapbook of 1805, and, under the title "The Buoying Water," as an instrumental piece in the 1790 Whittier Perkins Book (Cazden, et al, 1982). According to Bronner (1987), it was used for an 1815 hit American blackface minstrel song by Micah Hawkins called "The Siege of Plattsburgh" or "Backside Albany." Cazden prints it with the Catskill Mountain (N.Y.)-collected song "A Shantyman's Life," which he states can be found in most collections of lumber camp songs. O'Neill (1913) lists "Boyne Water" as one of the "splendid martial airs" of Irish music.
***
The political connotations of "The Boyne Water" long remained attached to the melody, even after it was imported to North America. Bayard (1981) relates that the mere playing of the tune in the presence of Catholic Irish in western Pennsylvania "could bring on a mass attack," and repeats the Fayette County story of an old Irishman digging potatoes in the garden while his wife followed along beside him picking the up in a sack. She absent-mindedly began singing the air, upon which he turned around and, incensed, brained her with one blow of his spade. In fact, Pennsylvania fifers declined to play the tune for Bayard at gatherings, fearing to destroy the harmony of the group with "political pieces." Sources for notated versions: George Strosnider (Greene County), Hiram Horner (Westmoreland County), Mrs. Sarah Armstrong (Westmoreland County) {All Southwestern Pa.} [Bayard]; flute and whistle player Micko Russell, 1969 (Doolin, Co. Clare, Ireland) [Breathnach]; Sterling Baker (b. mid-1940's, Morell, North-East Kings County, Prince Edward Island; now resident of Montague) [Perlman]. Bayard (Dance to the Fiddle), 1981; No. 317A-D, pgs. 271-273. Breathnach (CRE II), 1976; No. 124, pg. 66. Gow (Beauties), 1819. Joyce (Old Irish Folk Music and Songs), 1909; No. 151 and No. 377, pgs. 183-184. O'Neill (1850), 1903/1979; No. 204 & No. 260, pg. 45. Perlman (The Fiddle Music of Prince Edward Island), 1996; pg. 208. Roche Collection, 1982; pg. 8, Vol. I, No. 4.
T:Boyne Water [1]
L:1/8
M:C
S:Joyce - Old Irish Folk Music
K:E Minor
ED|B,2 B2 B>cdB|AGFE D2 E>F|G2 FE BAGF|(E3D) B,2 E>D|B,2 B2 B>cdB|
AGFE D2 EF|G2 FE B>AGF|E4 E2||E>F|A2B2d2 e>f|e>d cB A3A|B2e2 e>def|
(e3d B2) Bc|dcde d2 cB|A>GFE D2 EF|G2 FE B>A GF|E4E2||

BOB SHEAR HARVEST. AKA - "Bob Sheer Harvest." English, Scottish; Old Hornpipe? England, Northumberland. F Major. Standard. AABB. The title comes from "Robin Shure in Hairst" (Robin Sheared in Harvest) {Seattle}. Mooney (Choicest Scots Tunes), 1982; pg. 2. Seattle (William Vickers), 1987, Part 2; No. 323.

BOB WITH THE ONE HORN [1]. Scottish; Reel or Rant. USA, New England. G Minor. Standard. AAB. Tolman probably got his version from Kerr, who lists it at the end of his section of Irish reels. This seems either to be a mistake, perhaps of the printer, for the reel appears to be Scottish, or else it is an Irish reworking of the Scots tune "Ewie Wi' the Crookit Horn." Tolman, taking his cue from Kerr, lists the tune as "Irish". Kerr (Merry Melodies), Vol. 4; No. 187, pg. 21. Tolman (Nelson Music Collection), 1969; pg. 21.

BONAPARTE CROSSING THE ALPS. AKA and see AKA and see "Battle of Waterloo," "Bonaparte Crossing the Rhine" (Irish) [2], "Bonaparte Crossing the Rockies," "Bonaparte's March," "Bonaparte's Retreat" (Pa.), "Napoleon Crossing the Alps," "Oro, Welcome Home," "The Diamond," "Peter Gray" (Pa.). Irish (originally), Candain, American; March. Canada, Prince Edward Island. A Dorian. Standard. AABB. "The wide diffusion, extensive ramification and probable great age of this Irish air have been discussed already in the notes to other versions in this collection (see notes for 'Bonaparte's Retreat'). The present version must also represent a fairly antique development of the tune; it has a strongly impressed character of its own, and may readily be traced in Irish tradition. Though some of its variants serve for songs or dances, most of them have the same strong, martial swing as the one given here. Petrie unhesitatingly calls it 'an ancient clan march' (see Petrie, pp. 251, 356), although he does not assign it to any particular Irish sept. Joyce, on the other hand, declares it to ba a wedding march, or 'hauling-home' song-tune, since it was used in his boyhood in County Limerick to accompany the progress of a newly-married couple home from church (see Joyce 1909, pp. 130, 131). Its frequently occurring Irish name, "Oro, 'Se do bheatha a'bhaile!' (Oro, Welcome Home), and two or three lines of verse quoted by Joyce, would be convincing were we not aware by this time of its protean variety of form and multiplicity of functions in the tradition. As a matter of fact, this version, like the ones already cited, goes under other names in Ireland beside 'Welcome Home'; while these words also befin the refrain to a Gaelic Jacobite song sometimes sung to it. We can only conclude that the statements of Petrie and Joyce were both partially correct: the tune, like other old and well known ones in our tradition, has been used for a number of purposes. In southwestern Pennsylvania this version is definitely a marching tune. Another local set is Bayard Coll. No. 352, from Greene County. When the volunteers from the communities of Pine Bank and Jollytown, in that county, went to camp at the time of the Civil War, they marched to the stately music of this tune as played by a 'martial band' (drums and fifes) made up of local folk musicians. Although this 'Welcome Home' form of the air is strongly individualized, it cannot be separated from the other sets, discussed under our Nos. 44-48, to which its variants continually show resemblance and relation. Intermediate or transitional forms have been recorded, some of which were listed under Nos. 44-48; others are referred below...A still more specialized march form of the 'Welcome Home' version goes in Irish tradition by the name of '(Fare Thee Well) Sweet Killaloe'. Variants are found in Joyce 1909, No. 824 and O'Neill's Irish Music, No. 100. A greatly simplified dance-tune form of this 'Killaloe' version is also current in western Pennsylvania under ('floating') titles of 'Jennie Put the Kettle On' and 'Nigger in the Woodpile'. Sets are in Bayard Coll., Nos. 21, 64. 'The American Veteran Fifer' also has a variant, No. 122" (Bayard, 1944)."/ Bayard (1981) cites it as a member of the "Lazarus" tune family (identified in part by a subtonic cadence in the 1st and 3rd tune lines, with a tonic cadence in the 2nd and 4th tune lines; which is a feature of medieval music, he says).
**
Perlman (1996) remarks that the tune was played by the regionally famous PEI fiddler Lem Jay on New Years' Eve over Charlottetown (PEI) radio during the 1930's. Source for notated version: Johnny Morrissey (1913-1994, Newtown Cross and Vernon River, Queens County, Prince Edward Island) [Perlman].
**
PRINTED SOURCES: Bayard (Hill Country Tunes), 1944; No. 89. Cole (1001 Fiddle Tunes), 1940; pg. 63 (appears as 'The Diamond'). The Feis Ceoil Collection, No. 67 (equals JIFSS, No. 15, pg. 18). Hannagan and Clandillon, 'Londubh and Chairn, No. 57 (Welcome Home Jacobite Song; and note mention ibid., p. 28, of a Tyrone version of the tune to the same piece). Hardings All-Round Collection, No. 32. Henebry (Handbook), p. 148 (two sets); Hogg (Jacobite Relics), I, 3, II, 138. JIFSS, No. 2, p. 35; No. 12, p. 17; No. 15, pp. 18 (see above). Johnson (The Scots Musical Museum, edition of 1853) II, No. 298. Joyce (Old Irish Folk Music and Song), 1909, Nos. 275, 281, 729. Kennedy (Fiddlers Tune Book), Vol. 2; pg. 7. Kennedy-Fraser, 'From the Hebrides, pp. 96-98. Linscott (Folk Songs of Old New England), 1939; pg. 69. Kerr (Merry Melodies), Vol. 1; pg. 11. O'Neill's Irish Music, Nos. 178, 205. O'Neill (Music of Ireland), Nos. 58, 1809 (same set as in O'Neill's Irish Music), and 1824. Perlman (The Fiddle Music of Prince Edward Island), 1996; pg. 99. Petrie, Nos. 926, 983, 1056 (to Welcome Home Jacobite Song), 1425. Roche Collection, Vol. 2; No. 231. Scanlon, p. 63, 'Battle Call of the Fianna' (close to Petrie 983, 1425). C.J. Sharp (English Folk-Chanteys), No. 7. Smith (The Scottish Minstrel), I, 106, 107, IV 58, 59. Stokoe & Bruce, 1886, Northumbian Minstrelsy, p. 183 (appears as "Cuckold Come Out o' the Amrey"). Green Linnett GLCD 1155, Martin Hayes - "Under the Moon" (1995).
T:Bonaparte Crossing the Alps
T:Napoleon Crossing the Alps
L:1/8
M:C|
K:G
cB|A2 AB AGEG|cd (3edc d2 (3e^fg|aged cAGE|G2 (3GGG G2 cB|
A2 AB AGEG|cd (3edc d2 (3e^fg|aged cAGE|A2 (3AAA A2:|
|:e2|aged cde^f|gega g3e|aged cAGE|G^FGA G2 cB|A2 AB AGEG|
cd (3edc d2 (3e^fg|aged cAGE|A2 (3AAA A2:|

BONAPARTE'S RETREAT [1]. Old-Time, Texas Style; March, Reel. USA; Texas, Oklahoma, Arkansas, Missouri, North Carolina, Kentucky, northeast Alabama, Mississippi, southwestern Va., West Virginia, Pennslyvania. D Major (most versions, though one version in A Major was collected from Mississippi fiddler John Hatcher in 1939). DDAD or DDAE. ABB. A classic old-time quasi-programmatic American fiddle piece that is generally played in a slow march tempo at the beginning and becomes increasingly more quick by the end of the tune, and meant to denote a retreating army. One folklore anecdote regarding this melody has it that the original "Bonaparte's Retreat" was improvised on the bagpipe by a member of a Scots regiment that fought at Waterloo, in remembrance of the occasion. The American collector Ira Ford (1940) (who seemed to manufacture his notions of tune origins from fancy and supposition, or else elaborately embellished snatches of tune-lore) declared the melody to be an "old American traditional novelty, which had its origin after the Napoleonic Wars." He notes that some fiddlers (whom he presumably witnessed) produced effects in performance by drumming the strings with the back of the bow and "other manipulations simulating musket fire and the general din of combat. Pizzicato represents the boom of the cannon, while the movement beginning with Allegro is played with a continuous bow, to imitate bagpipes or fife."
***
In fact, the tune has Irish origins, though Burman-Hall could only find printed variants in sources from that island from 1872 onward. "It has been collected in a variety of functions, including an Irish lullaby and a 'Frog Dance' from the Isle of Man" (Linda Burman-Hall. "Southern American Folk Fiddle Styles," Ethnomusicology, Vol. 19, #1, Jan. 1975). Samuel Bayard (1944) concurs with assigning Irish origins for "Bonaparte's Retreat," and notes that it is an ancient Irish march tune with quite a varied traditional history. The 'ancient march' is called "The Eagle's Whistle" or "The Eagle's Tune," which P.W. Joyce (1909) said was formerly the marching tune of the once powerful O'Donovan family. Still, states Bayard, the evidence of Irish collections indicates that it has long been common property of traditional fiddlers and pipers, and has undergone considerable alteration at various hands.
***
Bayard's primary scope of collecting was in western Pennsylvania in the mid-20th century, where he found the tune still current in fiddle repertoire, though he remarked on its popularity in various parts of the South. His Pennsylvania version has a somewhat simpler melodic outline than most of the other recorded American sets, and, although he notes that these sets vary considerably--even in the number of parts which a version may contain--he finds they are clearly cognate, and all show resemblance's and common traits indicating derivation from the "The Eagle's Whistle." In Southwestern Pennsylvania the march origins were lost and instead "sets of the tune have been recast into the form--and given title-- of 'The Old Man and Old Woman Quarrelin' (Scoldin', Fightin'),' and thus present an alternation of slow and quick parts. Other Pennsylania sets are Bayard Coll., Nos. 81, 84, 252; and see notes to ('Old Man and Old Woman Scoldin'). These refashioned 'Old Man and Woman' sets differ somewhat among themselves, indicating that they have been traditional in their altered form for some time; but whether they assumed this form before their importation into America, or whether the alteration took place here, with an older tune of the type of 'Old Mand and Old Woman Scoldin'' as model, is uncertain. F.P. Provance stated that the fifer from whom he learned this tune played it as a retreat in Civil War days" (Bayard, 1944).
***
According to Blue Ridge Mountain local history the tune was known in the Civil War era. Geoffrey Cantrell, writing in the Asheville Citizen-Times of Feb., 23, 2000 relates the story of the execution of three men by the Confederate Home Guard on April 10th, 1865, the day after Lee's surrender at Appomattox.Courthouse. That news would not have been known to them, given the difficult, but it is documented that Henry Grooms, his brother George and his brother-in-law Mitchell Caldwell, all of north Haywood County, North Carolina, were taken prisoner by the Guard-no one knows why, but the area had been ravaged by scalawags and bushwackers, and the populace had suffered numerous raids of family farms by Union troops hunting provisions. The village of Waynesville had been burned two months earlier, and the citizenry was beleaguered and anxious. Cantrell writes: "The group traveled toward Cataloochee Valley and Henry Grooms, clutching his fiddle and bow, was asked by his captors to play a tune. Realizing he was performing for his own firing squad Grooms struck up Bonaparte's Retreat." When he finished the three men were lined up against an oak tree and shot, the bodies left where they feel. Henry's wife gathered the bodies and buried them in a single grove in Sutton Cemetery No. 1 in the Mount Sterling community, the plain headstone reading only "Murdered."
***
The Kentucky Encyclpedia gives another story which mentions "Bonaparte's Retreat" in connection with an execution. It seems that a Colonel Solomon P. Sharp, a former attorney general of Kentucky, was murdered in the middle of a September night in 1825 by an unidentified assailant who stabbed him in his chest. Sharp had political enemies, all of whom had alibis, but who had circulated rumors that he had seduced one Ann Cook of Bowling Green, fathering her illegitimate child in 1820. Suspicion soon shifted to Ann's husband, Jereboam Beauchamp, who married her after the birth of the supposed love-child but who was infuriated at the circulating handbills containing the rumor. Beauchamp was dully arrested, tried in Frankfort in May, 1826, found guilty and was sentenced to death by hanging. Ann could not bear to be parted from him and somehow gained permission from the jailer to stay with him in his jail cell. The couple tried unsuccessfully to commit suicide by taking an overdose of laudanum, but were still permitted to share the cell. Another suicide attempt with a smuggled knife was made on the day of the execution, with somewhat better results. Ann, mortally wounded, was taken to the jailers house for treatment, but Beauchamp was hustled to the gallows lest he die from his wounds before the sentence was carried out. He proved too weak from his wounds to stand and had to be supported, but he was presumably able to hear the strains of "Bonaparte's Retreat" played before he made the leap, as he had previously requested. Ann and Jereboam were buried in a joint grave in Bloomfield, Kenctucky, graced by a tombstone engraved with an eight-stanza poem written by Ann.
***
The tune was cited (by Mattie Stanfield in her book Sourwood Tonic and Sassafras Tea) as having been played by Etowah County, Alabama, fiddler George Cole at the turn of the century (Cauthen, 1990). Musicologist/folklorist Vance Randolph recorded the tune from Ozark Mountain fiddlers for the Library of Congress in the early 1940's. Ed Haley (1883-1951) of Ashland, eastern Ky., played the tune so skillfully that "one old-timer, after hearing Haley play ("Bonaparte's Retreat") declared that 'if two armies could come together and hear him play that tune, they'd kill themselves in piles" (Wolfe, 1982). Haley toured regionally in Kentucky and West Virginia It was "Bonaparte's Retreat" that was the first tune Braxton County fiddler Melvin Wine (1909-1999) learned at the age of nine. His father, Bob, played the fiddle and young Melvin practiced when the elder Wine was out cutting timber or working as a farmhand for neighbors. He finally worked up the nerve to play for his father, and it proved a successful entrée, for afterwards which Bob taught him tunes he had learned from his own father, Nels, and Grandfather "Smithy" (Mountains of Music, John Lilly ed., 1999, pg. 8).
***
Another Kentucky fiddler, William H. Stepp (of Leakeville, Magoffin County, whose name, Kerry Blech points out, is sometimes erroneously given as W.M. Stepp, from a misreading of the old abbreviation Wm., for William), appears to be the source (through his 1937 Library of Congress field recording) for many revival fiddlers' versions. Stepp's version of the tune was transcribed by Ruth Crawford Seegar and was included in John and Alan Lomax's volume Our Singing Country (1941). The Crawford/Seegar version has been credited as the source Aaron Copland adapted for a main theme in his orchestral suite "Hoedown." {Lynn "Chirps" Smith says he has even heard people refer to the tune as "Copland's Fancy" in recent times!}. North Georgia fiddler A.A. Gray (1881-1939) won third place honors playing the tune at the 1920 (10th) Annual Georgia Old Time Fiddler's Association state contest in Atlanta, and four years later recorded it as a solo fiddle tune for OKeh Records. Sources for notated versions: J.S. Price (Pottawatomie County, Oklahoma) [Thede]: F.P. Provance, Point Marion, Pennsylvania, September 19, 1943, who learned it from Sam Waggle, fifer, of Dunbar [Bayard, 1944]: Marion Yoders (Greene County, Pa., 1962) [Bayard, 1981].
***
PRINTED SOURCES: Bayard (Hill Country Tunes), 1944; No. 87. Bayard (Dance to the Fiddle), 1981; No. 238, pg. 199. Brody (Fiddler's Fakebook), 1983; pg. 52. Ford (Traditional Music in America), 1940; pg. 129. Lomax (Our Singing Country), pg 54-55 (appears as "Bonyparte"). Thede (The Fiddle Book), 1967; pg. 36-37. Caney Mountain Records CLP 228, Lonnie Robertson (Mo.), c. 1971-72. County 202, "Eck Robertson: Famous Cowboy Fiddler." County 546, "Arthur Smith and His Dixieliners, Vol. I." County 703, Benny Thomasson- "Texas Hoedown." County 756, Tommy Jarrell- "Sail Away Ladies" (1976). County 790, Leftwich & Higginbotham - "No One to Bring Home Tonight" (1984). Folkways FA 2325, Mike Seeger- "Old Time Country Music." Folkways FA 2366, The Watson Family (N.C.) - "The Watson Family Album." Folk Legacy Records FSA-17, Hobart Smith - "America's Greatest Folk Instrumentalist." Heritage XXXIII, Jay Ungar & Neil Rossi - "Visits" (1981. Learned from a 1937 Library of Congress recording of Lakeville, Ky., fiddler W.M.Stepp). Okeh 40110 (78 RPM), A.A. Gray (1924). Philo 1023, Jay Ungar and Lyn Hardy- "Songs Ballads and Fiddle Tunes" (1975. Learned from Kentucky fiddler W.M. Stepp via Library of Congress recording). Rounder 0010, "The Fuzzy Mountain String Band" (1972. Learned from Alan Jabbour). Rounder 0057, Sherman Wimmer (Franklin County, Va.) - "Old Originals, Vol. 1" (1978. Learned from Will Willit, nephew and protege of influential Franklin County fiddler Fount Kinrea). String 802, Emmett Lundy (Galax, Va.) - Library of Congress Recording. Transatlantic 341, Dave Swarbrick- "Swarbrick 2." Voyager VRCD 344, Howard Marshall & John Williams - "Fiddling Missouri" (1999. Learned from Audrain County, Missouri, fiddler Warren Elliot in 1967). Yazoo Records, W.M. (William) Stepp - "Music of Kentucky, Vol. 1" (reissue of the 1937 Stepp recording by Alan Lomax. Stepp can be heard on the recording saying in the midst of fiddling: "This is the bony part....That was the bony part").

BRAES OF AUCHTERTYRE [1]. AKA and see "Braes of Auchentyre," "Belles of Tipperary," "Beaus of Albany." See "Billy in the Lowground." Scotland; Reel, Strathspey. C Major. Standard. AB (Alburger, Cole, Gow, Kerr, Skye, Athole): AABB (Cranford, Perlman). Auchtertyre lies midway between Dornie and Kyle on the northern shore of Loch Alsh, Scotland. This popular tune was first published by Stewart (Collection of the Newest and Best Reels and Country Dances, c. 1761, pg. 45) and later transposed to the key of 'A' and played as a strathspey. Glen (1891) finds it printed about the same time in Joshua Campbell's 1778 collection (pg. 4). The melody is sometimes credited to James Crocket, but evidence for this ascription is wanting according to some reviewers. The tune appears to have developed from a slow 3/4 time Lowland Scots song tune called "O Dear Mother (Minnie) What Shall I Do?" Toward the end of the 18th century "Braes of Auchtertyre" was composed from it, which in turn become the direct ancestor of the American tune "Billy in the Lowground/Low Lands." Jack Campin points out that at the time "Braes" was fashioned from the "Minnie" song, the laird of Auchtertyre was wealthy and well-connected; the kind of influential personage and estate that attracted labeling and re-labeling of music. Perlman's Prince Edward Island-collected version is somewhat distanced from the usual printed versions. The tune is popular on Cape Breton Island, where it was recorded by Scotty Fitzgerald in the 1930's. Many Cape Breton fiddlers follow the lead of Angus Chisholm and precede "Braes of Auchtertyre" with the strathspey "Rothiemurchus Rant." Source for notated version: George MacPhee (b. 1941, Monticello, North-East Kings County, Prince Edward Island) [Perlman]. Alburger (Scottish Fiddlers and Their Music), 1983; Ex. 37, pg. 60. Cole (1001 Fiddle Tunes), 1940; pg. 42 (version, somewhat altered, appears as "Braes of Auchentyre"). Cranford (Jerry Holland's), 1995; No. 74, pg. 22. Gow (Complete Repository), Part 1, 1799; pg. 20. Kerr (Merry Melodies), Vol. 1; Set 23, No. 1, pg. 14 (strathspey). Lowe (A Collection of Reels and Strathspeys), 1844. MacDonald (The Skye Collection), 1887; pg. 106. Middleton's Collection. Perlman (The Fiddle Music of Prince Edward Island), 1996; pg. 119. Stewart-Robertson (The Athole Collection), 1884; pg. 62. James F. Dickie's Delights (1976). Shanachie 14001, "The Early Recordings of Angus Chisholm."
T:Braes of Auchtertyre
L:1/8
M:C|
R:Reel
B:The Athole Collection
K:C
G,|C2CF EGGA|cded cAGc|A/A/A AG A2a2|gcfe d2c2|C2CF EGGA|
cded cAGc|AcGc FcEc|dBcE D2C||f|efga gecg|afeg edcG|A/A/A ag a2 c'2|
ecfe d2 cf|efga gecg|afdg edcA|AcGc FcEc|dBcE D2C||

BRAES OF BUSBY, THE. Irish, Reel. G Major. Standard. ABC. The tune is the Scots' Slow March "Braes of Bushbie" in reel time. There is a Scottish dance called "The Braes of Busby" which is one of the fifteen or so Scottish country dances either wholly or in part in strathspey tempo (Flett, 1964). Source for notated version: piper Willie Clancy (1918-1973, Miltown Malbay, west Clare) [Mitchell]. Mitchell (Dance Music of Willie Clancy), 1993; No. 48, pg. 57.

BRAES OF BUSHBIE. Scottish, Slow March (4/4 time) or Strathspey. G Minor (Cole, Hardie): G Dorian (Cranford). Standard. ABC (Cole, Hardy): AABBCCD (Cranford). Hardie (1992) says the melody was a favorite of Niel Gow's, composed perhaps by John Bowie and first appearing in the latter's Collection, 1789. Reworked as "Dowd's Favourite," the tune is played as a reel and was recorded by Sligo/New York City fiddler Michael Coleman. Source for notated version: Cape Breton strathspey setting is from fiddler Bill Lamey via Jerry Holland (Inverness, Cape Breton) [Cranford]. Cole (1001 Fiddle Tunes), 1940; pg. 128. Cranford (Jerry Holland's), 1995; No. 187, pg. 53. Hardie (Caledonian Companion), 1992; pg. 85. Henderson, Flowers of Scottish Melody. McFadyen, Repository of Scots and Irish Airs, Vol. 1 (c. 1795).
T:The Braes of Bushbie
C:John Bowie, 1789
R:strathspey
Z:Transcirbed by Juergen Gier
M:C
L:1/8
K:GDor
F/|D<GG>A ~B>AG>F|C>DF>G A<c B/A/G/F/|G>AB>c ~d>cB>d|\
c/B/A/G/ F>A B<GG3/::A/|B>cd>B f>Bd>B|A<cf>d c/B/A/G/ F>A|\
B>cdBd>B|~c>AF>A B<GG3/::B/|~g2d>g (3dga (3bag|\
f2c>f (3cfg (3agf|~g>fd>g ~d>cB>d|c/B/A/G/ ~F>A B<GG3/:|A/|\
B<dG>d (3GBc (3dcB|A>cF>c (3FAB c>A|B<dG>d (3GBc d>B|\
~c>AF>A B<GG>A|(3Bcd G>d (3GBc (3dcB|A>cF>A (3FAB (3cBA|\
B>dfdB>d|c/B/A/G/ F>A B<GG3/|]

BRIDEKIRD'S HUNTING. AKA and see "Fill up your bumpers high," "Scots wha hae," "Hey Tuttie Taiti." Scottish, Air. A song collected by Kirkpatrick Sharpe (c. 1830) in Annandale, set to the famous tune.

BRIG O' ABOYNE. Scottish, Strathspey ("slowly"). D Major. Standard. AA'B. The brig o' Aboyne spans the River Dee. The town of Aboyne, reports Neil (1991), was developed in the latter half of the 19th century, but was originally a settlement surrounding the castle which lies to the north of the modern town. The composer of the tune was Peter Milne, "The Tarland Minstrel," who was born in Kincardine O'Neil in 1824. He was a self-taught fiddler but proved a prodigy who at the age of 17 was playing in the Theatre Royal in Aberdeen, and later led an orchestra in Edinburgh. Scott Skinner was one of Milne's pupils and musical partners and was greatly influenced by the man, naming him one of the finest native musicians Scotland ever produced. Unfortunately, Milne's later life was one of poverty and debilitated circumstances which began after he became addicted to laudanum (an opiate) which he originally took for rheumatism. Neil (The Scots Fiddle), 1991; No. 61, pg. 85.

BRIG O' PERTH, THE. Scottish, Strathspey or Highland Schottische. A Mixolydian. Standard. AB (Kerr): AAB (Honeyman). Composed by Donald Dow, an Edinburgh composer and music teacher who lived from 1732 to 1783, perhaps most famous as the composer of "Money Musk." Dow published a collection of Scots tunes called Thirty-seven new reels and strathspeys (1775) which appears to be the first collection to include the word "strathspey" in its title. His family is known to have stayed in Strathardle and his son (John Dow) was born "at Kirkmichael. Dow, whose first name has been given as Daniel or Donald (both acceptable translations for the Gaelic 'Domhnull') was buried in the Canongate Kirk, Edinburgh on January 20th, 1783. Honeyman (Strathspey, Reel and Hornpipe Tutor), 1898; pg. 20 (Strathspey). Kerr (Merry Melodies), Vol. 1; No. 17, pg. 20 (Highland Schottische). The Caledonian Companion (1975).
T:The Brig O' Perth
C:Donald Dow
M:4/4
L:1/4
Q:120
K:Amix
A>c e>g f>d e>c | A>c e>^g a>e c2 | A>c e>g f>d e>c | B>GB>d g>dB>G|
A>ce>g f>de>d|c>Ac>e a2 f>g|a>fg>e f>de>c|d>B G>B g>d B>G:|
A>ae>a c>ae>a|c>Ac>e a>ec>B|A>ae>a c>ae>a|B>GB>d g>dB>G|A>ae>a c>ae>a|
c>Ac>e a2 f>g|a>fg>e f>de>c|d>BG>B g>dB>G||

BROOM, THE BONNY, BONNY BROOM. AKA - "Broom of the Cowdenknowes," "Cowden Knowes," "Cowdenknowes," "The Lovely Northerne Lass," "O My King," "O, the Broom." English, Scottish; Air and Country Dance Air (2/2 time). England; Northumberland, Shropshire. F Major (Barnes, Karpeles, Raven, Sharp, Williamson): G Major (Ashman). Standard. One part (Ashman, Karpeles, Raven, Sharp, Williamson): AABB (Barnes). This very old Northumbrian air has been set to various words, but most famously appears as "The Broom of the Cowdenknows." Broom is a bush with brilliant yellow flowers that grows all over England and Southern Scotland on hillsides. Stems of the plant were at one time bundled together and bound to sticks for use as sweepers, hence the name 'broom' for the common implement. Cowdenknowes itself, with its famous broom, is situated on the east bank of the River Leader, five miles northeast of Melrose.
***
Williamson (1976) states that the piece can be traced back to the mid-17th century and believes it was probably one of those introduced into England after 1603 with the advent of the Stuart monarchy. The tune was popular, widely known in Britain, and frequently used as the vehicle for numerous lyrics; it appears, for example, set for four different songs in the Tea Table Miscellany, though the earliest English appearance seems to have been in the first edition of Playford's English Dancing Master (1651). Scots versions predate English ones with the melody used for broadside ballads at least as early as 1632; later Scots versions of the song are to be found in Orpheus Caledonius (1725) and The Scots Musical Museum (1787). The song was mentioned in the text of the very first ballad opera, The Gentle Shepherd (1725), written by Allan Ramsay (although his work was not performed before Gay's 1729 Beggar's Opera became a hit), and subsequently in the ballad operas Beggar's Opera, The Highland Fair and The Decoy. Even the German composer J.C. Bach (son of the more famous Johan Sebastian) penned a setting of this melody.
***
The name of the tune appears in a 1721 poetic address by Allan Ramsay addressed to the Edinburgh Musical Society.
***
While vocal tubes and consort strings engage
To speak the dialect of the Golden Age,
Then you whose symphony of souls proclaim
Your kin to heaven, add to your country's fame,
And show that musick may have so good fate
In Albion's glens, as Umbria's green retreat:
And with Corelli's soft Italian song
Mix Cowden Knows, and Winter Nights are long.
***
Playford, The English Dancing Master (1651) {appears as "The Bonny Bonny Broome"}. Ashman (The Ironbridge Hornpipe), 1991; No. 66-67, pg. 26. Barnes (English Country Dance Tunes), 1986. Karpeles & Schofield (A Selection of 100 English Folk Dance Airs), 1951; pg. 16. John Gay, The Beggar's Opera (1729) {appears as "O, the Broom"}, Raven (English Country Dance Tunes), 1984; pg. 55. Raven (English Country Dance Tunes), 1984; pgs. 45 & 76. Sharp (Country Dance Tunes), 1909/1994; pg. 34. Williamson (English, Welsh, Scottish and Irish Fiddle Tunes), 1976; pg. 28. Flying Fish Records FF358, Robin Williamson - "Legacy of the Scottish Harpers, Vol. 1." Green Linnet SIF 3037, Silly Wizard - "Golden, Golden" (1985). Harmonia Mundi 907101, The King's Noyse - "The King's Delight: 17c. Ballads for Voice and Violin Band" (1992. Appears as the tune for the song "The Lovely Northerne Lass").
T:Broom, the Bonny, Bonny Broom
L:1/8
M:2/2
K:F
c3dc3d|cBAG F4|f2fg agfe|d6e2|f3ga2ga|f2FG A2GF|G2G2d3B|G8||

BRUMLEY BRAE, THE. Scottish, Reel. D Major. Standard. AAB. Brumley Brae is a steep hill in Elgin which is situated north-east of the Bow Brig in the direction of Spyme and the road to Burghead and Hopeman, relates Neil (1991), "it was probably a favorite place for picking brambles as the name suggests." Neil (The Scots Fiddle), 1991; No. 74, pg. 98.

BUFF COAT HAS NO FELLOW, THE. AKA and see "Buff Coat," "The Dukes Dang Ower His Daddy," "Excuse Me." English, Air (6/8 time). B Flat Major. Standard. AAB. The air appears in the 4th and all later editions of Playford's Dancing Master, and, attesting to its popularity, in numerous ballad operas of the 18th century. In later editions of the Dancing Master it appears under the title "Excuse Me" or simply as "Buff Coat." Chapell (1859) claims the air, especially in its original form, as English, though it is also claimed by the Scots and Irish. A buff coat was a distinguishing mark of a soldier of the 17th century. Chappell (Popular Music of the Olden Times), Vol. 2, 1859; pg. 1.

BUXTON RACES. English, Jig. England, North-West. C Major. Standard. AABB. The town of Buxton is in Derbyshire and was famous as a spa town. Mary, Queen of Scots, was allowed to visit it in 1573 in the hope the waters would improve her health. Knowles (Northern Frisk), 1988; No. 46.

CAPTAIN MACDUFF/McDUFF [1]. Scottish, Reel. A Major. Standard. AAB (Athole, Gow, McGlashan, Skye): AABB' (Kerr). Composed buy Daniel Dow, an Edinburgh composer and music teacher who lived from 1732 to 1783, perhaps most famous as the composer of "Money Musk." Dow published a collection of Scots tunes called Thirty-seven new reels and strathspeys (1775) which appears to be the first collection to include the word "strathspey" in its title. His family is known to have stayed in Strathardle and his son (John Dow) was born at Kirkmichael. Dow, whose first name has been given as Daniel or Donald (both acceptable translations for the Gaelic 'Domhnull') was buried in the Canongate Kirk, Edinburgh on January 20th, 1783. The earliest printing of "Captain MacDuff" was Dow's c. 1775 collection (pg. 6), according to John Glen (1891). Carlin (The Gow Collection), 1986; No. 418. Gow (Complete Repository), Part 3, 1806; pg. 27 (appears as "Captain Macduff's Reel"). Kerr (Merry Melodies), Vol. 2; No. 171, pg. 20. MacDonald (The Skye Collection), 1887; pg. 27. McGlashan (A Collection of Reels), c. 1786; pg. 28. Stewart-Robertson (The Athole Collection), 1884; pg. 22.
T:Captain McDuff
L:1/8
M:C|
R:Reel
B:The Athole Collection
K:A
a|ecBc A2 EF|Acec B/B/B Ba|ecBc A2 EF|Afec A/A/A A:|
d|cee>f ecae|cee>f ecBd|cee>c acdf|ecBc A/A/A A>d|
cee>f ecae|cee>f ecBd|ceea faef|ecBc A/A/A A||

CAPTAIN O'KANE/O'KAIN. AKA and see "Cailin tighe moir," "Captain Henry O'Kain," "Giolla an Bimhoir," "The Wounded Hussar," "The Small Birds Rejoice." Irish, Air or Planxty (6/8 time). E Aeolian (Matthiesen, O'Neill): G Aeolian (Gow). Standard. AB (Complete Collection, Matthiesen, O'Neill): AABB (Gow). "Captain O'Kane" is thought to have been composed by blind Irish harper Turlough O'Carolan (1670-1738) for his friend Captain O'Kane (or O'Cahan), a sporting Irishman of a distinguished County Antrim family well-known in his day as "Slasher O'Kane"(Donal O'Sullivan, Carolan, The Life and Times). O'Sullivan's attribution is based on a comment by Hardimann (who said O'Carolan wrote it) and because of stylistic similarities with other O'Carolan works. O'Neill (1913) quotes Patrick O'Leary, an Austrailian correspondent, who wrote that the Captain of the title was "the hero of a hundred fights, from Landon to Oudenarde, who, when old an war-worn, tottered back from the Low Countries to his birthplace to die, and found himself not only a stranger, but an outlawed, disinherited, homeless wanderer in the ancient territroy that his fathers ruled as Lords of Limavady." The earliest printing of the tune Captain Francis O'Neill could located was in Aird's 1788 Selection of Scotch, English, Irish and Foreign Airs, though he also found it (under the title "Captain Oakhain: A Favourite Irish Tune") in McGoun's Repository of Scots and Irish Airs, Strathspeys, Reels, etc.(Glasgow, 1803)-the same title and presumably the same tune was printed in McGlashan's 1786 collection. The song "The Wounded Hussar" was written to the melody by Alexander Campbell (O'Sullivan gives his name as Thomas) and appears in Smith's Irish Minstrel (Edinburgh, 1825). It was also included in Surenne's Songs of Ireland without Words (Edinburgh, 1854). Carlin (The Gow Collection), 1986; No. 325. Complete Collection of Carolan's Irish Tunes, 1984; No. 133, pg. 95. Hardiman, Irish Minstrelsy, 1831. Matthiesen (Waltz Book II), 1995; pg. 10. McGlashan (A Collection of Reels), c. 1786; pg. 36 (appears as "Captain Oakhain"). O'Farrell (Collection of National Irish Music for the Union Pipes), c.1799-1800. O'Neill (1850), 1979; No. 627, pg. 111. O'Neill (Krassen), 1976; pg. 245. O'Neill (Waifs and Strays of Gaelic Melody), 1922. Green Linnet GLCD 1151, Seamus McGuire - "The Wishing Tree" (1995). Maggie's Music MM107, "Music in the Great Hall" (1992).
T:Captain O'Kain, or The Wounded Hussar
B:O'Neill's Waifs & Strays of Gaelic Melody, 1922
Z:transcribed by Paul de Grae
R:air
M:6/8
L:1/8
K:Em
E/D/|B,EF G2 F/E/|F/G/A/G/F/E/ DEF|GBG B/A/G/F/E/D/|
B,EE E2 E/D/|B,EF G2 F/E/|F/G/A/G/F/E/ DEF|
GBB B/A/G/F/E/D/|B,EE E2 E/F/|
GBB B2 A/G/|FAA A2 d/c/|Be^d e>fg|Be^d e2 e/f/|
g>fe d>cB|AFd DEF|GBG B/A/G/F/E/D/|B,EE E2||
T:Captain Oakhain
L:1/8
M:6/8
N:"A favourite Irish Tune"
S:McGlashan - Reels
K:G Minor
G/F/|DBA B2 A/G/|A/B/c/B/A/G/ FGA|BdB cB/A/G/F/|DGG G2:|
|:G/A/|Bdd d2 c/B/|Acc c2f|d>g^f g>ab|dg^f g2 g/a/|bag f>ed|
d/c/B/A/f FGA|BdB d/c/B/A/G/F/|DGG G2:|

CARLE HE CAME O'ER THE CRAFT, THE [1]. Scottish, Reel. A Mixolydian. Standard. AAB (Gow): AABB' (Athole). John Glen (1891) finds the tune earliest in print in Robert Bremner's 1757 collection (pg. 30). A 'carle' in Scottish usage is a 'bloke' or commom man. The title appears in early 18th century songsters, and the text later appeared, rewritten by Robert Burns, in James Johnson's Scots Musical Museum as "The Auld Man, He Came Over the Lea." Carlin (The Gow Collection), 1986; No. 497. Gow (Complete Repository), Part 2, 1802; pg. 28. Stewart-Robertson (The Athole Collection), 1884; pg. 20.
T:Carle Cam' o'er the Craft, The
L:1/8
M:C|
R:Reel
B:The Athole Collection
K:A
A3e cAce|=g2d=c B/c/d B=G|A3e cAce|aefd cecA:|
|:AaaB =cdef|=g=GG=c B/c/d BG|1 Aagb a2 ef/g/|aefd cecA:|2
Aagb aefg|aefd cecA||

CARLISLE LASSES. AKA and see "Lass o' Corrie Mill." Scottish, Strathspey. F Major. Standard. AA'B (Athole): AA'BB' (Perlman). The name Carlisle was originally Caer Leul, caer being Welsh for castle while Leul is a contraction of the Latin form of the name of a Celtic deity known by the Irish as Lug, all processed by Norman clerks who knew nothing of the spelling of either (Matthews, 1972). Carlisle, in Cumbria, was a Celtic settlement since prehistoric times. The Romans garrisoned and fortified it and made it the anchor of the western end of Hadrian's Wall, although as their power waned it was sacked by the Picts in 181 and 367, and then by the Danes in 875. At the end of the first millenium it formed part of the kingdom of Strathclyde, but was conqoured by the Normans in 1092. Carlisle Castle was the first place of imprisonment for Mary, Queen of Scots. Royalist Carlisle fell the Scots in 1645 and it was captured again by Bonnie Prince Charlie in the rebellion of 1745. Source for notated version: Dennis Pitre (b. 1941, St. Felix, West Prince County, Prince Edward Island) [Perlman]. Stewart-Robertson (The Athole Collection), 1884; pg. 238.
T:Carlisle Lasses
L:1/8
M:C
R:Strathspey
B:The Athole Collection
K:F
C|:~F>GA>F E>G F2|A>Bc>B A<c ~c2|d>fc>f B>gA>f|1 (3agf (3edc (3edB (3ABG:|2
(3agf (3def A<F ~F2||
B|A<c ~c>B A<f ~f2|e>g ~g>e f<a a2|b>ga>f g>ef>g|(3agf (3edc (3dcB (3ABG|
A<c ~c>B A<f ~f2|e<g ~g>e f<a a2|b>ga>f g>ef>g|(3agf (3efg af ~f||

CARLISLE RACES. English, Country Dance Tune or Jig. G Major. Standard. AABB. The name Carlisle was originally Caer Leul, caer being Welsh for castle while Leul is a contraction of the Latin form of the name of a Celtic deity known by the Irish as Lug, all processed by Norman clerks who knew nothing of the spelling of either (Matthews, 1972). Carlisle, in Cumbria, was a Celtic settlement since prehistoric times. The Romans garrisoned and fortified it and made it the anchor of the western end of Hadrian's Wall, although as their power waned it was sacked by the Picts in 181 and 367, and then by the Danes in 875. At the end of the first millenium it formed part of the kingdom of Strathclyde, but was conqoured by the Normans in 1092. Carlisle Castle was the first place of imprisonment for Mary, Queen of Scots. Royalist Carlisle fell the Scots in 1645 and it was captured again by Bonnie Prince Charlie in the rebellion of 1745. Knowles (A Northern Lass), 1995; pg. 41.

CATCHES AND GLES (Glees). Scottish, Northumbrian; Jig. D Major. Standard. AABB. One of the "missing tunes" of Vickers' 1770 Northumbrian dance tune manuscript. The title perhaps refers to the 'Catch', or a canon for three or more voices (where a great deal of skill was needed by the singers for each voice to 'catch' up his part at the right point) which was very popular in the 17th century. Some of the best texts of the catch at this later time, according to Pulver (1923), were constructed so that the entries of the different singers resulted in amusing and often suggestive or risqué word-combinations. McGlashan (Collection of Scots Measures), 177?; pg. 2.
T:Catches and Glees
L:1/8
M:6/8
B:McGlashan - Collection of Scots Measures
K:D
dfa afd|ged cBA|dfa afd|gec d3:|
|:ged cBA|ged cBA|afd afd|gec d3:|

CABER FEIDH (Deer's Antlers). AKA - "Caber/Caper Fey/Fei/Feigh," "Caberfei," "The Cameronian Rant," "The Copperplate," "The Deer's Horn," "Jack Smith's Favorite," "Rakish Paddy." Scottish, Canadian, Shetland; March, Reel and Country Dance. Canada, Cape Breton. C Major (most versions): D Major (Jean Carignan). Standard. AB (most versions): AABB (Begin). A particularly popular reel that has long been a mainstay of Scottish tradition and has been subsumed into the Irish. The earliest record of the tune is in Scottish musician David Young's MS. of 1734, called the Drummond Castle MS (because it was in the possession of the Earl of Ancaster at Drummond Castle) or The Duke of Perth MS, where it is set with variations. The MS is inscribed 'A Collection of the best Highland Reels written by David Young, W.M. & Accomptant." The melody also appears in Young's Bodlein MS (1740, named for the Bodlein Library, Oxford, where it is kept), the McLean Collection (published by James Johnson in Edinburgh in 1772), and in the McFarland MS of 1740 (where it is credited to David Young). In Robert Bremner's 2nd Collection (1768) it is printed in four parts in the key of C (with both f sharp and f natural accidentals). Cooke prints the following words to the tune, collected in the Shetland islands:
***
Mary made away being good luck wi' Teddie
All grown doss (toss?) makin me a dock an piddie.
***
The piece is often played in Scotland as a medley with "The Bob of Fettercairn," and is the tune for the famous Highland Dance called the "Caber Feidh," in which the dancers symbolically simulate the shape of deer's antlers with arms and fingers. From time immemorial a march version has been the clan march and insignia of the MacKenzie clan, "and in the eighteenth and nineteenth centuries it was the official march used to signal the charge of Highland troops" (Cowdery). Pipers generally consider the strathspey, reel and even jig versions of the tune to be relatively recent adaptations; in point of fact, the strathspey version is by Pipe Major W. Ross (a member of the Scots Guards from 1896 to 1918) while the jig is by a modern musician, D. Johnstone. Cape Breton fiddler and editor Paul Stwart Cranford (1995), however, suspects that Bremner's 1768 variations may have been a strathspey setting due to his particular grouping of sixteeth notes.
***
With adaptations made necessary (according to Paul Stewart Cranford) by the scale available to 19th century Irish pipes, the tune also entered into Irish tradition. Despite its Scottish origins, it is a member of the tune family Cowdery (1990) classifies under the Irish reel "Rakish Paddy." See also "Rakish Paddy," "Padraig Reice," "Glastertown's Downfall," "The Castle Street Reel," "Copperplate," "Sporting Pat," "Cameronian Rant." Jean Carignan, taxi driver and famous Canadian fiddler from Montreal Canada, played the tune in the relatively rare (for this tune) key of D Major. Source for notated version: Mike MacDougal (Ingonish, Cape Breton, 1928-1982) via Jerry Holland (Invernesss, Cape Breton) [Cranford]; Winston Fitzgerald (1914-1987, Cape Breton) [Cranford]; fiddler Dawson Girdwood (Perth, Ottawa Valley, Ontario) [Begin]. Begin (Fiddle Music in the Ottawa Valley: Dawson Girdwood), 1985; No. 25, pg. 38. Cranford (Jerry Holland's), 1995; No. 20, pg. 6. Cranford (Fitzgerald), 1997; No. 117, pg. 48. Hunter (Fiddle Music of Scotland), 1988; No. 186. Kerr (Merry Melodies), Vol. 1; Set 23, No. 4, pg. 14. MacDonald (The Skye Collection), 1887; pg. 117. Sannella, Balance and Swing (CDSS). Stewart-Robertson (The Athole Collection), 1884; pg. 60. Tolman (Nelson Music Collection), 1969; pg. 10. Breton Books and Records BOC 1HO, Winston "Scotty" Fitzgerald - "Classic Cuts" (reissue of Celtic Records CX 40).
T:Cabar Féidh
L:1/8
M:C|
R:Reel
B:The Athole Collection
K:C Major
G|~c2ed ~c2GB|~c2GF ECCE|Ddd^c d2Ac|d2AG FDDB|
~c2ed ~c2GB|cGAF ECCE|DEFG ABcA|d2 AG FDD||
f|ecgc acgc|ecgc ecce|fdad bdad|fgag fddf|ecgc acgc|GAcd eccg|
afge fdf^c|d2AG FDD||

CADGERS OF THE CANNONGATE. Scottish; Strathspey, Fling or Reel. G Major. Standard. AABB' (Carlin, Kerr): AAB (Gow, Neil, Skye). The Cannongate is a famous street of some antiquity in Edinburgh which links the Castle and Holyrood Place. Robin Williamson (1976) explains that a 'cadger' was originally a word for a 'carrier', or one who whose job it was to ferry about customers in sedan chairs. He suggests the word may have derived from the tinker's cant word 'gadgie', meaning a man, and notes that in more recent times it has come to mean a beggar or someone who wheedles or sponges something. There was atone time a country dance of the same name, written down in 1752 for his students by one John McGill, at the time a dancing master in Girvan (Alburger). Glen (1891) finds the tune first published in Bremner's collection (pg. 51), though it also appears in Lowe's Collection of Reels, Strathspeys and Jigs. Source for notated version: Bobby McLeod [Williamson]. Carlin (Master Collection), 1984; pg. 106, No. 183. Gow (Complete Repository), Part 1, 1799; pg. 12. Kerr (Merry Melodies), Vol. 4; No. 106, pg. 13. Neil (The Scots Fiddle), 1991; No. 6, pg. 8. MacDonald (The Skye Collection), 1887; pg. 78. Williamson (English, Welsh, Scottish and Irish Fiddle Tunes), 1976; Pg. 66. Beltona BL 260 (78 RPM), Bobby McLeod's Highland Dance Band.
T:Cadgers of the Cannongate
L:1/8
M:C
K:G
B|GBGB (de/f/) ge|dBgB A/A/A (AB)|GBGB (d/e/f) ge|dBgB G/G/G G:|
g|b>age g>edB|GBgB A/A/A Aa|b>age g>edB|G/G/G Gg|b>age g>edB|
GBgB A/A/A Aa|bgae gdeB|dBgB G/G/G G||

CAIRDING O'T, THE. AKA and see "Queensbury's Scots Measure." Scottish, Reel or Scots Measure. A Major (Kerr, Songer): G Major (Hunter). Standard. AB (Kerr, Hunter): AABB (Songer). The melody has been set as a reel, pipe march, scots measure and an air. The title refers to the carding (in Scots dialect 'cairding') of wool, or the labor of straightening and ordering with a carding comb. Hunter (1988) finds the earliest appearance of the tune in print in Margaret Sinkler's Manuscript (c. 1710), where it is called "Queensbury's Scots Measure." Aird published it (in his Selections, 1788) under the title "Salt Fish and Dumplings." As an air it can be found as the vehicle for the words "Come Taste the Cup," and the Robert Burns song which goes:
***
The cardin o't, the spinnin o't,
The warpin o't, the winnin o't;
***
Henderson (Flowers of Scottish Melody), 1935. Hunter (Fiddle Music of Scotland), 1988; No. 308. Kerr (Merry Melodies), Vol. 2; No. 4, pg. 3. Songer (Portland Collection), 1997; pg. 44 (appears mistakenly as "The Cairin' O't"). Green Linnet SIF 1047, John Cunningham - "Fair Warning" (1983). "James F. Dickie's Delights" (1976).

CAISTEAL A GHLINNE (Castle in the Glen). Scottish, Slow Air (6/8 time). E Flat Major. Standard. One part. Neil (The Scots Fiddle), 1991; No. 151, ppg. 194.

CAITHNESS. Scottish, Strathspey. G Major. Standard. AABB. Caithness' origins are in the original Pictish division of Cat. The area came under Norse raids toward the end of the first millennium and under Thorfinn the Norse earls of Orkney became earls of Caithness. It was not until 1222 that the Scots under Alexander II completely regained the territory. Hardings All-Round Collection, 1905; No. 160, pg. 50.

CAITHNESS RANT, THE. Scottish, Reel. C Minor. Standard. AABB'. Caithness' origins are in the original Pictish division of Cat. The area came under Norse raids toward the end of the first millennium and under Thorfinn the Norse earls of Orkney became earls of Caithness. It was not until 1222 that the Scots under Alexander II completely regained the territory. Stewart-Robertson (The Athole Collection), 1884; pg. 271.
T:Caithness Rant, The
L:1/8
M:C|
R:Reel
B:The Athole Collection
K:C Minor
e/d/|c2 BG FECD|E2EG BGEe|c2 BG FECc|eceG F/F/F F:|
|:d|efgf e/e/e ed|cBce f/f/f fg|1 efgf e/e/e ed|cBGB c/c/c c:|2
egfg efde|cBGB cede||

CALEDONIA'S WAIL FOR NIEL GOW, HER FAVOURITE MINSTREL (Caoidh Na H-alb Airson Neill Ghobha). Scottish, Slow Strathspey. B Minor. Standard. AB (Emmerson, Hunter): AAB (Fraser, Skye). The air was the work of the Scottish fiddler and composer Captain Simon Fraser of Knockie (1773-1852), born at Ardachie near Fort Augustus. Regarding the composer, Hunter (1988) reports that Fraser's contemporary, a fiddler named Captain Macdiarmid, said of him "I never heard anyone make the fiddle speak Gaelic so beautifully." Fraser himself says of his tribute to that most famous of Scots fiddlers, Niel Gow: "This is an effort of the editor's to pay a public tribute of admiration to the memory of that sterling and original genius, Niel Gow, attempted in his own strain. The editor is aware how unnecessary this was, as while there exists any taste for the sprightly national style, brought to such perfection by this individual and his family, his name will live in the models his genius carved out for the cheerful, innocent, and rational amusement of youth; the strain of his music inducing a style of dancing highly conducive to health, athletic agility, and a general elevation of the spirits; and when prudently combined with their juvenile lessons for acquiring a prompt and genteel address, tends to the same effect throughout their advance in years, by giving universal delight. Were this tribute, therefore, worthy of its object, it becomes more due to a self-taught genius, who has rendered it innecessary by bequeathing to posterity so very captivating a memorial of himself. Vide Vignette." Emmerson (Rantin' Pipe and Tremblin' String), 1971; No. 99, pg. 177. Fraser (The Airs and Melodies Peculiar to the Highlands of Scotland and the Isles), 1874; No. 148, pg. 60. Hunter (The Fiddle Music of Scotland), 1988; No. 15. MacDonald (The Skye Collection), 1887; pg. 183. Lismor Records, Ron Gonella - "Fiddle Gems" (1976). Scottish Records, Yla Steven - "Back to the Hills" (c. 1977). Rounder Records 82161-7032-2, Bill Lamey - "Full Circle."
T:Caledonia's Wail for Niel Gow Her favourite Minstrel
T:Caoidh na h-Alb airson Neill Ghobha
L:1/8
M:C
S:Fraser Collection
K:D
F|:D<B, B,>C D>EFB|A>FF>E DA,A,(F/E/)|D<B, B,>C D>E Fg|
f>d (e/d/)c/d/ B2 (Bc/d/|D<B, B,>C D>EF>B|A<F F>E D>E/F/ A,(F/E/)|
D<B, B,>C D>E Fg|f>d (e/d/)c/d/ (B2B):|
f/^a/|b>c' d'>c' b>=af>d|a<f f>e dAAf/^a/|b>c' d'>c' b>a f/^a/b/c/'|
d'f (e/d/)(c/e/) B/d/f/d/ B(d/e/)|f[fd'][fd']e/>d/ c[ca][ca]d/>c/|
[DB]>c d/c/d/^e/ f[F^A][F^A] D/=E/|[DF][DF][DF] (C/D/) [CE][CE][CE] (D/C/)|
B,/C/D/^E/ F<^A, (B,2 B,)||

CALLER HERRING. AKA - "Culler Herren." Scottish, Slow Air (4/4 time). B Flat Major (Neil, Skye): C Major (Carlin). Standard. AABBCC (Neil, Skye): AABBC (Carlin). The air is perhaps the best-known composition of Nathaniel Gow (1763-1831). A well-known descriptive piece which has retained popularity to the present (though not nearly to the extent of pre-war {WWII} days), it is an attempt to imitate cries of Newhaven fishwomen as they sold their wares, mingled with chiming of the bells of St. Andrew's Church, in George Street, Edinburgh. Gow originally scored the tune for harpsichord or pianoforte. Lady (Baroness) Nairne wrote a song to the tune which tells the story of the fishwives who sold fish caught overnight in the nearby Firth of Forth form door to door in the streets of the city of Edinburgh to both rich and poor. They carried the fish on their backs in large baskets or creels, braced with a leather strap which wound around their foreheads, and "were famous, not only for their characteristic 'singing cries' but also for their personality and salesmanship" (Neil, 1991). Poet Robert Tannahill wrote a comic song called "Caller Herrin" to the air of "The Cameronian Rant" in 1808. A sea shanty, "Haul Away the Bowline," is sung to this tune. Carlin (Master Collection), 1984; No. 149, pg. 90 {appears as "Culler Herren"). Davie's Caledonian Repository. MacDonald (The Skye Collection), 1887; pg. 162. Neil (The Scots Fiddle), 1991; No. 13, pg. 17.
T:Caller Herring
L:1/8
M:C
S:MacDonald - Skye Collection
K:B_
F|B2 B>B A2 Bz/c/|(dB) c>B A(FGA)|B2 B>B A2 Bz/c/|(dB) (cA) B3:|
|:[gb]|[fa][eg][df][eg] [Bd][Fc][DB][gb]|[fa][eg][df][eg] [Bd][Fc][DB][gb]|
[fa][eg][df][eg] [Bd][=Bd][ce][df]|gG ~c>B (AF)GA|B2 B>B (A2 B)z/c/|
dG ~c>B (AF)GA|B2 B>B A2 Bz/c/|de c>B B3:|
|:f|b2 b>b a2 bz/a/|(gfed) cde=e|f2 f>f (=e2 f)z/g/|a>b g>f f3d|e2 e>e d2 e>f|
gG c>B (AFGA)|B2 B>B A2 Bg/e/|d>e d>B [D3F3B3]:|

CAM' YE BY ATHOL? Scottish, Air (6/8 time). D Major. Standard. One part (Neil): AB (Kerr). The words to the tune were by James Hogg, while the music was by Nathaniel Gow's son Neil Jr. (Niel Gow's grandson), born about 1795. Neil remained with his father in Edinburgh and was reported to have been a musician of excellent talent (another famous composition is his "Flora MacDonald's Lament"). He entered the medical profession, but unfortunately died quite young, at age 28.
**
"Cam' Ye by Athol?" was selected by Queen Victoria for John Wilson's (who was the most widely acclaimed singer of Scottish songs in his day) recital during her visit to Taymouth Castle in 1842; this shows how much wounds had healed in 100 years of Scottish/English relations, for the tune is a 'gathering song', written about recruiting Highlanders for the 1745 Jacobite rebellion in the cause of Bonnie Prince Charlie against the united Hanoverian throne of England and Scotland. Neil (1991) states that the song "belongs to the Atholl district of Perthshire and in particular the Murrays, who played a leading role in the insurrection," though he remarks that althought the tune was inspired by Highlands sentiments, the song's origin was in the Lowlands of Scotland. Kerr (Merry Melodies), Vol. 3; No. 408, pg. 45. Neil (The Scots Fiddle), 1991; No. 114, pg. 152.

CAMERONIAN('S) RANT, THE. Scottish, Reel. G Major (Kerr): F Major (Athole, Gow, Skye). Standard. AAB (Kerr): AABCCD (Athole, Gow, Skye). Glen (1891) finds the melody first in print in Robert Bremner's 1757 collection (pg. 82), though an early version also appears in the 1768 Gillespie Manuscript. Cowdery (1990) assigns the tune to the "Rakish Paddy" family of tunes, which also includes the famous Scottish piece "Caber Feidh." They are related, he finds, in unusual ways; the motifs and "diagnostic tones" of the "Cameronian" are one beat behind "Caber" in both strains. The two tunes have different cadences however, and on the whole do not sound like arrangements of each other but rather as discrete and distinctive melodies. Another related melody is "John Patterson's Mare," which is a jig-time version of "The Cameronian Rant." Cazden (et al, 1982) discusses "The Cameronian Rant" in connection with "The Boyne Water" and its variants, especially the Scottish melody "Andro and His Cutty Gun," and he remarks that the Scots poet Robert Burns adapted the tune for his satirical "Battle of Sherra-Moor (Sheriff-Muir)" after obtaining the melody from James Oswald's Caledonian Pocket Companion.
**
The name Cameronian refers originally to a militant 17th century sect called "Society People" or "Cameroians" from their founder, Richard Cameron, "a field preacher who advocated a particularly uncompromising from of covenanted Christianity" (David Hackett Fischer, Albions Seed, pg. 616) in the south and west of Scotland. As a splinter group, Cameronians were hunted like animals by the authorities of the day who eventually hanged several leaders, but many survived with religion and fighting spirit intact. The British authorities finally admitted defeat in stamping out the group, but to contain them they hit upon the idea of co-opting them by recruiting members of the sect for the fight against the Roman Catholic highlanders to the north. The result was the fighting regiment called the Cameronians, the only regiment in the British army to bear the name of a religious learder. Mustered in the late 17th century, the regiment first saw battle in 1689 when 1,200 recruits broke a veteran force of 5,000 Jacobites, and earned a reputation for fierceness. In line with their militant religious origins each enlisted man was required to carry a bible in his kit, and even in the 20th century the regiment carried arms to church. Gow (Complete Repository), Part 1, 1799; pg. 30. Kerr (Merry Melodies), Vol. 1; Set 2, No. 6, pg. 4. MacDonald (The Skye Collection), 1887; pg. 143. Stewart-Robertson (The Athole Collection), 1884; pg. 203.
X:1
T:Cameronian Rant, The
L:1/8
M:C|
R:Reel
B:The Athole Collection
K:F Major
f|cF F/F/F cFAF|cF F/F/F c2 Ac|BG G/G/G BGAG|BG G/G/G c2 A:|
G|Fffg fdcA|Fffg fdcA|Ggga gfed|gfga gfed|dffg fdcA|FAcf e2 cf|
e/f/g df e/f/g de|fgag fcd||
|:f|cFdF cFAf|cF F/F/F c2 Ac|BGdG BGAG|BG G/G/G c2A:|
G|Fffg fdcA|Fffg fdcA|Ggga gfed|gfga gfed|cffg fdcA|FAcf e2 cf|
e/f/g df e/f/g de|fgag fcd||
X:2
T:Cameronian Rant, The
L:1/8
M:C|
S:McGlashan - Strathspey Reels (pg. 16
K:F Mixolydian
f|c>F F/F/F c>FAf|c>F F/F/F c2 A>d|B>G G/G/G B>G A>d|B>G G/G/G c2 A:|
G|Fff>g fdcA|Fff>g fdcA|Ggg>a gfed|dgg>a gfed|cff>g fdcA|Fff>g e2 cf|
e/f/g dg e/f/g dg|e/f/g dg e2 d||
|:f|cFdF cFAf|cF F/F/F c2 Ad|BGdG BGAd|BG G/G/G c2A:|
G|FfFf g/f/e/d/ c/d/c/A/|FfFf g/f/e/d/ c/d/c/A/|GgGg a/g/f/e/ d/c/B/A/|
GgGg a/g/f/e/ d/c/B/A/|FfFf g/f/e/d/ c/d/c/A/|FfFf e2 cf|e/f/g/e/ d/e/f/d/ e/f/g/e/ d/e/f/d/|
e/f/g/e/ d/e/f/d/ e2d||

CAMPBELLS ARE COMING, THE [1]. AKA and see "The Burnt Old Man," "Campbell's Frolic," "Hob or/A Nob," "I was at a Wedding in Inverara Town," "O Tommy Come Tickle Me" (Pa.), "The Old Man," "An Seanduine." Scottish (originally), American; Jig, March and Air (6/8 time). USA; Arkansas, New York, southwestern Pa. G Major (Ford, Gow, Harding, Kerr, Mitchell, Sweet): F Major (Emmerson). Standard. One part (Ford): AB (Emmerson): AA'B (Gow, Mitchell): ABB (Harding): AABB (Kerr, Sweet). The melody is punctated like a Scotch Measure in jig time--tunes like this are classified by Oswald and others as "Scotch Jigs." Grattan-Flood, typically and without much evidence, claims the tune is Irish. Another claim is that the tune was composed for a song on or about the period of Mary Queen of Scots' imprisonment in Loch Leven Castle. "The Campbells are Coming" was known as a Whig tune and as such was played by the vanguard of the loyalist Scottish troops, many Clan Campbell, as they marched in opposition to the ill-fated Jacobite rebels of 1715 led by the Earl of Mar (knicknamed 'Bobbing John') [Winstock, 1970]. The Robert Wodrow Correspondence records that in 1716 each of three companies of Argyle's Highlanders entered Perth and Dundee led by a piper playing "The Campbells are Coming," "Wilt thou play me fiar play, Highland Laddie," and "Stay and take the breiks with thee."{see also notes for those tunes}. James J. Fuld in The Book of World Famous Music (1966) notes the tune was mentioned in a letter (probably the one by the aforementioned Wodrow) dated 1716, although it was not printed until 1745 when it appeared in a Scottish collection. Despite mention of the existance of a melody by that name early in the 18th century, Glen (1891) finds the first printed version of the melody not to have been until Robert Bremner's 1757 collection Scots Reels (pg. 83), although it also is said to appear in James Oswald's Caledonian Pocket Companion (c. 1750). Another printing with the "Campbell" title appears somewhat later in the 1768 Gillespie Manuscript from Perth. Further to the south in Britain, the title was included in Henry Robson's list of popular Northumbrian songs and tunes, which he published c. 1800.
**
The melody is to be found as a country dance called "Hob or Nob" in collections earlier than Bremner. It can be found, for example, in Walsh's Caledonian County Dances (4th book) of c. 1745, in Johnson's Collection of 200 Favourite Country Dances (1748), and other contemporary dance books.
**
"The Campbells are Coming" was transplanted to American country dance tradition and appears in repertories of dance fiddlers in New York and Pennsylvania (Harry Daddario, Union County, Pa.). Musicologist/folklorist Vance Randolph recorded the tune for the Library of Congress from Ozark Mountain fiddlers in the early 1940's. Samuel Bayard (1981) also collected the tune from Pennsylvania fiddlers. He notes that the cadences of the 'A' parts are different in modern versions from those in the 18th and 19th century where the tune ended on the major third. He sees the American versions, which end on the tonic, as a "rebellion" against the 'circular' or 'endless' tunes from the British Isles. The cognates of the tune family that "The Campbells Are Coming" belongs to include "The Baldooser," "The Burnt Old Man" and "The Field of Hay," but more importantly Bayard speculates that the popular dance tunes "Miss McLeod's Reel" and "The White Cockade" also derive from the same source. Other writers have also noted the connection with "Miss McLeod's Reel;" Breathnach (1977) and O'Neill (in his introduction to The Dance Music of Ireland) both point out that "The Campbells Are Coming" is the same air as "Miss McLeod" only played in jig time. The Pennsylvania version, altered in the 'B' part, takes its alternate title from the ditty sung to it:
**
O Tommy come tickle me, I'll tell you where;
Just under my navel there's a big bunch of hair. (Bayard).
**
Sources for notated versions: Floyd Woodhull, 1976 (New York State) [Bronner]; Amasiah Thomas (Jefferson County, Pa., 1952) [Bayard]; Irvin Yaugher (Fayette County, Pa., 1946) [Bayard]; Hiram White (elderly fiddler from Greene County, Pa., 1930's) [Bayard]; piper Willie Clancy (1918-1973, Miltown Malbay, west Clare) [Mitchell]. Bayard (Dance to the Fiddle), 1981; No. 539A-C, pgs. 478-480. Bronner (Old Time Music Makers of New York State), 1987; No. 15, pg. 78. Emmerson (Rantin' Pipe and Tremblin' String), 1971; No. 81, pg. 160. Ford (Traditional Music in America), 1940; pg. 110. Gow (Complete Repository), Part 1, 1799; pg. 15. Harding's All Round Collection, 1905; No. 189, pg. 60. Jarman (Old Time Fiddlin' Tunes), No. or pg. 17. Johnson (Scots Musical Museum), 1790; No. 299. Kerr (Merry Melodies), Vol. 1; No. 16, pg. 32. Mitchell (Willie Clancy), 1993; No. 90, pg. 80. O'Malley and Atwood (Seventy Good Dances), pg. 11. Sweet (Fifer's Delight), 1964/1981; pg. 18. Tyson (Twenty-Five Old Fashioned Dance Tunes), No. 10. Gennett 6121 (78 RPM), Uncle Steve Hubbard and His Boys, c. 1928. Victor 20537 (78 RPM), Mellie Dunham (appears as last tune of the improbably named "Medley of Reels").

CAMPBELL'S FAREWELL TO REDCASTLE. See "Campbell's Farewell to Red Gap," "Steph's Reel." Scottish, March (2/4 time). A Mixolydian. Standard. AABB' (Gatherer, Martin). The Campbell referred to in the title may by the Captain Robert Campbell of Glenlyon, who led troops in the massacre of Glencoe Pass in 1692. Redcastle is a village on the north side of Beauty Firth approximately 100 miles from Glencoe, whose castle was built in 1179 (it claims to be the oldest inhabited castle in Scotland). The Scots Guards Standard Pipe Settings suggests that "The Sweet Maid of Glendaruel" follow "Campbell's Farewell to Redcastle." Glendaruel is on the way to Tighnabruaich from Glencoe and is nearly as far to the south as Redcastle is to the north. Gatherer (Gatherer's Musical Museum), 1987; pg. 46. Martin (Ceol na Fidhle), Vol. 2, 1988; pg. 1. Ross, William Ross's Collection of Pipe Music (1875).
T:Campbell's Farewell to Redcastle
T:Campbell's Farewell to Red Gap
S:Various books & records
Z:Nigel Gatherer
M:2/4
L:1/8
K:A
E|AA/B/ cc/d/|ea e>d|cA AB/c/|dd/B/ =GE|
AA/B/ cc/d/|ea e>d|cB/A/ =G/A/B/G/|A2 A:|]
=g/f/|ea a=g/f/|ea e>d|cA AB/c/|1 dd/B/ =G g/f/|
ea a=g/f/|ea e>d|cB/A/ =G/A/B/G/|A2 A:|2
dd/B/ =GE|A/B/c/d/ c/d/e/f/|e/f/g/a/ e>d|cB/A/ =G/A/B/G/|A2 A|]

CAOL MHUILE (The Narrows of Mull). AKA - "St. Columba's Hymn." Scottish, Air (6/4 time). G Major. Standard. One part. This ancient air is thought to be St. Columba's rowing song as he guided his coracle (a hide-covered frame boat) into the Sound of Mull on his pilgrimage to Alba. Columba, or Colum Cille, was an Irishman from County Donegal who was born of noble parentage in the year 521. He is famous for establishing over 100 monasteries, and especially for his ministry to the Scottish Picts, which began on Whit Sunday in 563 on the island of Iona or I-Colum Cille. For the next 34 years he missioned to the islands and Highlands. He was:
***
...an extraordinary character, with a vibrant and winning
personality, matched with great shrewdness. Many of the
miracles which he is adjudged to have performed can be
rationalized and accounted for by his great sense of foresight.
Throughout his life, he worked hand in hand with his followers,
and he took a very active part in the politics and affairs of his
people. He had a single purity of mind and a boundless love of
his fellow man, which rank him among the foremost saints of
Scotland. (Neil, 1991)
***
Neil (The Scots Fiddle), 1991; No. 165, pg. 213.

CEAPACH NA GASACH (Keppoch a Wilderness). Scottish, Slow Air (9/8 time). E Minor. Standard. AA. "Ceapach na Gasach" was composed by the Reverend Patrick Macdonald of Kilmore, Argyllshire, who was the compiler of the first setting for Highland pipe tunes for the violin and piano (according to Josephine Macdonell), though his brother Joseph, who was also an accomplished musician, may have been responsible for the work. Neil (1991) relates the story the tune commemorates (also the theme of a poem entitled "Murt Na Ceapaich" by one Iain Lom), regarding an infamous 17th century murder in which the next in line of the family of Macdonell of Keppoch conspired to slay his two brothers, in order to inherit both lands and clan title. The title comes from the fact that the fields of Inverlair (the area the murderers inhabited) had their field sowed and harrowed, while the acreage of the murdered men in Keppoch lay fallow and desolate, there being none to manage. Iain Lom was a contemporary of the Highlandmen involved in the crime and was tireless in his pursuit of justice, resting only when the murderers were caught and executed. Another melody inspirated by the same poem was Simon Fraser's 1816 "Cheapuich Na Fasoch" (Keppoch Desolate), and Neil thinks both airs may have been written as the music for Lom's work. Neil (The Scots Fiddle), 1991; No. 159, pg. 205.

CHAPEL KEITHACK. AKA and see "Chapel Keithing." Scottish, Slow Air (3/4). B Flat Major. Standard. AAB. Composed by William Marshall. The Gaelic 'keithack' translates as wood, so the title presumably means 'chapel in the wood' or 'wooden chapel'. Neil (1991) states that the structure of the title was thought to have been sited somewhere along the hilly road which links Dufftown and Huntly, and finds that a place of the same name existed there in 1636, situated near the modern village of Mortlach. Alburger (1983) relates that one Father George Gordon was a priest at Keithack ("near Dufftown") who was a fine musician and in a position to circulate Marshall's music to a wider public. "It has been suggested he furnished bass lines for Marshall's second collection; perhaps Marshall's outstanding slow air 'Chapel Keithack'...was a musical offering in return for the Father's help" (Alburger, 1983). Some have found the composition lacking, however, and Emmerson (1971) for one gives the critique:
**
There is no doubt that as far as the idiom of Scottish dance
music is concerned, Marshall had all the craftsmanship he
required, but the beautiful slow air, or airs, "Chapel Keithing,"
amounts to an exasperating stillbirth of two beautiful melodies
which Haydn, whose name comes to mind when one hears them,
could have developed as a masterly adagio in a quartet. Marshall
begins very well, but the second tune cries out for further development,
and just then, as though caught red-handed, he drops it with a conventional
but meaningless run to change key and return to the original.
**
Some parts of the composition are easier to play in third position. Alburger (Scottish Fiddlers and Their Music), 1983; Ex. 55, pg. 81. Carlin (Gow Collection), 1986; No. 536. Hardie (Caledonian Companion), 1992; pg. 93 (arranaged by Hector MacAndrew). Hunter (Fiddle Music of Scotland), 1988; No. 49 (arranged by James Hunter). Marshall, Fiddlecase Edition, 1978; 1822 Collection, pg. 6. Neil (The Scots Fiddle), 1991; No. 82, pg. 111.
T:Chapel Keithack
L:1/8
M:3/4
S:Marshall - 1822 Collection
K:B_
d4 (c>A)|B4 F2|(GF) e2 (d/f/e/d/)|d3c F2|d4 (c>A)|B4 F2|(GE)(DC)(B,A,)|B6:|
f4 (d/b/a/g/)|g>f f2 df|gfedcB|(d3c) ~F2|f4 (d/b/a/g/)|(g>f) f3 =e/f/|ga/b/ a2 g>=e|
f6|d4 (c>A)|B4 F2|(G>F) e2 (d/f/e/d/)|(d3c) F2|d4 (c>A)|B4 F2|(GE)(DC)(B,A,)|B6||

CHARTLEY MARCH, THE. English, March (6/8 time). B Minor ('A' part) and D Major ('B' part). Standard. AABB. Chartley is in Staffordshire, with Chartley Castle being located six miles north of Stafford. The castle, actually a moated manor house, was the last place Mary, Queen of Scots, was held before being taken to Fortheringhay for her trial and execution. Raven (English Country Dance Tune), 1984; pg. 193.

CHESTER CASTLE [1]. AKA and see "New Hornpipe," "Grant's Rant." English, Reel; Scottish, Scots Measure. England, North-West. G Major. Standard. AABB. The name Chester (Cheshire) is an Anglo-Saxon form (ceaster) of the roman word castra, or camp. A fortress was founded by the Romans at Chester, which they called Deva, home to the XXth Legion. It later was a Saxon stronghold and the last major town to fall to the Normans, in 1071. Charles I sought refuge in the city during the English Civil War, and from the city wall saw his troops defeated at the battle of Rowton. Hardings All Round Collection, 1905; No. 76, pg. 23. Knowles (Northern Frisk), 1988; No. 11. McGlashan (Collection of Scots Measures), c. 1780; pg. 18.
T:Chester Castle
L:1/8
M:2/4
B:McGlashan - Collection of Scots Measures
K:F
A/B/|c>d c/A/F/A/|c>d c/A/F/A/|B/d/B/G/ A/c/A/F/|GG G2 B/c/|c>d c/A/F/A/|
A/F/A/c/ fe/d/|d/e/d/c/ d/f/d/=B/|cc c:|
|:e/f/|g>a g/e/c/e/|g>a g/e/c/e/|f/a/f/d/ e/g/e/c/|dd dd/e/|f/e/d/c/ B/A/G/F/|
E/G/c/e/ g/f/e/d/|d/c/B/A/ c/B/A/G/|FF F:|

CHIU-RI-RUO. Scottish, Air (3/4 time). G Major. Standard. AA. Originally an ancient Scots harp tune. Neil (The Scots Fiddle), 1991; No. 121, pg. 160.

CHORUS JIG [3]. Irish, Scottish, Canadian; Jig or Strathspey (in 6/8 time - this is another rhythmic variant illustrating the intentional and unintentional variation of folk melodies between triple and duple time). Canada; Cape Breton, Prince Edward Island. D Mixolydian (Gow, Cranford, Kerr, MacDonald): D Mixolydian/Major (Perlman). Standard. AABBCC (Kerr): AABBCCDD (Gow, Skye): AA'BB'CC'DD' (Cranford, Perlman). Gow and Kerr list the tune as "Irish" and McGlashan says it is an "Irish country dance." Perlman (1996) suggests the contra-dance reel called "Chorus Jig" originated from this jig. Source for notated version: Paul MacDonald (b. 1974, Charlottetown, Queens County, Prince Edward Island) [Perlman]; Winston Fitzgerald (1914-1987, Cape Breton) [Cranford]. Carlin (The Gow Collection), 1986; No. 520. Cranford (Winston Fitzgerald), 1997; No. 191, pg. 75. Gow (Complete Repository), Part 2, 1802; pg. 35. Kerr (Merry Melodies), Vol. 4; No. 190, pg. 22. MacDonald (The Skye Collection), 1887; pg. 58. McGlashan (Collection of Scots Measures), c. 1780; pg. 30. Perlman (The Fiddle Music of Prince Edward Island), 1996; pg. 133.
T:Chorus Jig, The
L:1/8
M:6/8
N:"An Irish Country Dance."
B:McGlashan - Collection of Scots Measures
K:D
B|A2D DED|A2G FED|A2D DED|A3 BAG|A2D DED|A2G FED|
E2=c cBc|G3 GFE:|
|:F2(d d)cd|F2(A A)GA|A3 BAG|F2(d d)cd|F2(A A)GF|E2=c cBc|1
G3 GFE:|2 G3 efg||
|:f2(d d)fd|afd efg|f2(d d)fd|a3 bag|f2(d d)fd|afd dfd|e2(=c c)ef|1 g3 gfe:|2
g3 ABc||
|:dBd cAc|BGB AGF|E2d dcd|A3 ABc|dBd cAc|BGB AGF|E2=c cBc|
(G3 G)FE:|

CHRISTMAS DAY IN THE MORNING [2]. English, Jig and Air. England, Northumberland. C Major (Vickers): G Major (Bruce & Stokoe). Standard. AB (Bruce & Stokoe): AABB (Vickers). Originally "Christenmiss Day In the Morning."
***
Dame get up and bake your pies,
Bake your pies, bake your pies;
Dame get up and bake your pies,
On Christmas Day in the morning. (Bruce & Stokoe)
***
Choicest Scots Tunes/Bagpipe, pg. 12. Seattle (William Vickers), 1987, Part 2; No. 266. Bruce & Stokoe (Northumbrian Minstrelsy), 1882; pg. 111.
T:Christmas Day in the Mornin
L:1/8
M:6/8
S: Bruce & Stokoe - Northumbrian Minstrelsy
K:G
G2G G2e|d2c B3|A>Bc B2G|A>Bc B3|G2G G2e|d2c B2d|
edc BAG|A3 G2||d|B>AB G2d|B>AB G2B|c>Bc A2B|
c>Bc A2c|B>AB G2d|B>AB G2d|edc BAG|A3 G2||

CILLE CHOIRILL (Cairell's Bell). Scottish, Slow Air (3/4 time) and Pipe March (6/8 time). C Major. Standard. One part. The air was composed by Kenneth Kennedy, with the pipe march setting by Pipe Major Stewart (Mrs.). According to Neil (1991), the title is taken from the name of the ancient burial ground in the Braes of Lochaber, and is named for Saint Cairell. Cairell was originally an Irish missionary who crossed the Irish sea in small hide-covered frame boats, called coracles, to Scotland around 600 A.D., accompanied by some followers. After proselytising in Scotland for some time he returned to his native Ireland to live in the monastery at Clonkeen-Kerrie, where he died. Though "a humble and unostentatious man, small in stature, with poor health but strong in spirit," Cairell's ministry in Scotland was successful and there are a number of sites in that country associated with him, including Glen Urquhart, Appin, Tayniult, and Ruthven parish in Banffshire, "where both a cairn and a well are named after him." The graveyard bearing the Saint's name is the resting place of many generations of Highlanders, including some of the composer's ancestors who struggled at Culloden and with Wolfe at Quebec, and the similarly ancient church is thought to have been built by Cameron of Lochiel sometime in the 1400's to atone for his sins.
**
Oh where in the whole world, such beauty and grace,
As Cille Chairill in the braes of Lochaber,
'Neath the green mossy mounds many clans lie asleep,
All around are the hills they did wander.
In this heaven on earth rest ancestors blest;
Their children so true, shall never forget
Till the hills fade away and the last tune is played,
With love, they will always remember.
**
Neil (The Scots Fiddle), 1991; No. 155, pg. 201.

CLACH NA CUDAIN [2] (The Cross of Inverness). AKA and see "Cross of Inverness." Scottish, Reel. G Major. Standard. AB (Hunter): AABB (Neil). The 'clach' is the foundation stone of the town of Inverness, located near the Market Cross, where all business (and the town gossip) was carried on, according to Captain Simon Fraser, the likely composer of the tune (in whose 1816 collection it appears). Neil (1991) relates that this stone was called the 'Stone of Tubs' or 'The Rocking Stone of Inverness' and that women placed their buckets on it before setting off for the river. There is a legend that the town will survive as long as the stone remains intact. Hunter (Fiddle Music of Scotland), 1988; No. 195. Neil (The Scots Fiddle), 1991; No. 134, pg. 173.

CLUINN THU MI MO NIGHEAN DONN, AN (Will You Listen to Me, My Brown-Haired Maid). Scottish, Slow Air (3/4 time). C Major. Standard. One part. A song-poem in Gaelic by Domhnall Donn about an older man in love with a younger woman. He wishes to marry her and promises to go to sea no more, but instead stay at home and look after her, pledging a full and happy lofe together. Neil (The Scots Fiddle), 1991; No. 150, pg. 193.

COCK O' THE NORTH [1]. AKA and see "Auntie Mary" {Irish}, "Joan's Placket (Is Torn)" {English}, "Jumping John/Joan," "We Must All Wait Till My Lady Comes Hone." Scottish, English, Canadian; Jig, 6/8 March, and Morris Dance Tune. Canada; Cape Breton, Prince Edward Island. A Major (Hunter, Johnson, Kennedy, Miller & Perron, Perlman, Raven): G Major (Bayard, Bullen, Kerr, Sweet, Wade). Standard. AB (Bullen): AAB (Bayard, Hunter): AABB (Johnson, Kennedy, Miller & Perron, Raven, Sweet, Wade): AA'BB' (Kerr, Perlman). The 'Cock o' the North' was an honorary title of the (fifth and last) Duke of Gordon, who held sway over the northern part of the Scottish Highlands (from a note in a monograph on William Mashall printed in his 1845 Collection). Chappell alleges the earliest reference to the tune (under the title "Joan's Placket") is in an entry in Pepys' diary for June 1667. Bayard (1981) and Kidson (1915) both trace the tune to the 17th century, where they find the titles for this tune were "Jumping John/Joan" and "Joan's Placket (Is Torn)." It was published by Oswald (Vol. 10) c. 1758, by Feuillet in Recueil de Contredanses (1706) in Paris, and by Playford in the 1674 and 1686 editions (and all subsequent editions) of his Dancing Master, each time under the title "Jumping Joan." In fact, a Shetland reel version of the tune from the island of Whalsay collected in modern times still goes by the name "Jumping John" (Cooke, 1986).
***
The dance and ballad air was assumed into martial repertory, and it has been recorded that the melody helped win Gordon Highlander Piper George Findlater the Victoria Cross in 1897. It seems that while leading the charge storming Dargai Heights with other pipers, he was shot through both legs; "undaunted, he propped himself against a boulder, and continued to play" the stirring air to encourage the successful action (Winstock, 1970; pg. 212). Kidson (1915) relates another military story of its earlier use in the seige of Lucknow during the Indian Mutiny of 1857. The British were initially hard pressed and were for some time beseiged in various locations in the city by native Indians. Signals had been regularly sent between the forces defending parts of the beseiged town, and those under attack in the Residency quarters. A drummer boy named Ross, after the signalling was over, climbed to the high dome from which signals were sent and despite harrassing fire from the Sepoys he sounded "Cock o' the North" in defiance, rallying the English with his bravery (though being a drummer, exactly how he 'sounded' the tune remains a mystery, ed.)
***
In England, Andrew Bullen (Country Dance and Song, May 1987, Vol. 17, pg. 11). suggests there is some evidence to think that "Cock of the North" was the tune traditionally used in the famous horn dance of Abbots Bromley, Staffordshire (currently performed in most Christmas Revels pagents). "This standard version," he states, "taken from Pruw Boswell's 'Morris Dancing of the Lancashire Plain', is used in the Wigan St. John's Dance." Wade records that the tune is still used for a single step dance in the North-West Morris tradition.
***
Perlman (1996) notes that this tune was remembered by many Prince Edward Island fiddlers as the very first tune they tried to play.
***
Miscellaneous notes: The tune was used by the Scots poet Robert Burns for his song "Her Daddie Forbad and Her Minnie Forbad." In America, it was given to Bayard that there was an obscene New England song to the tune called "Chase Me, Charlie," but he did not hear it. It has been asserted that a trumpet version of the tune was played at the execution of Mary Queen of Scots in 1587, but this cannot be substantiated and it is not credited. It is not, as has been proposed by Johnson-Stenhouse, the progenitor of "Lillibulero." Sara Lee Johnson (1986-87) says the tune is often heard at the Old Michegan Fiddler's Association gatherings. Sources for notated versions: Hiram Horner (fifer from Fayette and Westmoreland Counties, Pa., 1960) [Bayard]; Elliot Wright (b. 1925, Flat River, Queens County, Prince Edward Island; now resident of North River) [Perlman]. Bayard (Dance to the Fiddle), 1981; No. 580, pg. 513. Bullen, Country Dance and Song, May 1987, Vol. 17, pg. 11. Hunter (Fiddle Music of Scotland), 1988; No. 299. Jarman (Old Time Fiddlin' Tunes); No. or pg. 19. Jarman, 1951; pg. 66. Johnson (The Kitchen Musician's No. 7: Michigan Tunes), Vol. 7, 1986-87; pg. 6. Kennedy (Fiddlers Tune Book), Vol. 2, 1954; pg. 36. Kerr (Merry Melodies), Vol. 2; No. 311, pg. 34. McDonald (Gesto), 1895; pg. 135. Miller & Perron (New England Fiddler's Repertoire), 1983; No. 43. Page, Heritage Dances of Early America; No. or pg. 41. Perlman (The Fiddle Music of Prince Edward Island), 1996; pg. 141. Raven (English Country Dance Tunes), 1984; pg. 105. Ross, 1934, Army Manuel of Bagpipe Tunes; Book 1, pg. 10. Sweet (Fifer's Delight), 1964/1981; pg. 21. Wade (Mally's North West Morris Book), 1988; pg. 14.-
T:Cock o' the North
L:1/8
M:6/8
K:A
cdc cBA|cde f2e|cdc cBA|B3 e2d|cdc cBA|Ace B=GB|A3 A3:|
|:a2e f2e|a2e f2e|cdc cBA|BcB B2e|a2e f2e|a2e f2e|cAc B=GB|A3 A3:|

COILSFIELD HOUSE. Scottish, Strathspey ("Slowly") or "Pastoral" Air (4/4 time). G Major. Standard. AAB. The air was composed by Nathaneil Gow (1763-1831), named after Colonel Hugh Montgomery's (1749-1819), Earl of Eglinton's, Ayershire home in the parish of Tarbolton. Neil (1991) explains the name "Coilsfield" apparently derives from the grave of King Coil, reputed to lie somewhere near the mansion house. Coil, or sometimes Coilus or Coel, was a British king in the Roman or post-Roman era who was linked to the Strathclyde area. The property was once known as "Quillisfield" and was so named in the charter of John De Graham, who assigned the property to the monks of Melrose. Around 1640 it was acquired by James Mongomery, 4th son of Alexander, 6th Earl of Eglinton, and remained in the family for 250 years. His descendent Colonel Hugh Montgomery (or Montgomerie) was himself an amateur fiddler and Scottish music enthusiast and also was honored as the dedicatee of Niel Gow's Fourth Collection. The mansion was well-known to the poet Robert Burns when he dwelt at Lochlea, for it was where he went to meet his Highland Mary, Mary Campbell, then residing as a dairymaid at Coilsfield Housse. It is where "Summer first unfaulds her robes," and where "they langest tarry," said he. His romance was short-lived however, for while they were lovers in the Spring, by October, 1786, Mary had died of a fever caught while waiting on a sick boy, her brother. Sources for notated versions: Cape Breton style fiddler Harvey Tolman (Nelson, N.H.) [Little]; Peter Chaisson, Jr. (b. 1942, Bear River, North-East Kings County, Prince Edward Island) [Perlman]. Alburger (Scottish Fiddlers and Their Music), 1983; Ex. 82, pg. 133. Carlin (The Gow Collection), 1986; No. 23. Gow (Collection). Hunter (Fiddle Music of Scotland), 1988; No. 5. Johnson (The Kitchen Musician's No. 10: Airs and Melodies of Scotland's Past), Vol. 10, 1992; pg. 4. Little (Scottish and Cape Breton Music in New Hampshire), 1984; pg. 30. Neil (The Scots Fiddle), 1991; No. 100, pg. 135. Perlman (The Fiddle Music of Prince Edwards Island), 1996; pg. 205. Iona Records IR002, Ossian - "Seal Song" (1981).
T:Coilsfield House
M:4/4
L:1/8
C:Nath. Gow
Z:Transcribed by Toby Rider
R:Slow Air
K:G
(G/2A/2)| BD GB, G,3 (A/2B/2)| c>A BG F<A D>c| c/2B/2A/2G/2 G/2F/2E/2D/2
G2 EC| B,G A,F GG, G,:|!
(B/2c/2)|d>B dB {cd}e2 AB/2c/2| dGFG A/2G/2F/2E/2 DB/2c/2| d>edB (c/2d/2
e) (e/2f/2g)| f/2g/2a/2g/2 f/2d/2e/2f/2 g2 G g/2a/2|!
bgdB (c/2d/2e) AB/2c/2|dGFG A/2G/2F/2E/2 Dc| BGDB, CD/2E/2 A, D/2C/2| B,
G A,F GG, G,||

COLEBURN, THE. Scottish, Slow Air (4/4 time). B Flat Major. Standard. AA'B. The melody was composed by William Macpherson. The Coleburn or 'hazel'burn is a small stream in Morayshire, states Neil (1991). Neil (The Scots Fiddle), 1991; No. 93, pg. 126.

COLLEGE HORNPIPE. AKA and see "Sailor's Hornpipe," "Lancashire Hornpipe," "Jack's the Lad." English, Scottish, Irish, Canadian, American; Hornpipe. D Major (Ashman, Huntington): G Major (Johnson, Perlman): C Major (Harding, Raven): B Flat Major (Athole, Burchenal, Cole, Cranford, Emmerson, Honeyman, Howe, Hunter, Kerr, McGlashan, Skinner, Vickers). Standard. AABB (most versions): AA'BB' (Cranford). A country dance and tune which was extremely popular both in England and in America (where it appears, for example, on page 28 of a dance MS of the Pepperell, Massachusetts, maid Nancy Shepley, c. 1766) in numerous collections. Carr published in America the tune in Evening Amusement (pg. 15) about August, 1796, and, some one hundred and fifty years later, the tune was still popular for New England dances. Burchenal (1918) printed another contra dance of the same name to the tune. A variant is familiar to most modern people as the theme to the mid-20th century cartoon "Popeye the Sailor Man."
**
In England, Chappell's editor concludes that it cannot date from earlier than the second half of the 18th century, and Chappell himself believes that the tune was an old sailor's song called "Jack's the Lad." The melody has become associated with the nautical hornpipe type of dance which became popular solo step-dance on the stage at the end of the 18th century, and, in fact, it is popularly known as "The Sailor's Hornpipe" today. One of the earliest printings of the tune appears in a volume entitled Compleat Tutor for the German Flute, published by Jonathan Fentum, London, c. 1766, the same year as Nancy Shepley's American dance MS. Another early British printing appears (as "Colledge Hornpipe") in Thompson's Compleat Collection of 120 Favourite Hornpipes (London, Charles and Samuel Thompson c. 1764-80.) and the title was entered at Stationers' Hall in 1798 by J. Dale, London, as "The College Hornpipe." Ken Perlman (1996) dates the tune to the 17th century or earlier and states that it was used by Henry Purcell (c. 1658-1695) in his opera Dido and Aeneas. Perlman does not cite any substantiating data, nor where he obtained this information, and at present his assumption seems unlikely.
**
"The College Hornpipe" was mentioned in an account of one of the old pipers of County Louth, a man named Cassidy, as recorded by William Carleton in his Tales and Sketches of the Irish Peasantry, published in 1845. Breathnach (1997) believes the first name of this piper was Dan, and that he was blind. Carleton, born in 1794, was a dancing master who taught in the 1820's, and was engaged to teach the children of the 'dreadful' Mrs. Murphy. It seems that Carleton:
**
having spent several nights at piper Cassidy's house weighing up the local
dancers ...was impelled by vanity to show them how good a dancer he was
himself. He asked one of the handsomest girls out on the floor, and, in
accordance with the usual form, faced her towards the piper, asking her to
name the tune she wished to dance to. Receiving the customary reply, 'Sir,
your will is my pleasure,' Carleton called for the jig Polthogue. He next
danced Miss McLeod's Reel with his partner, and then called for a hornpipe,
a single dance, this is, one done without a partner. It was considered
unladylike for girls to do a hornpipe. The College Hornpipe was his choice
for this dance. (pg. 59)
**
Breathnach, however, adds the the tune piper Cassidey played for Carleton may not have been the one we now associate with the title "College Groves." It may have been the "Cork Hornpipe" (known usually under the title 'Harvest Home'), which was the name often used for the 'ubiquitous piece' in county Longford. He thinks it more likely, though, that the tune was "Jack's the Lad" which, around Derrylin in Fermanagh was also known as 'The College Hornpipe' (pg. 68). It is an interesting tie-in with Chappell's assertion that the tune was originally called "Jack's the Lad" in England.
**
Sources for notated versions: seven southwestern Pa. fiddlers and fifers [Bayard]; a c. 1837-1840 MS. by Shropshire musician John Moore [Ashman]; Peter Chaisson, Jr. (B. 1942, Bear River, North-East Kings County, Prince Edward Island) [Perlman]; Winston Fitzgerald (Cape Breton) [Cranford]. Ashman (The Ironbridge Hornpipe), 1991; No. 75, pg. 31. Bayard (Dance to the Fiddle), 1981; No. 310A-G, pgs. 261-264. Burchenal (American Country Dances, Vol. 1), 1918; pg. 45. Cazden (Jigs, Reels, and Squares), Vol. 1, pg. 47. Chappell (Popular Music of the Olden Time), pgs. 740-741. Cole (1001 Fiddle Tunes), 1940; pg. 87. Cranford (Fitzgerald), 1997; No. 22, pg. 8. Emmerson (Rantin' Pipe and Tremblin' String), 1971; No. 88, pg. 164. Harding's All-Round Collection, No. 6. Honeyman, 1898; pg. 51. Howe (Musician's Omnibus) Pg. 45. Hunter (Fiddle Music of Scotland), 1988; No. 336. Huntington (William Litten's), 1977; pg. 19. Jarman (Old Time Fiddlin' Tunes); No. or pg. 29. Johnson & Luken (Twenty-Eight Country Dances as Done at the New Boston Fair), Vol. 8, 1988; pg. 3. Kerr (Merry Melodies), Vol. 1; No. 28, pg. 46. McGlashan (A Collection of Scots Measures), c. 1780, pg. 33. Old Time Jigs and Reels, pg. 45. Perlman (The Fiddle Music of Prince Edward Island), 1996; pg. 65. Raven (English Country Dance Tunes), 1984; pg. 163. Seattle (William Vickers), 1987, Part 3; No. 439. Skinner (The Scottish Violinist, with variations). Stewart-Robertson (The Athole Collection), 1884; pg. 299. Sweet (Fifer's Delight); pg. 43. White's Unique Collection, pg. 87. Old Time Fiddler's Favorite Barn Dance Tunes. Edison 51382 (78 RPM), Jasper Bisbee, 1923. Missouri State Old Time Fiddlers' Association, Cyril Stinnett (1912-1986) - "Plain Old Time Fiddling."
T:College
L:1/8
M:C|
R:Hornpipe
B:The Athole Colletion
K:B_
BA|B2 B,2 B,2 FE|DF B2 ~B2 dB|c2 C2 C2 cB|Ac f2 ~f2 ga|bagf gfed|
edcB BAGF|GBAc Bdce|d2 B2 ~B2:|
|:FE|DFBF DFBF|G2 E2 E2 GF|=EGcG EGcG|A2 F2 F2 ed|e2 g2 gfed|
edcB BAGF|GBAc Bdce|d2 B2 B2:|

COLLIER'S BON(N)IE LASSIE, THE. AKA and see "O saw ye bonnie Lesley." Scottish, Air. The tune to which the Scots poet Robert Burns set his lyric "O saw ye bonnie Lesley."

COLONEL DAVID STEWART OF GARTH'S REEL. AKA and see "This is no my ain House." Scottish, Reel. The tune appears twice in Gow's publications; in the Sixth Collection (1822), and, under the original title, in the First Collection (1784). John Glen (1895) sees it as simply a transformation of the older Scots tune "This is no my ain House."

COLONEL HAMILTON'S DELIGHT. AKA and see "Hamilton House." Scottish, Jig. G Major. Standard. AABBCC'. Composed by Joseph Reinagle (1762-1836) around 1783 or earlier. Reinagle, born in Portsmouth, was the son a an Austrian father and Scottish mother and spent his childhood and young adulthood in Edinburgh, becoming leader of the orchestra in the Theatre Royal. Later he moved to Dublin, London, and finally settled in Oxford where he taught the cello. The tune appears in Niel Gow's Strathspey Reels, the Sharpe Manuscript, and Davie's Caledonian Repository. Johnson (Scottish Fiddle Music in the 18th Century), 1984; No. 87, pg. 230. Neil (The Scots Fiddle), 1991; No. 3, pg. 6 (appears as "Hamilton House").

COLONEL HAMILTON OF PENCAITLAND'S STRATHSPEY. Scottish, Strathspey ("slow"). C Major. Standard. AAB. Composed by Nathaniel Gow, son of the famous fiddler Neil, and adjudged the better and more accomplished musician due to a superior education (he played the trumpet and cello in addition to the violin). Nathaniel was a most successful orchestra leader and music publisher but was not as shrewd as his father in business matters, for he bankrupted ultimately. Nevertheless, he was patronized by the Scottish nobility and the Gentlemen of the Caledonian Hunt, and even received pensions from various sources, including king George IV. Neil (The Scots Fiddle), 1991; No. 101, pg. 137.

COME HAP ME WITH THY PETTICOAT. Scottish, English; Reel. England, Yorkshire. G Major. Standard. AAB. Source for notated version: a MS collection by fiddler Lawrence Leadley, 1827-1897 (Helperby, Yorkshire) [Merryweather & Seattle]. McGlashan (Collection of Scots Measures), 177?; pg. 9. Merryweather & Seattle (The Fiddler of Helperby), 1994; No. 121, pg. 64.
T:Come hap me with thy Peticoat (sic)
L:1/8
M:C|
B:McGlashan - "Collection of Strathspey Reels"
K:G
g|dBAG EDEG|d>edB d3g|dBAG G>ABd|e>ged e3g|dBAG E>DEG|
d>gdB d3g|dBA>B G>ABd|e>ged e3||g|d>ega g/a/b ag|d>edB d3e|
d>ega g/a/b ag|e>ba>g e3g|d>ega g/a/b ag|d/g/f/e/ d/c/B/c/ d3g|
e/d/c/B/ c/B/A/B/ G/F/G/A/ B/A/B/d/|e/d/e/f/ g/f/e/^d/ e3||

COME UNDER MY PLADDIE. AKA - "Come Under my Plaidie." AKA and see "Before I Was Married," "Billy O'Rourke's Jig," "The Black Rogue," "Johnny McGill," "Paddy O'Rourke's," "An Rogaire Dubh," "Tibbie Dunbar." Scottish, Jig. G Major. Standard. AB (Kerr): AABB (Cole, Harding, Johnson, O'Neill, Perlman, Robbins, Sweet). The title comes from a song by Hector Macneil of Roslin, Midlothian, from the 18th or early 19th century, and set to the tune "Johnny McGill." The air is properly a Scotch jig (a jig with Scotch measure accents) and was first published in 1778 (according to Glen). Burns also set his lyric Tibbie Dunbar ("O Wilth thou go wi' me, sweet Tibbie Dunbar") to this air. See Bayard's (1981) note to "Johnny McGill" for further discussion and sources. Source for notated version: Peter Chaisson, Sr. (b. 1929, Bear River, North-East Kings County, Prince Edward Island) [Perlman]. Cole (1001 Fiddle Tunes), 1940; pg. 53. Harding's Original Collection, No. 132. Jarman (Old Time Fiddlin' Tunes); No. or pg. 17. Johnson (Scots Musical Museum), Vol. 6, 1783; No. 533. Kerr (Merry Melodies), Vol. 1; No. 25, pg. 46. O'Malley, 1919; pg. 7. O'Neill (1850), 1903/1979; No. 915, pg. 170 (appears as "The Black Rogue"). Perlman (The Fiddle Music of Prince Edward Island), 1996; pg. 128. Robbins, 1933; No. 77. Sweet (Fifer's Delight), 1964/1981; pg. 34. White's Excelsior Collection, pg. 20. Rounder 7004, Joe Cormier - "The Dances Down Home" (1977).

COME YE OWER FRAE FRANCE. AKA and see "The Keys of the Cellar," "The Marchioness of Tweed-dale's Delight." English, Old Hornpipe (3/2 time). G Dorian. Standard. One part. Note: The song is a satire of the Hanoverian King George I ("Geordie Whelps"), who became King of England and Scotland in the 18th century. George transplanted to England an assortment of mistresses and characters, the fromer being impoverished gentlewomen from Germany, providing Jacobite songwriters with a broad target and much ribald glee. Several of these imported characters come in for derision: Madame Kilmansegge, Countess of Platen, is referred to as "The Sow" in many Jacobite songs, while the King's favorite mistress, the lean and haggard Madame Schulemburg (afterwards named Duchess of Kendall) was given the name of "The Goose". She is the
"goosie" in "Come Ye Ower Frae France," while the "blade" is one Count Koningsmark. John, Earl of Mar, was nicknamed "Bobbing John," an interesting character in Scottish history. Mar (1675-1732) was a disaffected Tory minister who had served as one of the Scots commissioners during the Union negotiations (to unite the kingdoms of Scotland and England), however, once it was passed he came to understand it was a terrible mistake. To remedy this he raised the Jacobite standard at Braemar in 1715 on behalf of James, the Old Pretender and became one of the leaders of the rebellion. Opposed by the The Duke of Argyll with 35,000 government troops, Mar and his clansmen fought at Sheriffmuir near Stirling in November, 1715. Although at first it appeared that the 'Highland Charge' would carry the day, the Hanoverian professionals wavered but held and eventually gained the upper hand, driving the Highlanders back into the mountains. By February, 1716, the rebellion was quelled and Mar sailed with James for France and permanent exile.
***
CAM YE O'ER FRAE FRANCE
***
Cam ye o'er frae France?
Cam ye down by Lunnon? (Lunnon = London)
Saw ye Geordie Whelps
And his bonny woman?
Were ye at the place
Ca'd the Kittle Housie? (Kittle Housie = Cat House or Brothel)
Saw ye Geordie's grace
Riding on a goosie?
***
Geordie he's a man
There is little doubt o't;
He's done a' he can
Wha can do without it?
Down there came a blade
Linkin' like my lordie; (Linkin' = tripping along)
He wad drive a trade
At the loom o' Geordie.
***
Though the claith were bad, (claith = cloth)
Blythly may we niffer; (niffer = haggle)
Gin we get a wab, (wab = length of cloth)
It makes little differ.
We hae tint our plaid, (tint = lost)
Bannet, belt and swordie,
Ha's and mailins braid -- (ha's and mailins = houses and farmlands)
But we hae a Geordie!
***
Jocky's gane to France,
And Montgomery's lady;
There they'll learn to dance:
Madame, are ye ready?
They'll be back belyue (belyue = quickly)
Belted, brisk and lordly;
Brawly may they thrive (brawly = well)
To dance a jig wi' Geordie!
***
Hey for Sandy Don!
Hey for Cockolorum!
Hey for Bobbing John,
And his Highland Quorum!
Mony a sword and lance
Swings at Highland hurdie; (hurdie = buttock)
How they'll skip and dance
O'er the bum o' Geordie!
***
Loesberg (Traditional Folksongs and Ballads of Scotland, Vol. 1), No. 1. COOK 038, Ewan MacColl - "Black and White." HR 102, Tannahill Weavers - "The Old Woman's Dance." Ossian OSS 103, Ewan MacColl - "The Jacobite Rebellions." Shanachie 79045, Steeleye Span - "Parcel of Rogues." Dick Gaughan - "No More Forever."
T:Come Ye Ower Frae France
L:1/4
M:3/2
K:G Dorian
BG GD G2|BG GB A/B/c/A/|BG G>D G2|{cB}AF FA A/B/c/A/|
Gg g>^f g2|Gg ga b/a/g|Gg a/g/f/e/ f2|{d}cA FA d/c/B/A/:|

COMING THROUGH THE RYE. AKA and see "Gin a Body Meet a Body," "The Miller's Daughter," "Rye Waltz." Scottish, Shetland; Country Dance Tune (2/4 or 4/4 time) or Strathspey. D Major (Kerr/3rd, Sweet): A Major (Kerr/4th). Standard. One part (Sweet): AABB (Kerr/4th). The title of the song comes from lyrics by Robert Burns set to the tune originally composed by Robert Bremner called "The Miller's Daughter." It was published in 1797 in The Scots Musical Museum (Vol. 5), though it had earlier appeared in 1796 under the title "If a Body Meet a Body," with the arrangement credited to J. Sanderson with words by Mr. Cross. Several sources have noted the similarity between this tune and "Auld Lang Syne," and Fuld (1966) believes they have similar melodic antecedents. The original song was a particularly bawdy ditty collected by Burns (who wrote not a few bawdy lyrics himself) and published posthumously around 1800 in The Merry Muses of Caledonia. Fuld believes that Cross's 1796 words were simply a purient altering of the original song for public consumption. As a novelty number called "The Rye Waltz," it was popular at dances in the southwest United States around 1900 (Shumway, 1990). The tune was recorded from Ozark Mountain fiddlers by folklorist/musicologist Vance Randolph in the early 1940's for the Library of Congress. Cooke prints the following words to the tune, collected in the Shetland Islands:
***
Jaanie she's a poor body,
Jaanie she's no dry;
Drinkin o' a pirrie cups,
Coming through the rye.
***
While Burns' begins:
***
Gin a body meet a body
Comin' thro' the rye.
***
Kerr (Merry Melodies), Vol. 3; No. 370, pg. 41. Kerr (Merry Melodies), Vol. 4; No. 4, pg. 3. Sweet (Fifer's Delight), 1964/1981; pg. 17. Veteran VT111, Francis Shergold - "Greeny Up" (1988. Recorded from Bampton, England, morris dance musicians).

CONSTANT BILLY. English, Morris Dance (6/8 and duple versions). A Major (Bacon & Raven-Adderbury, Oddington & Wheatly versions; Williamson): F Major (Bacon-Bidford): G Major (Bacon-Bucknell, Eynsham, Field Town, Headington, Ilmington, Longborough & Sherborne, Mallinson-Adderbury and Headington versions): B Flat Major (Bacon-Bampton). Standard, though Williamson suggests GDGD. AAB, x6 (Adderbury, Bampton, Bucknell versions): AABB, x4 (Headington version): AABB (Williamson): ABABABA (Bacon-Bidford). Robin Williamson (1976) reports that the tune appears to be a close variant of a Scots tune called "Cia Mar Is Urra Sinn Fuirreach O'n Dram" (How Shall We Abstain From Whiskey). The melody was written in the early 18th century by John MacMurdo of Kintail; it was published in Scotland (MacMurdo emmigrated at some point to America), where it was thought to have been Irish in origin and called "The Legacy" untill Captain Simon Frazer pointed out its true origins in his 18th century collected "Airs and Melodies of the Highlands of Scotland." The tune was very popular all over England and became a morris standard, being set to a variety of dances. Cotswold morris versions are numerous and come from the areas of Adderbury, Bampton, Bidford, Bucknell, Eynsham, Field Town (Leafield), Headington, Ilmington, Longborough, Oddington, Sherborne and Wheatley. In modern times the tune is usually played in the key of G Major to accomodate the ubiquitous morris melodeon. There is a "Constant Billy" in the third volume of Playford's "Dancing Master", which Kidson (1922) identifies as a late 17th century song found on half-sheet music beginning:
***
When the hills and lofty mountains
And the vales were hid in snow.
***
Morris dancers traditionally sing these words while walking in a circle as a preamble to the dance proper:
***
Oh, Billy, my constant Billy,
When will I see my Billy again?
When the fish fly over the trees
Then will I see my Billy again.
***
Oh! my Billy, my constant Billy,
When shall I see my Billy again?
Billy again! Billy again! Billy again! Billy again!
Oh! my Billy, my constant Billy,
When shall I see my Billy again? (Bacon-Adderbury)
***
Source for notated version: Daniel Lock (Minster Lovell, Oxfordshire, England) via Cecil Sharpe [Bacon-Field Town version]. Bacon (The Morris Ring), 1974; pgs. 6, 46, 61, 117, 143, 149, 210, 256, 281, & 307. Karpeles & Schofield (A Selection of 100 English Folk Dance Airs), 1951; pg. 37. Mallinson (Mally's Cotswold Morris Book), 1988; No. 17, pg. 14 and No. 38, pg. 25. Raven (English Country Dance Tunes), 1984; pg. 74. Williamson (English, Welsh, Scottish and Irish Fiddle Tunes), 1976; pg. 24. Topic TSCE458, John Kirkpatrick - "Plain Capers" (1976/1992). Veteran VT111, Francis Shergold - "Greeny Up" (1988. The Bampton version of the melody).
T:Constant Billy
L:1/8
M:6/8
S:Adderbury
K:A
E|A2e c<Ac|d2B G2E|c>BA F2E|1 EFG A2:|2 EFG A3||cde f3|
Bcd e3|cde f3|Bcd e2 (3e/f/g/|a2e c<Ac|d2B G2E|c>BA F2E|EFG A2||

COPPERPLATE, THE [1]. AKA and see "The New Copperplate." Irish, Reel. Ireland, County Sligo. G Major. Standard. AB (Mitchell, Mulvihill): AABB (Allan's): AA'BB' (Flaherty, Tubridy). The title "Copperplate" is a corruption of the Scots Gaelic title "Caber Feigh," sometimes rendered "Caper Fey." There is a tune called "The Old Copperplate" which appears to be no relation. Sources for notated versions: fiddler Fred Finn {1919-1986} (Kiltycreen Kilavil, County Sligo) [Flaherty]; piper Willie Clancy (1918-1973, Miltown Malbay, west Clare) [Mitchell]; Liam Greenall (Liverpool, England) [Mulvihill]. Allan's Irish Fiddler, No. 55, pg. 14. Flaherty (Trip to Sligo), 1990; pg. 74. Mitchell (Dance Music of Willie Clancy), 1993; No. 65, pg. 68. Mulvihill (1st Collection), 1986; No. 196, pg. 53. Tubridy (Irish Traditional Music, Book Two), 1999; pg. 20.
T:Copperplate, The [1]
L:1/8
M:C|
K:G
G2 dG BGdG|G2 dG BGGB|A2 eA cAeA|A2 ed cAFA|G2 dG BGdG|
G2 dG BGGB|ABcd efge|1 aged cAFA:|2 aged Bdef||
|:g3a g3 ef|gedc BGBd|eaag agea|aged Bdef|g2 ga g2 de|
gedc BGGB|ABcd efge|1 aged Bdef:|2 aged cAFA||

COPPERPLATE, THE [2]. Irish, Reel. A Dorian. Standard. AABB.
Related to version #1. The tune is a variation of the Scots melody "Caber Feigh." Source for notated version: Sligo style fiddler Paddy Reynolds (Ireland) [DeMarco & Krassen]. DeMarco & Krassen (A Trip to Sligo), 1978; pg. 37,51,66. Green Linnet SIF 1035, Tony DeMarco & Brian Conway - "The Apple in Winter" (1981). Green Linnet 1101, Tony DeMarco & Brian Conway - "Playing with Fire: the Celtic Fiddle Collection" (1989).

CORN RIGGS (ARE BONNY). Scottish (originally), Irish, English; Reel. Scotland, Lowland region. England; Northumberland, northwest England. Ireland, County Donegal. D Major (Hall & Stafford, Kerr, Lerwick, Kennedy, Miller & Perron, Raven, Sweet): G Major (Athole, Emmerson, Wade, Williamson). Standard. AAB (Athole, Emmerson): AABB (Hall & Stafford, Kennedy, Kerr, Lerwick, Miller & Perron, Raven, Sweet, Wade, Williamson): AABBCCDDEEFFGGHHIIJJ (Hall & Stafford {includes variations). The 'riggs' referred to in the title specifically are furrows of a newly plowed field, though the title is taken to mean fields of grain.
**
This tune, a Scottish Measure, dates from the 17th century and has had currency in both "old" and "new" sets. The new set has words written to it by the Scottish national poet Robert Burns, and is still popular, while an "old set" of the tune was printed in the Panmure 9454 MS, Seventy-Seven Dances, Songs and Scots Airs for the Violin (c. 1675). Munro wrote a variation sonata based on the tune published in 1732 (Collection of Scots Tunes) and it was his idea to combine the Scottish air-jig form with the Italian sonata da camera. The melody was ascribed to Robert McIntosh by Mr. John Glen who added it in hand in his copy soon after it was published (in the McLean Collection by James Johnson in Edinburgh in 1772).
**
Chappell (1859) asserts that the melody was taken from an English tune called "Sawney was tall and of noble race," a song in Thomas D'Urfey's play The Virtuous Wife. Emmerson (1971) also suggests the prototype for "Corn Riggs" is the melody "Sawney," which he says can be found in John Playford's Appolo's Banquet (Fifth Ed., 1687), and he prints both tunes together. Similarly, it was the opinion of G. Farquhar Graham, writing in The Popular Songs and Melodies of Scotland (Glasgow 1893), that "...setting aside historical evidence, of which there is plenty, whoever will look at the air without prejudice, must see that it has no Scottish characteristics whatever, and that its flowing English style is apparent from the first bar to the last." John Glen in Early Scottish Melodies (1900, pg. 51), admits the tune is "somewhat of an English character." Along with the previously mentioned sources, other stage works incorporated the melody, and it was used, for example, by Allan Ramsay in his ballad opera The Gentle Shepherd (1725), which was published three years before Gay's Beggar's Opera made the genre famous. Also in England the piece was used as a vehicle for a polka step in the North-West Morris tradition (Wade), and the title appears in Henry Robson's list of popular Northumbrian song and dance tunes, which he published c. 1800. It is one of the "missing tunes" from William Vickers' 1770 manuscript of Northumbrian melodies. Corn Rigs is also the name of a country dance frequently taught by country dance masters in Scotland in the 19th century. Caoimhin Mac Aoidh (1994) remarks that the tune and dance were well-known in County Donegal, and states "its popularity may be inferred by the existence of at least three versions of the tune which is widespread throughout the county including a very masterful one by (fiddler) Mickey Doherty."
**
Emmerson (Rantin' Pipe and Tremblin' String), 1971; No. 22, pg. 126. Hall & Stafford (Charlton Memorial Tune Book), 1974; pg. 22. Jarman, Old Time Fiddlin' Tunes; No. or pg. 20. Kennedy (Fiddlers Tune Book), Vol. 1, 1951; No. 14, pg. 7. Kerr (Merry Melodies), Vol. 1; No. 1, pg. 24. Lerwick (Kilted Fiddler), 1985; pg. 9. Miller & Perron (101 Polkas), 1978; No. 92. Miller & Perron (New England Fiddler's Repertoire), 1983; No. 79. Northumbrian Pipers' Tune Book, Vol. 2; pg. 2. Raven (English Country Dance Tunes), 1984; pg. 165. Stewart-Robertson (The Athole Collection), 1884; pg. 148. Sweet (Fifer's Delight), 1964/1981; pg. 63. Wade (Mally's North West Morris Book), 1988; pg. 19. Williamson (English, Welsh, Scottish and Irish Fiddle Tunes), 1976; pg. 47. Topic 12TS382, New Victory Band - "One More Dance and Then" (1978, learned from Yorkshire melodeon player George Tremain).
X:1
T:Corn Riggs are Bonny
L:1/8
M:C|
K:D
|:dc de f2 ed|cB cd e2 A2|dc de fg ef|d2a2a2 (3ABc|dc de f2 ed|cB cd e2A2|
Bc dB ed cB|A2d2d2 (3ABc:|
|:d2a2 fga2|cB cd ec A2|d2a2 fg ef|d2 ab a2 (3ABc|d2a2 ba gf|gf ed cd eA|
Bc dB ed cB|A2d2d2A2:|
X:2
T:Corn Rigs
L:1/8
M:C|
R:Country Dance
B:The Athole Collection
K:G
D|G3A cBAG|FEFG A2D2|G3A BcAB|G2de d2D2|G3A cBAG|
FEFG A2D2|EFGE AGFE|D2G2G3:|
D|G2d2 BcdG|FEFG A2D2|G2dc BcAB|G2de d2D|G2d2 edcB|
cBAG F2D2|EFGE AGFE|D2G2G3D|G2d2 BcdG|FEFG A2D2|
G2 dc BcAB|G2de d2ef|gfed edcB|cBAG GFED|EFGE AGFE|
D2G2G3||

CORNEY IS COMING ("Tá Crotuir Ag Teacd" or "Tá Cornaí ag Teacht). AKA and see "The Barrack St. Boys," "The Bride to Bed," "Brides to Bed," "Brides Away," "The British Naggon," "Cheese It," "Crawford's Reel," "The Honeymoon," "I Saw Her," "Kelly's Reel," "Knit the Pocky," "Merry Bits of Timber," "Miss Wilson," "My Love is in America," "My Love is in the House," "Shannon Breeze," "Six Mile Bridge," "Tom Fitzmaurice's Reel." Irish, Reel. D Major. Standard. AB (O'Neill): AA'B (Breathnach, Mitchell). Goodman gives the tune as "The Bride to Bed," "Brides to Bed" and "My Love is in America." Joyce has it as "Brides Away" and "My Love is in the House." Breathnach (1985) says the tune was first printed by Bremner as "Knit the Pocky" in his Collection of Scots Reels (1751-61). Source for notated versions: piper Willie Clancy (1918-1973, Miltown Malbay, West Clare, Ireland) [Breathnach, Mitchell]. Breathnach (CRE III), 1985; No. 173, pg. 79. Mitchell (Dance Music of Willie Clancy), 1993; No. 8, pg. 33. O'Neill (1850), 1903/1979; No. 1548, pg. 286. O'Neill (1001 Gems), 1907/1986; No. 762, pg. 133. Claddagh 4CC 32, Willie Clancy - "The Pipering of Willie Clancy, Vol. 1" (1980).
T:Corney is Coming
L:1/8
M:C|
R:Reel
S:O'Neill - 1001 Gems (762)
K:D
c|Addc defd|cAGF EFGE|Dddc defa|gece fdec|Addc defd|
cAGF EFGE|Dddc defa|gecd edd||c|defg afdB|cdef gecA|
defg agfa|gecd eddf|afdf afdf|gece gfge|defg abaf|gecd edd||

COUNTESS OF HADDINGTON, THE. Scottish, Strathspey. B Flat Major. Standard. AAB. Composed by the great Scots fiddler Niel Gow (1727-1807). MacDonald (The Skye Collection), 1887; pg. 132.
T:Countess of Haddington, The
L:1/8
M:C
S:MacDonald - Skye Collection
K:B_
F|(D/E/F) BF (D/E/F) BF|GEFD Ccc>d|(D/E/F) BF (D/E/F) Bg|fd (e/d/)c/B/ FBB:|
d|B/c/d/e/ fb Bbfd|e(d/c/) (e/d/)c/B/ G(cc)d|(B/c/d/e/) fb Bbfd|ed/c/ (e/d/)c/B/ FBB>d|
(B/c/d/e/) fb Bbfd|e(d/c/) (e/d/)c/B/ G(cc>)d|B<FD<F D<FD<g|f>d (e/d/)c/B/ FBB||

CRADLE SONG, THE. Scottish, Slow Air (4/4 time). A Major. Standard. One part (Hunter, Neil): AB (Skinner). Composed by James Scott Skinner, and printed in his "Logie Collection". Originally written as a song and extremely popular when he was alive, it's inspiration was Skinner's sympathetic observations of a mother caring for her sick child in a Forres hotel room.
***
Sprites that guard young children enter here tonight,
O'er my fevered darling watch till morning light.
From our home forever went my Love away,
Crossed the darling river, entered endless day.
Sleep my own fair darling, I will cling to thee,
Sure my cup of sorrow cannot fuller be.
***
Alburger (Scottish Fiddlers and Their Music), 1983; Ex. 106, pg. 183. Hunter (Fiddle Music of Scotland), 1988; No. 25. Neil (The Scots Fiddle), 1991; No. 90, pg. 122. Skinner (The Scottish Violinist); pg. 36.

CRAIGELLACHIE LASSES, THE. Scottish, Jig. D Major. Standard. AB. Composed by Willaim Marshall (1748-1833). Craigellache is Gaelic for 'windy' (craig) rock (aileach), and refers to two rugged outcropings in Bannfshire. Neil (1991) relates the westernmost (or upper) rock marked the boundary between Strathspey and Badenoch and was the wartime rallying point of the Clan Grant. The lower rock is located at the confluence of the Spey and Fiddich rivers and marks the point where the parishes of Aberlour, Hnockando and Boharin meet. The clan's crest incorporates the image of a mountain in flames to commemorate the old clan practice of lighting fires on the top of both rocks to call the clan to war. Similarly, the clan's armorial motto is "Stand Fast Craigellachie." Marshall, Fiddlecase Edition, 1978; 1845 Collection, pg. 4. Neil (The Scots Fiddle), 1991; No. 66, pg. 91.
T:Craigellachie Lasses, The
L:1/8
M:6/8
S:Marshall - 1845 Collection
K:D
A|d2 d dcB|A>BG F>ED|d2d d>cd|e>fd c>BG|d2d d>cB|A>BG F>ED|
EC>A, A,>B,C|D3 D2||f/g/|afd def|gec Ace|fdA GBe|ecA FGA|BGE EFG|
AFD DFA|ECA, A,B,C|D3D2f/g/|afd afd|gec gec|fdA fdA|ecA ecA|BGB dcB|
AFA Bcd|Bgf e>dc|d3 D||

CRIOGAL CRIDHE (Glenlyon Lament). Scottish, Slow Air (4/4 time). G Mixolydian. Standard. AB. After the hanging of Macgregor of Glenstrae by the Campbell of Glenorchy, his widow composed this sad air. Neil (1991) relates the sad fate of the once strong and honorable Clan MacGregor, the traditional enemies of the Campbells, who went into decline before the beginning of the 17th century. By the early 1600's the MacGregors were nearly landless and most of their members had scattered to the estates of others, notably their old enemies the Campbells, and the Menzies. Desperate, individuals in the clan formed themselves into maurauding, lawless bands and became freebooters, finding haven in hiding places of Lannoch Moor. In 1602 they managed to annihilate the Colquhouns at the battle of Glenfruin (which became known as the 'Slaughter of Lennox') but for the next twenty-five years they themselves were hounded, repressed and nearly exterminated by the vengeful government and personage of King James VI, who only relented in 1627, when a new chief was able to bring the clansmen under his authority and exercise the peace. Neil (The Scots Fiddle), 1991; No. 152, pg. 195.

CRODH CHAILEIN (Colin's Cattle). Scottish, Slow Air (3/4 time). D Major (Martin): E Major (Neil). Standard. One part. The melody is though to have been composed by Isabel Cameron of Mull. One of the Gaelic fairy songs (Orain Shidhe), it tells the story of the beautiful bride of Colin who was enchanted by fairies on her wedding day. Her fate was for one year's time to be allowed home each day to milk the cows, and though Colin could hear her singing, she was forced to remain invisible to him. After the specified period the spell was broken and she was restored. Martin (Ceol na Fidhle), Vol. 1, 1991; pg. 14. Neil (The Scots Fiddle), 1991; No. 172, pg. 223.

CROMLET'S LILT. Scottish. Robin Williamson dates the tune from the 1590's but notes that it was first found in print in the Reverand William Geddes' Saints' Recreation, 1683. It later appeared in James Oswald's Curious Collection of Scots Tunes (c. 1739) as the fourth figure of his 'Sonata of Scots Tunes'. Williamson says the tune should more accurately be called "Cromleck's Lilt" after one Chisholm of Cromleck, who courted "a beauty named Helen, one of a family of 31 children, no less. Her youngest brother died at the age of 111, at which age he could still drink a bottle of ale at a draught." For some reason Cromleck had to leave for France, and while there composed a ballad and this tune for his beloved. Unfortunately, a friend had in his absence wooed the same Helen and succeeded in winning her affections to the extent they were married. On their bridal night however, she was visited by at least the voice of Croleck which cried "Oh Helen, Helen, mind me," at which she lept from the bed in horror. Evidently the marriage was never consummated, for Cromleck soon came home, discovered the treachery of his friend, and succeeded in having the marriage annulled, whereupon "Helen became the happy wife of her first intended." Flying Fish FF358, Robin Williamson - "Legacy of the Scottish Harpers, Vol. 1."

CRUINNEACHADH IOMLAN LUTHMHOR, AN. AKA and see "The General Gathering, 1745." At the battle of Quebec, 1760, the British troops were retreating before the French in disorder and the general complained to a field-officer in Fraser's regiment of the bad conduct of his corps. O'Neill (1913) reports the officer rejoindered, "Sir, you did very wrong in forbiding the pipers to play; nothing dispirits the Highlanders so much; even now they would be of some use." "Let them blow, in God's name, then!" said the general; and the pipers forming skirlled "Cruinneachadh" (Gathering), on which the Scots formed in the rear and bravely returned the charge.

CUCKOO'S NEST [14] (Nead na Cuaiche" or "Nead an Cuaic"). See "Cuckoo Hornpipe." AKA and see "All Around," "Captain Moss's," "Come Ashore," "Come Ashore, Jolly Tar, With Your Trousers On," "Coo Coo's Nest," "I do confess thou art sae fair," "Jacky Tar" (Hornpipe), "The Mower," "The Mountain Top," "An Spealadoir" (The Mower), "The Trowsers On," "The Yellow Heifer." British Isles, Old-Time, Bluegrass; Hornpipe, Reel, Breakdown. D Major (Brody, Carlin {setting #1), Kerr, Moylan, Phillips/1995 {setting #1}: D Dorian (Roche, 1st setting): G Major (Harding, Merryweather & Seattle, Mulvihill, O'Neill/Krassen & 1001, Phillips/1995 {setting #2}, Roche {setting 2}: E Aeolian (O'Neill/Krassen -1st setting): A Dorian (Phillips): A Major (Carlin, setting #2). Standard. AB (Begin): AABB (Brody, Harding, Kerr, Moylan, Phillips, Roche, O'Neill, Phillips and Carlin {1st settings}): AABC (Mulvihill): AABBCC (Kennedy, Merryweather & Seattle, O'Neill/Krassen, 1001 & 1915, Roche, and Carlin {2nd settings}).
***
An extremely popular English melody known throughout the British Isles and British North America whose title, the 'cuckoo's nest,' commonly referred to female pubic hair and accompanying anatomy. It dates to at least the early 18th century. James Aird's printing in his Selection of Scotch, English, Irish and Foreign Airs, Vol. 1 (1782, pg. 66) includes an interesting fourth strain, not found in other sources. Matt Seattle (1987, 1994) believes the tune to originally have been a Scots Measure in D Minor with the title "Come Ashore Jolly Tar (with) Your Trousers On," but notes that many versions of this tune exist, with quite substantial variation between them, in major and minor keys (he remarks that the Northumbrian William Vicker's late 18th century setting is evidently minor, despite the key signature). The title appears in numerous 18th and 19th century dance collections, and made Henry Robson's list of popular Northumbrian song and dance tunes, which he published c. 1800. In Jacobite Relics (1819) James Hogg prints a song to the melody, commenting: "It must have been a great favourite in the last age, for about the time when I first began to know one tune from another, all the old people that could sing at all, could sing "The cuckoo is a bonny bird." He prints the following words to the tune:
***
The cuckoo's a bonny bird when he comes home,
The cuckoo's a bonny bird when he comes home;
He'll fley away the wild birds that hank about the throne,
My bonny cuckoo when he comes home.
***
The Cuckoo's Nest is also the name of a Scottish country dance, which, though increasingly rare, was danced in parts of the country (e.g. West Berwickshire) through the 19th century.
***
The 18th century Munster poet Eoghan Rua O Suilleabhain used the tune for his poem "An Spealadoir." Doolin, north County Clare tin whistle player Micho Russell also associated the tune with a 'spailpin,' or wandering harvest laborer (he called the tune "The Man that cuts the hay with the Scythe"). Bayard (1944) and Breathnach (1985) both cite the collector Father Henebry (A Handbook of Irish Music, pgs. 170-1) who was convinced that the third part of the Irish versions was modern (i.e. in his time, c. 1900), and "was tastelessly added to the original two parts or the air." Breathnach (1985) also notes that many songs were written to the air, and gives a verse from Seán Ó Dálaigh's collection of a rural love ballad popular in Munster:
***
Tá páircín bheag agamsa
de bhán, mhín, réidh;
Gan claí, gan fál, gan falla léi,
ach a haghaidh ar an saol;
Spealodóir do ghlacfainnse,
Ar task na d'réir an acara,
Bé acu sud do b'fhearr leis,
nó páigh in aghaidh an lae.
(Literal translation by Paul de Grae:)
I have a small little field
white, smooth, ready;
without fence, without hedge, without wall,
but its face to the world:
I'd take a mower
on a task or by the acre,
whichever he'd prefer,
or paid by the day.
***
Breathnach thinks the "An Spealdoir" (by which it is commonly known in Ireland) title stems from this verse.
***
In America, the melody was included in New Windsor, Connecticut, musician Giles Gibbs' MS collection of 1777, Henry Beck's flute manuscript of 1785 (pg. 56), and Clement Weeks' collection of dances made in 1783. It was even preserved in a chime clock of the period manufactured by New Windsor, Connecticut, clockmaker Daniel Burnap. The tune remains a popular staple at New England contra dances to this day. In other American traditions, the title appears in a list of traditional Ozark Mountain fiddle tunes compiled by musicologist/folklorist Vance Randolph, published in 1954. Similarly, in modern times in the United States the tune has been assumed into Texas fiddling tradition, probably derived from Canadian or Midwestern sources (Guthrie Meade & Mark Wilson).
***
Sources for notated versions: "loosely based on the playing of Dave Swarbrick" (England) [Phillips/1989]; piper Seamus Ennis (Ireland) [Breathnach]; from "an old music book of 1723" [Bunting]; from a MS collection by fiddler Lawrence Leadley, 1827-1897 (Helperby, Yorkshire) [Merryweather & Seattle]; Ruthie Dornfeld and James Chancellor [Phillips/1995]; accordion player Johnny O'Leary (Sliabh Luachra region of the Cork-Kerry border), recorded at a recital at Na Píobairí Uilleann, February, 1981 [Moylan]; fiddler Dawson Girdwood (Perth, Ottawa Valley, Ontario) [Begin]. Aird (Scotch, English, Irish and Foreign Airs), volume I, No. 190 (appears as "Come ashore Jolly Tar"). Begin (Fiddle Music in the Ottawa Valley: Dawson Girdwood), 1985; No. 22, pg. 37. Breathnach (CRE III), 1985; No. 221, pg. 101. Brody (Fiddler's Fakebook), 1983; pg. 81. Carlin (Master Collection), 1984; pgs. 163-164, No.'s 291-292 (arrangements by John Kimmel). Harding's All Round Collection, 1905; No. 52, pg. 16. Jarman, Old Time Fiddlin' Tunes; No. or pg. 23. Kennedy (Fiddlers Tune Book), Vol. 1, 1951; No. 27, pg. 14 [note for note the same as Raven's version]. Kerr (Merry Melodies), Vol. 4; No. 282, pg. 30. Merryweather & Seattle (The Fiddler of Helperby), 1994; No. 28, pg. 35. Mulvihill (1st Collection), 1986; No. 26, pg. 96 (appears as "Cuckoo's Nest No. 1," identical to O'Neill's 1850 2nd setting). O'Neill (1915 ed.), 1987; No. 321, pg. 158. O'Neill (Krassen), 1976; pg. 205 (two settings). O'Neill (1850), 1903/1979; Nos. 1733 & 1734, pg. 322. O'Neill (1001 Gems), 1907/1986; No. 913, pg. 156. O'Sullivan/Bunting, 1983; No. 110, pgs. 157-158. Phillips (Fiddlecase Tunebook), 1989; pg. 14. Phillips (Traditional American Fiddle Tunes), Vol. 2, 1995; pg. 188. Raven (English Country Dance Tunes), 1984; pg. 177 (appears as "The Cuckoo's Nest {New}" and is the same version as O'Neill's second setting). Roche Collection, 1982; Vol. II, pg. 19 and Vol. 3, pg. 60, No. 170. Russell (The Piper's Chair), 1989; pg. 26 (appears as "The Man that cuts the Hay with the Scythe"). Sannella, Balance and Swing (CDSS). Stanford-Petrie (Complete Collection), 1905; No. 1206. Seattle (William Vickers), 1987, Part 2; No. 289. Folkways FS 3809, Dan White and John Summers- "Fine Times at Our House." Fretless 103, "Clem Myers: Northeast Regional Old Time Fiddle Champion 1967 & 1970." Fretless 201, Jerry Robichaud- "Maritime Dance Party" (1978). Front Hall 017, Michael and McCreesh- "Dance, Like a Wave of the Sea" (1978. Learned from the playing of Martin Carthy & Dave Swarbrick). Kicking Mule 204, Pat Dunford- "The Old-Time Banjo In America." Rounder 0046, Mark O'Conner- "National Junior Fiddle Champion." Rounder 0060, Brother Oswald and Charlie Collins- "Oz and Charlie." Sonet SNTF 764, Dave Swarbrick and Friends- "The Ceilidh Album." Tara Records 1009, Seamus Ennis - "The Fox Chase" (1977).
T:Cuckoo's Nest, The [14]
L:1/8
M:C|
R:Hornpipe
S:O'Neill - 1001 Gems (913)
K:G
dc|BABA GBdg|fdcB cedc|BABG FGAB|c2A2 A2dc|
BABA GBdg|fdcB cedc|BABG FGAc|B2G2G2:|
|:Bc|dBGB dBGB|dcBA G2 AB|cAFA cAFA|cBAG F2BA|
GABc d2g2|fdcB cedc|BABG FGAc|B2G2G2:|
|:Bc|dggf gabg|afd^c d2 de|=fede ^fgaf|gfdB cedc|
BABA GBdg|fdcB cedc|BABG FGAc|B2G2G2:|

CUMBERNAULD HOUSE. AKA - "Cumberland House." Scottish, Air (4/4 time). G Major. Standard. AABB. Huntington (William Linton's), 1977; pg. 26. Johnson (The Scots Musical Museum); No. 142, pg. 149. Napier (A Selection...Of Scots Songs), Vol. II, pg. 48. Ritson (Scottish Songs); Vol. 1, pgs. 145-146.

CUMHA IARLA WIGTON (Lament for the Earl of Wigton). Scottish, Pibroch. G Major. Standard. AABBCCDDEE. The first and last strains are in duple time, the middle three in triple. The tune appeared in Donald Dow's "Ancient Scots Music" (1776), though Johnson (1983) dates it on stylistic terms to c. 1720, and thinks it may have originally been composed for the harp. The Earl was probably the third Earl of Wigton who died in 1665, according to Bruford. Johnson, 1983; No. 55, pgs. 132-133.

CUMHA PEATHAR RUAIRI (The Lament for Rorie's Sister). Scottish, Air. This harp melody appears in Daniel Dow's Collection of Ancient Scots Music (1776) attributed to 'Rorie Dall', thought whether he meant by this Ruari (Dall) O Cathain or Rorie Dall Morison, both famous harpers, is unknown. A shorter version appears in the Straloch Manuscript of 1627-29 simply titled "A Port." As Sanger and Kinnaird (Tree of Strings, 1992) point out, the date of the Straloch is prior to the birth of Morison, and O Cathain did have a sister.

CUMHADH FHINN (Ossian's Lament for His Father). AKA and see "Oran an Fheidh." Scottish, Slow Air (3/4 time). G Major. Standard. AABB. The air, according to Neil (1991), is thought to be the original melody popular in Lochaber and environs as "Oran an Fheidh" (Song of the Deer). It commemorates the legendary warrior Fingal, Ossian's father, a brave and shrewd Highland warrior chieften who was "a faithful friend but an awesome and unforgiving foe as was illustrated when he showed no mercy towards his nephew Diarmid, who had eloped with his beautiful Queen Grainne." Logan, "The Scottish Gael." Neil (The Scots Fiddle), 1991; No. 144, pg. 183.

CUTTYMUN/CUTTYMAN AND TRE(E)LADLE. AKA and see "Bedding of the Bride." Scottish, Reel. A Mixolydian. Standard. AAB (Athole, Gow, Kerr): AABB (Honeyman). Gow gives in Part Second of the Complete Repository of Original Scots Tunes (c. 1802, 1810-1820) that "This is the tune mentioned in the old Poem entitled Christ's Kirk on the Green, Canto 2nd, line 96." Carlin (The Gow Collection), 1986; No. 491. Gow (Complete Repository), Part 2, 1802; pgs. 26-27. Honeyman (Strathspey, Reel and Hornpipe Tutor), 1898; pg. 20. Kerr (Merry Melodies), Vol. 1; Set 30, No. 4, pg. 18. Stewart-Robertson (The Athole Collection), 1884; pg. 27.
T:Cuttymun and Treeladle
L:1/8
M:C|
R:Reel
B:The Athole Collection
K:A
e2ea e2cA|e2e=g d2B=G|e2ea ceae|=gbeg d2B=G:|
e2cA eAcA|e2cA d=GBG|e2cA eAcA|=gbeg d2B=G|
e2cA eAcA|e2cA d=GBG|e2cA ceae|=gbeg d2B=G||

DARGAI. Scottish, Pibroch (6/8 time). A Major. Standard. AB (Hunter, Skinner). Composed by James Scott Skinner, first printed in his "Harp and Claymore" collection. Skinner wrote to another famous Scots fiddler, James F. Dickie, regarding how to play the tune: "The pibroch is a sad and dowie strain--oianiste holds on drones--give the featrue or large notes due prominence as large branches and make the small grace notes like leaves fluttering in the wind--playing them as if they were almost absent. And ever repeating the one desolate thought that fills the heart" (Alburger, 1983). Hunter (1988) identifies the title as the name of the famous heights taken by the Gordon Highlanders in India in 1897, where Piper Findlater won his Victoria Cross (see "Cock of the North" ??). Hunter (Fiddle Music of Scotland), 1988; No. 27 (includes variations). Skinner (The Scottish Violinist, with variations), pg. 42. Green Linnet SIF 1058, Matt Molloy & Sean Keane - "Contentment is Wealth" (1985). Olympic 6151, Florence Burns - "Scottish Traditional Fiddle Music" (1978).

DARK ISLAND, THE. Scottish, English; Pipe Air (6/4 time) or Waltz (3/4 time). A Dorian ('A' part) & G Major ('B' part) {Martin}: D Dorian ('A' part) & C Major ('B' part) {Merryweather}: E Dorian ('A' part) & D Major ('B' part) {Johnson}. Standard. One part (Martin): AB (Johnson): AA'B (Merryweather). Composed in 1963 by the late Iain MacLachlan, an accordion player from Creagorry. Various lyrics have been written to the tune, although the first version was by David Silver of Inverness, who was asked to write a song for a BBC TV thriller, "The Dark Island", filmed in Benbecula in 1963. The island was his inspiration for the pensive song. He set his lyrics to MacLachlan's air. Subsequently others wrote lyrics, including ones in Gaelic, "Eilean Dorcha." Johnson (The Kitchen Musician's Occasional: Waltz, Air and Misc.), No. 1, 1991; pg. 2. Martin (Ceol na Fidhle), Vol. 1, 1991; pg. 10. Merryweather (Merryweather's Tunes for the English Bagpipe), 1989; pg. 54. Direction, Barde (1977). Rounder 0193, Rodney Miller - "Airplang" (1985). Sampler 8911, Thistledown - "Hills of Lorne" (1989). Topic, "The Clutha: Scots Ballads, Songs & Dance Tunes" (1974). Ryan's Crossing - "Dance Around This One."
X:1
T:Dark Island
M:3/4
L:1/8
K:E Dorian
B2|e3 fe2|d3 ed2|BG3 B2|A4 de|f3 ed2|fa3 A2|f4 a>f|e4 B2|
e3 fe2|d3 ed2|BG3 B2|A4 de|f4 a>f|e4 f>e|d3 e d>c|d2 f2 g2|
a3 AA2|f2 e2 d2|BG3 B2|A4 de|f3 e d2|fa3 A2|f4 a>f|e4 B2|
e3 fe2|d3 ed2|BG3 B2|A4 de|f4 a>f|e4 f>e|d3 e d>c|d4|]
X:2
T:Dark Island
C:Ian Maclachlan
Z:Nigel Gatherer
K:Dmix (one sharp)
M:3/4
L:1/8
S:Various records
E|A3 E A2|G3 A G2|E3 D C2|D4 GA|B3 A G2|B d3 D2|B3 d B2|A4 DE|
A3 E A2|G3 A G2|E3 D C2|D4 GA|B3 DdB|A3 DBA|G6|G4|]
Bc|d3 D D2|B3 A G2|E C3 E2|D4 GA|B3 A G2|B d3 D2|B3 d B2|A4 DE|
A3 E A2|G3 A G2|E3 D C2|D4 GA|B3 DdB|A3 DBA|G6|G4|]

DAVIE TAYLOR. Scottish, Strathspey. G Major. Standard. AAB. Composed by the great Scots fiddler and composer J. Scott Skinner (1842-1927). Source for notated version: Johnny Morrissey (1913-1994, Newtown Cross, Queen's County, Prince Edward Island; late of Vernon River) [Perlman]. Perlman (The Fiddle Music of Prince Edward Island), 1996; pg. 189. Skinner (The Scottish Violinist), pg. 14.

DAY DAWS, THE [4]. English, Scottish. One of the earliest dance melodies mentioned in old accounts. Emmerson (1971) relates it was mentioned in the early 16th century by William Dunbar in Satire on Edinburgh as one of the tunes of the the 'common minstrelis' of that town. Somewhat later Gavin Douglas described minstrels welcoming a June morning with "The joly day now dawis'. Chappell has found English verses on the theme in the Fayrfax MS, while it was often included in early anthologies of old Scots poetry (including "elegant" verses by Alexander Mongomerie *c, 1556-1610). Emmerson (1972) finds mention of it in a poem by Robert Sempill of Beltrees, Renfrewshire (1595-1668), called "The Elegy of Habbie Simpson Piper of Kilbarchan," which goes, in part:
***
Now who shall play The Day it Daws,
Or Hunts up when the Cock he craws?
Or who can for our kirk-woen cause
Stand us in stead?
On bagpipes now nobody blaws
Sin' Habbie's dead.
***
The song did not survive the Reformation, possibly, suggests Emmerson, because the subject matter elaborated on the ancient custom of the lovers' night visit. The music did not survive intact either, and was lost from memory by the 18th century. Why this is so is curious, since it appears to have been a commonly known and well-established tune, a type of reville played by town pipers for several centuries. Believing it unlikely the tune disappeared forever Stenhouse suggested that the missing tune was in fact the melody called "Hey Tutti Taiti," or "Scots wha hae" (from Burns's lyric).

DAYS O' YORE, THE. Scottish, Slip Jig (9/8 time). D Dorian. Standard. AB. Composed by Nathaniel Gow (1763-1831), fiddler, composer, music publisher and bandleader, and son of the famous Scots fiddler/composer Niel Gow. Gow (Complete Repository), Part 4, 1817; pg. 2.
T:Days o' Yore, The
L:1/8
M:9/8
S:Gow - 4th Repository
K:D Minor
~^c|d2D D>ED FA=B|{d}c=Bc GEc C2 ~^c|d2D D>ED FAd|f>ed Ad^c d2e|
~f>ed Ad^c dA=B|~c>=BA GEc C2E|FED GFE AGF|GFE A2^C D2||e|
~f>ed A2A def|edc ege c2e|~f>ed A2A def|g>fe {^g}a2f d2e|~f>ed A2A def|
edc ege c2 a/g/|fed ed^c d2 =c/B/|A>GF E<A^C D2||

DEEL ASSIST THE PLOTTING WHIGS. English. Written by the famous English composer Henry Purcell. The title was derived from the first line of the song "'The Whigs' Lamentable Condition' or 'The Royalists' Resolution', to a pleasant new tune", which appeared in 180 Loyal Songs (1685 & 1694). The music alone was included in Musick's Handmaid (Part 2, 1689) as a "Scotch tune", though credit was given to Purcell, perhaps in imitation of the style. To further compound the confusion as to national origin, Chappell (1859) asserts this tune was appropriated by the Scots for their "Peggy, I must love thee." In Pills to Purge Melancholy the tune appears in adapted form for the song "Tom and Will were Shepherd Swains."

DEIL TAK THE WARS. Scottish. "First printed in England in D'Urfey's Pills to Purge Melancholy, 1698. Who knows to which war it refers. Probably the Civil War, or some Border conflict. The Scots made a number of successful forays into England during the 17th century (Williamson)." Flying Fish FF358, Robin Williamson - "Legacy of the Scottish Harpers."

DROPS OF BRANDY [1] ("Braona Brannda" or "Braoinini Brannda"). AKA and see "Cummilum," "Drink of Brandy," "Drops of Whiskey," "A Drop of Whiskey," "New Drops of Brandy," "Oh, Mary Take My Advice." Irish (originally?), Scottish, English; Slip Jig. England; Shropshire, Northumberland. G Major (Ashman, Cole, Emmersion, Hunter, Kerr, Merryweather, N.P. #2, O'Neill, Raven, Tubridy, Vickers, Williamson, Wilson): A Major (Trim). Standard. AB (O'Neill/1001): AAB (Tubridy): AABB (most versions). There are two main versions of this tune, an old and a new, the latter often known as "New Drops of Brandy." The older versions can be found in the English manuscripts of John Moore and William Vickers. Merryweather (1989) notes it bears some resemblance to Playford's "Scotland." The title appears in Henry Robson's list of popular Northumbrian song and dance tunes, which he published c. 1800 and also appears in the Scottish Drummond Castle Manuscript in the possession of the Earl of Ancaster at Drummond Castle. This latter MS is inscribed "A Collection of Country Dances written for the use of his Grace the Duke of Perth by Dav. Young, 1734" (and for this reason it is sometimes called the Duke of Perth MS). Editor Seattle (1987) says Vickers' version is a non-standard variation. There is some evidence a 17th century Scots jig called "Hey My Nannie" is ancestral to "Drops of Brandy."
***
Drops of Brandy is also the name of a specific country dance known throughout the British Isles under two names. In Ireland, O'Neill (1913) tells us "a special dance was performed to the melody," and indeed, "Drops of Brandy" is a favorite tune for solo step dancing competitions. A Scottish dance called Drops of Brandy was performed to a schottische, while the exact same figures were danced to a jig and known as the dance Strip the Willow, report Flett & Flett (1964). In fact, the R.S.C.D.S.'s "official" tune for the dance Strip the Willow is "Drops of Brandy," although a variety of suitable jigs in 6/8 time are also employed on the ceilidh circuit. Emmerson (1972) states that the tune "Drops of Brandy" is often associated with the dance Strip the Willow, so much so that in England the dance is known by the title Drops of Brandy (although it is performed there to schottische-type tunes); "Today, Strip the Willow can be encountered danced to marches or to reels with Country Dance steps, or more often with unbridled abandon." Compare also with untitled slip jig collected from Donegal fiddler John Doherty, printed in The Northern Fiddler (1979, pg. 61). Source for notated version: a c. 1837-1840 MS by Shropshire musician John Moore [Ashman]. Ashman (The Ironbridge Hornpipe), 1991; No. 331, pg. 10. Cole (1001 Fiddle Tunes), 1940; pg. 60 (appears as 'A Drop of Whiskey"). Emmerson (Rantin' Pipe and Tremblin' String), 1971; No. 75, pgs. 156-157. Hunter (Fiddle Music of Scotland), 1988; No. 284. Kerr (Merry Melodies), Vol. 2; No. 235, pg. 26. Merryweather (Merryweather's Tunes for the English Bagpipe), 1989; pg. 53. Northumbrian Pipers' Second Tune Book, 1981; pg. 23. O'Neill (1001 Gems), 1907/1986; No. 448, pg. 87. O'Neill (1915 ed.), 1987; No. 218, pg. 116. Raven (English Country Dance Tunes), 1984; pg. 130. Seattle (William Vickers), 1987, Part 2; No. 304. Trim (Thomas Hardy), 1990; No. 10. Tubridy (Irish Traditional Music, Vol. 1), 1999; pg. 38. Williamson (English, Welsh, Scottish and Irish Fiddle Tunes), 1976; pg. 83 (appears as "Drops of Whiskey"). Wilson (Companion to the Ballroom), 1817. Gael-Linn CEF 045, "Paddy Keenan" (1975).
T:Drops of Brandy
L:1/8
M:9/8
S:O'Neill - 1001 Gems (448)
K:G
ded BGB BGB|d2c BGB c2A|ded BGB BGB|cBc AFA c2A|
d2c BGB BGB|ded BGB cBA|d2c BGB BGB|cBc A2B cBA||
GBd gdB gdB|GBd gdB c2A|GBd gdB gdB|cBc AFA c2A|
GBd gdB gdB|GBd gdB cBA|GBd gba gdB|cBc A2B cBA||

DRUIMUACHDA(I)R (High Road to Inverness). AKA and see "Drumuachdar," "Highland Road to Inverness." Scottish, Reel. G Major. Standard. AAB. Neil (The Scots Fiddle), 1991; No. 131, pg. 170. Stewart-Robertson (The Athole Collection), 1884; pg. 159.
T:Druim_Uachdair
L:1/8
M:C|
R:Reel
B:The Athole Collection
K:G
g|dGBG dG B2|dGBG Bddg|dGBG dG B2|cABG Bee:|
g|efge dG B2|efgd Bddg|efge dG B2|cABG Beeg|efge dG B2|
efge fgaf|bfge dg B2|cABG Bee||

DOCTOR KEITH, ABERDEEN. Scottish, Strathspey. F Major. Standard. AB. Composed by the great Scots fiddler and composer James Scott Skinner (1843-1927). Source for notated version: Kenny Chaisson (b. c. 1947, Bear River, North-East Kings County, Prince Edward Island; now resident of Rollo Bay) [Perlman]; Winston Fitzgerald (1914-1987, Cape Breton) [Cranford]. Cranford (Winston Fitzgerald), 1997; No. 150, pg. 60. Gatherer (Gatherer's Musical Museum), 1987; pg. 33. Little (Scottish and Cape Breton Fiddle Music in New Hampshire), 1984; pg. 12. MacDonald (The Skye Collection), 1887; pg. 142. Perlman (The Fiddle Music of Prince Edward Island), 1996; pg. 199. Skinner, The Miller O Hirn Collection (1881).
T:Dr. Keith, Aberdeen
L:1/8
M:C
S:MacDonald - The Skye Collection
K:F
B|(A/B/c) f>d c2 A>c|d<f c>A B<G G>B|(A/B/c) f>d c2 A>c|=B<GB<g e<c c>B|
(A/B/c) f>d c2 A>c|d<f c>A B<G G>B|A>c (=B/c/d) c2 A>F|(D/E/F) E<c A<F F||
B|A<f (e/f/g) f2 c>f|(3agf (3efg (3fed (3cBA|B>g ^f/g/a g2 d>g|
(3bag (3 ^fga (3g=fe (3dcB|A>f (e/f/g) f2 c>f|(3agf (3efg (3fed (3cBA|(Bg) g2 (Af) f2|
bagf edc||

DONALD COUPER. Scottish, English. Printed by Playford in 1657. "That it was a Scots tune can be seen in the mention it receives in a satirical poem about the Highlanders written by a certain Colonel Cleland in 1697:
Trumpets sounded, skeens were glancing
Some were 'Donald Couper' dancing (Williamson).
Flying Fish FF358, Robin Williamson - "Legacy of the Scottish Harpers, Vol. 1."

DOON DA ROOTH. Shetland, Dance Tune (21/8 time!). G Major. Standard. AABB. This tune, which is probably a spinning tune (according to Tom Anderson), has abrupt changes in metre that are perhaps better notated broken down into 12/8 and 9/8 portions. "The 'rooth' is an Unst (island) word for the leather part that holds the 'flee', where the thread goes in, on a spinning wheel" (Anderson & Georgeson, 1970). Jack Campin (jc@purr.demon.co.uk) identifies the tune as one of many variants of "The Rock and a Wee Pickle Tow," a Lowland Scots tune which also coincidentally was originally a women's spinning song. Nigel Gatherer, however, maintains "Doon da Rooth" is a Shetland version of Gow's "Drown Drouth," and that the Shetland title has less to do with a spinning connection than it does with a particular pronunciation of Gow's title. Source for notated version: J.J. Stickle (Shetland) [Anderson & Georgeson]. Anderson & Georgeson (Da Mirrie Dancers), 1970; pg. 16.
T:Doon da Rooth
L:1/8
M:12/8
K:G
D|:G2G B<dB g>BB (2AG)|
L:1/8
M:9/8
B2d e>dB A2B|
L:1/8
M:12/8
G2G B>dB g>BB (2AG|
L:1/8
M:9/8
{Bc}B2 A B>GG G2:|
L:1/8
M:12/8
|:d|{gf}g2g (2dg e>dB (2AG|
L:1/8
M:9/8
B2d e>ee e2f|
L:1/8
M:12/8
{gf}g2g (2dg e>dB (2AG|
L:1/8
M:9/8
{Bc}B2A B>GG G2:|

DOON THE BURN DAVIE [1]. Scottish, Air. Scottish. The tune appears in Thomson's Orpheus Caledonius (1725), attributed in the first edition to Queen Mary's secretary David Rizzio, also an accomplished lutenist and singer. The ascription was removed in later editions, and Rizzio's authorship is considered doubtful now. The melody was also published in the Scots Musical Museum.

DORAN'S ASS. AKA and see "Finnegan's Wake" [2]?. American, March or Reel. USA, southwestern Pa. D Major. Standard. AB. According to Bayard (1981) the title is the one the tune is most commonly known by, and comes from a "stage Irish" song (known in Pennsylvania as a folk song, "Dolan's Ass"). Source for notated version: Hiram Horner (fifer from Fayette/Westmoreland Counties, Pa., 1944, who learned it from Scots fifer David P. Henderson) [Bayard]. Bayard (Dance to the Fiddle), 1981; No. 276, pgs. 231-232.

DOWD'S FAVORITE. AKA - "O'Dowd's Favorite." Irish, Cape Breton; Reel. G Aeolian (Gm) ('A' and 'C' parts) & B Flat Major ('B' part) [Brody]. Standard. AABBCC (Brody): ABC (Miller & Perron). The melody is a setting of the Scottish march/strathspey "The Braes of Bushbie," perhaps composed by John Bowie and appearing in his 1789 Collection. It was said to be a favorite of the great Scots fiddler Niel Gow's. Reworked as "O'Dowd's Favorite" (often called "Dowd's Favorite") it was famously recorded by County Sligo/New York fiddler Michael Coleman in 1921. Coleman himself probably obtained the melody from Sligo fiddler John O'Dowd, who also had emigrated to New York and where Coleman heard him play. See also the related tunes "The Rover" [4], "Dublin Lasses," "Murtough Mulloy" and "Tee Ree Reel;" they have a similar sequence in the first part. "The Curragh Races" and "The Maid in the Cherry Tree" are also related, and like "Dowd's Favorite," shift to the relative major in the second part. Sources for notated versions: Steeleye Span (England) [Brody] & Andy McGann (New York City) [Miller & Perron]; Hughie Gillespie [Bulmer & Sharpley]. Brody (Fiddler's Fakebook), 1983; pg. 89. Bulmer & Sharpley (Music from Ireland), 1974, Vol. 2, No. 5. Miller & Perron (Irish Traditional Fiddle Music), 1977; Vol. 1, No. 22. Columbia CAL504-1, Paddy O'Brien (195?). Green Linnet GLCD 3105, Aly Bain - "Lonely Bird" (1996. Appears as "Dowd's Reel," learned from Sean Maguire). Green Linnet GLCD 3127, Sharon Shannon - "The Best of Sharon Shannon: Spellbound" (1999. Learned from Mirella Murrey, Clifden, Co. Galway). Pegasus Mooncrest 9, Steeleye Span- "Ten Man Mop." Philo 200l, "Jean Carignan" (appears as the third tune of 'Cape Breton Medley'. Carignan learned his version from the Andy McGann recording). Shanachie 29002, "Kathleen Collins." Shaskeen Records OS-360, Andy McGann - "A Tribute to Michael Coleman" (c. 1965).

DUBLIN PORTER, THE (Pórtar Dhúlainn). AKA and see "Dublin Porter House." Irish (originally), Canadian; Reel. Canada; Cape Breton, Prince Edward Island. G Major. Standard. AB (Roche): AA'B (Breathnach): AABB (Cranitch): AABB' (Cranford): AA'BB' (Perlman). The tune was known, as are many Scots tunes, in County Donegal, Ireland, as evidenced by the diary entry of a fiddler named William Allingham, who was employed as a customs officer and whose vocation was traditional music. He visited a poor fiddler named Tom Read in the (probably Ballyshannon) poorhouse who played for him both "Ain Kind Dearie" and "Paudeen Ó Rafferty" in November of 1847, the time of the famine. Allingham gave George Petrie several tunes which appear in the latter's collection of Irish music. The tune was popularized by the teaching, recording and playing of Padraig Ó Caoimh whose version, suspects Caoimhin Mac Aoidh, was based on the printing in the Roche Collection. Ken Perlman (1996) states the tune was introduced to Prince Edward Island from the playing of Cape Breton fiddler Jerry Holland. The name Dublin is derived from the Gaelic dubh linne, or 'the black pool'. In County Kerry the tune is known as "Dublin Porter House," according to Breathnach (1985). Source for notated version: Kenny Chaisson (b. 1947, Rollo Bay, North-East Kings County, Prince Edward Island) [Perlman]; fiddlers John and James Kelly (Ireland) [Breathnach]. Breathnach (CRE III), 1985; No. 155, pg. 72. Cranford (Jerry Holland's), 1995; No. 178, pg. 50. Cranitch (Irish Fiddle Book), 1996; pg. 89. Perlman (The Fiddle Music of Prince Edward Island), 1996; pg. 51. Roche Collection, 1982; Vol. 1, pg. 72, No. 188. DARA CD 072, Any Old Time - "Crossing." Fiddlesticks cass., Jerry Holland - "A Session with Jerry Holland" (1990). Green Linnett, Jerry Holland - "The Fiddlesticks Collection" (1995). OSS CD 70, Brid Cranitch, Vince Milne, Pat Sullivan - "A Small Island." Outlet Records SOLP 1041, John & James Kelly - "Irish Traditional Music" (album notes for the tune state that this tune was a favorite of Sliabh Luachra, Kerry, fiddler Padraig O'Keeffe and that their father John Kelly Sr. suggested it could be also played at slower pace and in dotted rhythm as a hornpipe).
T:Dublin Porter
T:The Dublin Porter House
R:reel
M:4/4
L:1/8
K:G
B2 BA BcdB|cBAB cdec|Add^c dcAG|(3FED AD BDAc|
B3 A BcdB|cBAB cdef|g2 fg ecAF|1 GBAF G2 DG:|
2 GBAF GABd||
|:g3 f gdBd|g2 fg eA ~A2|eA ~A2 edeg|fgag fdef|
g2 gf gdBd|g2 fg eA ~A2|eA ~A2 edeg|1 fgaf gfef:|
2 fgaf gfed||

DUKE OF ATHOLE'S COURTSHIP. AKA and see "Huntingtower." Scottish, Air (4/4 time). E Major. Standard. One part. The melody is today usually known as "Huntingtower," which is the name of a ruin near Perth, though it was originally called Ruthven Castle. The castle has a fascinating history which began with its construction in the 13th century. Additions were subsequently built, until by the 1500's it consisted of two castles joined together. Neil (1991) tells us: "The tower is reknowned for 'the maiden's leap which is the name given to the 9 foot gap between the two buildings, 60 feet from the ground across which the daughter of the 1st Earl of Gownie leaped on being discovered with her lover." In August, 1582, the Earl of Gownie perpetrated the "Raid of Ruthven" when he treacherously seized the 16 year of James IV of Scotland and held him captive. Surprised, James began to cry, though was mortified when one of his captors responded "Better bairns greet than bearded men." James never forgave this remark, and, aided to escape, later exacted his revenge. The old Highland ballad (based on a traditional story of the ducal family of Athol) begins:
***
Blair in Athole's mine Jeanie,
Fair Dunkeld is mine, lassie,
Saint Johnstown's bower and Huntingtower
A a' that's mine is thine lassie.
***
Neil (The Scots Fiddle), 1991; No. 116, pg. 154.

DUKE OF GORDON'S FAVOURITE, THE. Scottish, Slow Air (6/8 time). B Flat Major. Standard. AABB. The air was composed by Robert Mackintosh. Neil (1991) notes that the Gordon family was one of the most powerful in Scotland, probably descended from the Gourdons who came to Britain with William the Conqueror. Most of the Scottish Gordons descend from one Sir Adam de Gordon who was given the lordship of Strathbogie in Aberdeenshire by Robert the Bruce. Adam's descendent George (4th Marquis of Huntly) attained the title of Duke in 1684, which expired in 1836 upon the death of the childless 5th and last Duke of Gordon. Niel remarks the powerful Gordons often stood alone in disputes with the crown, and, under the Earl of Huntly, lieutenant of Scotland, obtained land forfeited by others. As a result the Gordons were frequently engaged in clan disputes with such as the Mackintoshes, Camerons, Murrays and Forbeses. Neil (The Scots Fiddle), 1991; No. 102, pg. 138.

DUMBARTON'S DRUMS. AKA and see "Scotch Tune." Scottish, Scottish Measure and Air. F Major/D Minor. Standard. AABB. Emmerson (1972) characterizes this (and other Scottish Measure tunes) as a "slightly different style of Scottish double hornpipe air." The melody was first published in England as a generically-titled "Scotch Tune" in John Playford's Apollo's Banquet (Sixth Ed., 1690). In its native Scotland the song and tune proved durable and popular; it earliest appears in the Skene Manuscript from the early seventeenth century (c. 1615-1630) and subsequently was published in over 20 sources before 1793. The Gow's printed it in their Repository, Part Second, 1802. Robert Burns referred to it as a "West Highland" air in his manuscript notes. It appears in O'Farrell's Vol. III (1810/20) pg. 55.
***
"Dumbarton's Drums" is the oldest tune played for a march-past in the British army, i.e. when a regiment passed in review in front of an inspecting officer on formal occasions. In 1881 all the British army infantry regiments were ordered to submit for appraisal by the Horse Guards (the headquarters of the army) all the tunes used for such occasions. The Royal Scots Regiment (who used "Dumbarton's Drums") did not obey, and to this day the march, which continues to be used, has never been officially approved.
***
It was the Celtic population of Scotland that gave the name Dun Breattan (now Dumbarton), 'the fort of the Britons', to the stronghold of that people on the Clyde (Matthews, 1972). In more modern times Dumbarton has long been a county town on the north side of the Forth of Clyde, about fifteen miles from Glasgow, and is the principle town of the county of Dunbartonshire. It featurs a castle on the drumlin known locally as Dumbarton Rock. See note for "Dumbarton Castle" for more information on Dumbarton.
***
An early version of the song begins:
***
Dumbarton's drums beat bonnie, O
When they mind me of my dear Johnie, O;
How happie am I
When my soldier is by,
While he kisses and blesses his Annie, O!
'Tis a soldier alone can delight me, O,
For his graceful looks do invite me, O;
While guarded in his arms,
I'll fear no war's alarms,
Neither danger nor death shall e'er fright me, O.
***
Emmerson (Rantin' Pipe and Tremblin' String), 1971; No. 19, pg. 125.

DUMFRIES HOUSE. Scottish, Jig. G Major. Standard. AB (Kerr): AAB (Gow, Hunter): AABB' (Athole). Composed by Joseph Riddell (1718-95), the blind amateur fiddle-composer of Ayr, and first published (by music publisher Robert Bremner) in his c. 1776 A Collection of Scots Reels, Minuets, etc. (pg. 32). It is still popular and one of his best tunes, opines Collinson (1966). The name Dumfries means 'stronghold by the little wood', from the Celtic root-word dun, meaning a fortified place. It was the place where, in 1306, Robert Bruce murdered John Comyn in the chapel of Grey Friars and subsequently claimed the throne of Scotland in rebellion against the English. Dumfries is closely associated with the poets Robert Burns and J.M. Barrie. Samuel Bayard thought the second part of this tune was a version of "Rosin the Beau." Gow (Complete Repository), 3rd Edition, Part I, 1799; pg. 13. Hunter (Fiddle Music of Scotland), 1988; No. 283. Kerr (Merry Melodies), Vol. 2; No. 314, pg. 34. McGlashan (A Collection of Reels), c. 1786; pg. 28. Stewart-Robertson (The Athole Collection), 1884; pg. 139.
T:Dumfries House
L:1/8
M:6/8
R:Jig
B:The Athole Collection
K:G Major
D|G3 G2g|dBG GAB|cde dcB|AFD DEF|G3 G2g|dBG GAB|cEA FEF|G3 G2:|
|:B/c/|dBd dBd|gag g<fe|dBd dcB|AFD D2 B/c/|1 dBd dBd gag g<fe|dcB AGF|
G3 G2:|2 dBd ece|fdf gfe|dcB Agf|gdB G2||

DUNCAN DAVI(D)SON. AKA and see "Duncan Davie," "1812" (USA), "1812 Quickstep" (USA), "The 1812 March," "Gentle Ann," "Handy Andy's Highland Fling," "Maggy's Weame Is Fu I Trow," "Shakkin Trews," "Welcome Here Again," "The Wind That Shakes the Barley" (Shetland), "Ye'll Aye Be Welcome Back Again." Scottish, Strathspey. E Major (Gow, Hunter): D Major (Athole, Cole, Gow, Honeyman, Kerr). Standard. AB (Cole, Honeyman). AAB (Gow): AABB and variations (Gow, Hunter): AABB' (Athole, Kerr). Variations from the 18th century in the then-fashionable Haydenesque style (which Hunter identifies as "Italianate") appear in Carlin and Hunter's editions, composed by Nathaniel Gow (not Niel Gow, as is sometimes asserted). The confusion stems from the fact that the tune was published in Niel Gow's 1784 Strathspey Reels -- the collection was edited and published by his son Nathaniel however, who added the variations). Glen (1891) believes its ancestral tune to have been "Strick Upon a Strogin" in the Leyden MS of 1692 (Bayard {1981} remarks, "he may be right, but I see no special reason for thinking so."). The most common names for the tune have been "Duncan Davidson" and "Ye'll Aye Be Welcome Back Again," of which the latter, according to Glen, is the older form (he also thinks Burns composed the David title). Glen (1891) finds the earliest appearences of the tune in print in Alexander M'Glashan's 1780 collection (pg. 14), and, as "Duncan Davie," in Joshua Campbell's 1778 collection (pg. 31). See note for "Ye'll Aye be Welcome Back Again" for more information. Carlin (Gow Collection), 1986; No. 46. Cole (1001 Fiddle Tunes), 1940; pg. 128. Gow (Complete Collection), Part 1, 1799; pg. 34. Graham (Popular Songs of Scotland), 1908; pg. 205. Honeyman (Strathspey, Reel and Hornpipe Tutor), 1898; pg. 11. Hunter (Fiddle Music of Scotland), 1988; No. 39. Johnson (Scots Musical Museum), Vol. 2; No. 149. Kerr (Merry Melodies), Vol. 1; Set 28, No. 3, pg. 17. Scot (Scottish Country Dance Book), Book 7, No. 4a (with references). Stewart-Robertson (The Athole Collection), 1884' pg. 94. Wilson (A Companion to the Ballroom), 1840; pg. 45.
T:Duncan Davidson
L:1/8
M:C
S:Honeyman - Tutor
K:D
D>FA>B A<F A2|D>Fd>B A<F E2|D>FA>B A<FA<g|f>de>f d<d d2|D>FA>B A<F A2|
D>Fd>B A<F E2|D>FA>B A<F A>g|f>de>f d<d dg||f>e d/ef/ g>fe>d|c>Ae>A f>Ae>g|
f>e de/f/ g>fe>d|c>de>f d<d dg|f>e de/f/ g>fe>d|c<A e>A f>Ae>g|
(3fga (3def (3gfg (3Bcd|(3efe (3dcB (3ABA (3GFE||

DUNCAN GRAY [1]. English, Scottish; Reel or Slow March: New England, Polka. D Major (Kerr, Miller & Perron, Raven): G Major (Johnson): A Major/A Minor (Gow). Standard. AAB (Miller & Perron): AABB (Kerr, Raven): AABBCCDDEEFFGGHHIIJJ (Johnson). Johnson (1983) thinks that the tune may have originally been an English march in trumpet style, but notes that by 1760 it had Scottish words set to it (describing somewhat rudely a country courtship). Several sets of variations were written for it, notably Oswald's (in the Caledonian Pocket Companion c. 1750) and McGibbon's (Scots Tunes c. 1755), but Johnson thinks the ones that Gillespie printed in 1768 (not written by him) are superior. Source for notated version: Gillespie MS, 1768, pg. 56 [Johnson]. Gow (Complete Repository), Part 4, 1817; pgs. 18-19. Johnson (Scottish Fiddle Music in the 18th Century), 1983; No. 35, pg. 35. Kerr (Merry Melodies), Vol. 3; No. 379, pg. 42. Miller & Perron (101 Polkas), 1978; No. 45. Raven (English Country Dance Tunes), 1984; pg. 150.
T:Duncan Gray
L:1/8
M:C
S:Gow - 4th Repository
N:"Slow"
K:A
(EAGA) Bc {A}G2|A2 B>d cA A2|(EAGA) Bc {A}G2|A2 (B/c/)(d/B/) cA A2:|
|:ce (f/e/)(d/c/) dd d2|cd/c/ BA (G~F) E2|E(AGA) Bc {A}G2|A2 (B/c/)(d/B/) cA A2:|
K:A Minor
E(A^GA) Bc ^G2|A2 B>d {d}cB B2|E(A^GA) Bc ^G2|~A2 B>d cA A2:|
ce ed/c/ Bd dc/B/|~AB/c/ BA (^GA) E2|E(A^GA) Bc {A}^G2|~A2 (B/c/)(d/B/) cA A2|
ce ed/c/ Bd dc/B/|~AB/c/ BA (^GA) E2|E(A^GA) Bc {A}^G2|
~A2 (B/c/)(d/B/) cAA ^G/^F/||

DUNKELD BRIDGE. AKA and see "Jerry Hayes." Scottish, Reel. F Major. Standard. AAB. This was the last tune the great Scottish fiddler and composer Niel Gow (1727-1807) composed in his lifetime. The name Dunkeld means the 'fort of the Caledonians' and refers to the people that dominated the central lowlands of Scotland during the time of the Romans (Matthews, 1972). Celtic monks, driven from Iona, established themselves there in the year 729 and Kenneth Macalpin made Dunkeld the ecclesiastical capital of his combined kingdom of the Scots and Picts in 849. Dunkeld has been much fought over. It was raided by Vikings in 903 and by Malcolm of Moray in 1027; it was the site of MacBeth's victory over Crinan and Maldred in 1045. In 1689 Captain Munro massacred an army of Highland supporters of James VII there. See also the Irish relative "Jerry Hayes." Carlin (The Gow Collection), 1986; No. 244. Hunter (Fiddle Music of Scotland), 1988; No. 261. Stewart-Robertson (The Athole Collection), 1884; pg. 223.
T:Dunkeld Bridge
L:1/8
M:C|
R:Reel
N:"Last tune composed by Niel Gow"
B:The Athole Collection
K:F
c|~f2 af egce|~f2 af gbeg|~f2 af egcb|afge ~f2f:|
c|AFcA fcdB|AcfA GFEC|AFcA fcdB|AFGE ~F2FB|AFcA fcdB|
AcfA GFEC|AFcA dBcb|afge ~f2f||

DUNKELD HERMITAGE. Scottish, Reel. E Aeolian. Standard. AAB. Composed by Niel Gow (1727-1807). The name Dunkeld means the 'fort of the Caledonians' and refers to the people that dominated the central lowlands of Scotland during the time of the Romans (Matthews, 1972). Celtic monks, driven from Iona, established themselves there in the year 729 and Kenneth Macalpin made Dunkeld the ecclesiastical capital of his combined kingdom of the Scots and Picts in 849. Alexander I revived the bishopric in 1107. Dunkeld has been much fought over. It was raided by Vikings in 903 and by Malcolm of Moray in 1027; it was the site of MacBeth's victory over Crinan and Maldred in 1045. In 1689 Captain Munro massacred an army of Highland supporters of James VII there. Carlin (The Gow Collection), 1986; No. 245. Glen (Glen Collection of Scottish Music), Vol. 2, 1895; pg. 48. Stewart-Robertson (The Athole Collection), 1884; pg. 259.
T:Dunkeld Hermitage
L:1/8
M:C|
R:Reel
B:The Athole Collection
K:E Minor
e|E/E/E B2 GEBG|FdAd FDAF|E/E/E B2 GEBG|AFdF E/E/E E:|
g|e/e/e g2 bege|d/d/d fd adfd|e/e/e g2 bege|dBdF E/E/E Eg|
e/e/e g2 bege|d/d/d fd adfd|gbfa efde|AFdF E/E/E E||

DUNKELD HOUSE [1]. AKA and see "Frogs' Frolic." Scottish, Jig. E Minor. Standard. AAB (Gow, Hunter): AABB' (Johnson). Composed in the hexatonic mode by Niel Gow (1727-1807) around the 1770's for his patron John Murray, the Duke of Atholl -- Dunkeld House in Perthshire was one of the latter's residences, and lies "no more than a stone's throw" from Inver, the birthplace of the great fiddler. Gow's remains repose in the churchyard of Little Dunkeld. Johnson (1983) says the tune, which has "an unmistakeable air of friendship (for Murray) about it," is still popular in Scotland. It was first published in Gow's First Colletion of Strathsepy Reels (1784). The name Dunkeld means the 'fort of the Caledonians' and refers to the people that dominated the central lowlands of Scotland during the time of the Romans (Matthews, 1972). Celtic monks, driven from Iona, established themselves there in the year 729 and Kenneth Macalpin made Dunkeld the ecclesiastical capital of his combined kingdom of the Scots and Picts in 849. Dunkeld has been much fought over. It was raided by Vikings in 903 and by Malcolm of Moray in 1027; it was the site of MacBeth's victory over Crinan and Maldred in 1045. In 1689 Captain Munro massacred an army of Highland supporters of James VII there. Source for notated version: Niel Gow's Strathspey Reels [Johnson]. Carlin (The Gow Collection), 1986; No. 328. Collinson (The Traditional and National Music of Scotland), 1966; pg. 219. Hardie (Caledonian Companion), 1992; pg. 43. Johnson (Scottish Fiddle Music in the 18th Century), 1984; No. 85, pg. 229.

DUNS(E) DINGS A'. AKA- "Mr. Sharpe's Favorite." Scottish, Reel. A Mixolydian. Standard. AAB (Williamson): AABB' (Athole, Neil). The title refers to Duns, a small ancient town high in the Border hills, and until 1975 the county town of Berwickshire. The title "Dunse dings a'" means 'Dunse beats/surpasses all.' The town rests at the foot of a hill called Duns Law, which, in 1639 was the camp of an army of the Covenant who by its presence secured the right of the people to remain Presbyterian, despite King Charles II's desire to return the land to Episcopacy. One of the greatest mediaeval philosophers John Duns Scotus, 1265-1308, was born there. Scotus was renowned throughout Europe, lectured in Oxford and Paris, and died in Cologne. He upheld the separability and independence of the rational soul from the body; a humanist, he believed in the primary importance of the individual will. Unfortunately, his views were the object of severe criticism and scorn (by, for one, his rival Thomas Aquinas), especially from puritanical factions who coined the term "dunce" in derision. John Duns evidently also had a wit that Winston Churchill would have approved of, for the King of France once provokativley asked the learned man how far it was between a 'Scot' and a 'sot', and received the reply "Just this table!" John Glen (1891) finds the earliest appearence of the tune in print in Neil Stewart's 1761 collecton (pg. 43). Carlin (The Gow Collection), 1986; No. 246. Kerr (Merry Melodies), Vol. 2; No. 2, pg. 3. MacDonald (The Skye Collection), 1887; pg. 16. Neil (The Scots Fiddle), 1991; No. 26, pg. 35. Stewart-Robertson (The Athole Collection), 1884; pg. 19. Williamson (English, Welsh, Scottish and Irish Fiddle Tunes), 1976; pg. 51. Beltona BL2128 (78 RPM), The Edinburgh Highland Strathspey and Reel Society (1936).
T:Duns Dings A'!
L:1/8
M:C|
R:Reel
B:The Athole Collection
K:A
e|ceef aecA|ceeg a3e|ceeg aecA|B=GGB =g2 g>B:|
|:cAeA fAcA|cAeg a2ae|1 cAeA fAe=c|B=GGB =g2gB:|2 cA ec fde=c|
B=GGB -G2G2||

DURISDEER. Scottish, Air (4/4 time). A Major. Standard. One part. The song was composed by Lady John Scott. According to Neil (1991), the Gaelic title probably derives from the words for door ('duris') and forest ('deer'), the meaning still obscure and having to do with a door or opening of the forest.
***
We'll meet nae mair at sunset
When the weary day in dune,
Nor wander hame the gither
By the licht o' the mune!
I'll hear your step nae longer
Amang the dewy corn,
For we'll meet nae mair my bonniest
Either at eve or morn.
***
Neil (The Scots Fiddle), 1991; No. 34, pg. 43.

DUSINBERRY MARCH, THE. AKA and see "The Jutenberry March." American, March (2/4 time). USA, southwestern Pa. C Major. Standard. AA'BB'. Bayard (1981) calls this one tune in a "presumptive tune family," by which he means a group of seemingly related tunes which may have been derived from one particular one, or developed from an ancestral version, or cognate with one another; it is, however, impossible to trace. The march here is similar to the today well known "Scotland the Brave" (also known as "Scotland Forever" or "Brave Scotland"). Other tunes that have a general resemblance, according to Bayard, are "The Tinware Lass," "Whistling Mike" and "Pewter Mug" (which he thought were closely related to Joyce's harp tune "The Ladies Dressed in Their Garments So Green"); also "The March of the Die Hards," the 57th Regiment Scots, and the Pennsylvania collected "Star of Bethlehem." Derivative seemed to him Smith's ("The Scotish Minstrel," Vol. VI, 1820; pg. 38) "Loch-na-Gar". The title given here is ambiguous, his source having pronunced it 'Dusinberry' in 1946 and 'Jutenberry' in 1960; he was clear that the had learned it from a great-uncle who had been wounded in the leg while playing it in some Civil War engagement, and said the bullet "stopped the tune and the fifer too." (pg. 256). Source for notated verison: Harry Queer (Westmoreland County, Pa., 1946) [Bayard]. Bayard (Dance to the Fiddle), 1981; No. 302, pg. 256.

DUSTY MILLER [6]. AKA and see "Binny's/Benny's Jig," "Hey the Dusty Miller." English, Scottish; Old Hornpipe (3/2 time) or Country Dance Tune (versions in 3/4 and 6/8 time). England, Shropshire. F Major (Chappell, Raven): C Major (Alburger): G Major (Ashman, Johnson, Preston, Walsh). Standard. AB (Chappell): AAB (Johnson): AABB (Alburger, Ashman, Raven). A late 17th century tune in the old triple-time hornpipe metre, published in Scotland in 1730 in a volume labled Dances, Marches, in Robert Bremner's Reel's (c. 1765, pg. 43), in the McFarlane Manuscript (1740), and in the Gillespie Manuscript of Perth (1768). Chappell identifies the tune not as Scottish but as English, and the tune in fact can be found in the first volume of Walsh's Compleat Country Dancing Master (1708), Walsh's The Lady's Banquet, Wright's collection of Country Dances (London, c. 1742), and Thompson's 200 Country Dances, volume II (London, 1765) -- all later than the 1730 Scottish Dances, Marches. Johnson (1983), however, supports Chappell's contention that the tune may well have been English in origin, but if it was it was "well established in Scotland by the late 18th century" and had acquired local words (probably rude or risque) which, around 1790, the Scots poet Robert Burns rewrote, basing his charming scherzando on a fragment in Herd's MS (1776). It was first printed, unsigned, in The Scots Musical Museum in 1788. It begins:
***
Hey, the dusty millar and his dusty coat,
He will win a shilling or he spend a groat,
Dusty was the coat,
Dusty was the colour,
Dusty was the kiss that I gat frae the millar.
***
Emmerson takes his example from the Kershaw MS, Lancashire, c. 1820. The Clare MS (c. 1818) gives a version which is identical to that printed in Preston's 1797 collection. This may be the version whose title appears in Henry Robson's list of popular Northumbrian song and dance tunes, which he published c. 1800. Dance directions appear in the Holmain Manuscript from Dumfries-shire (dated between 1710 and 1750). Van Cleef and Keller (1980) find three different country dances to the tune "Dusty Miller" existed in both England and America in the the 18th century. The first dance appears in England in both Wrights and Thompson's, previously cited, with essentially the same dance appearing in Clement Weeks' Greenland, New Hampshire dance MS (1783), while the second dance by the same title appears in "Longman and Broderip's 5th Selection of the Most Admired Country Dances, Reels, Minuets and Cotillions (London, c. 1784). Nearly the same dance as version #2 was printed by Longman & Broderip can be found in the American publication Select Collection (Otsego, N.Y., c. 1808). A third dance appears on page 15 of another Thompson's volume, Thompson's Twenty-Four Country Dances for the Year 1798. Sources for notated versions: the Gillespie Manuscript, 1768, pg. 98 [Johnson]; a c. 1837-1840 MS by Shropshire musician John Moore [Ashman]. Alburger (Scottish Fiddlers and Their Music), 1983; Ex. 6d, pg. 22. Ashman (The Ironbridge Hornpipe), 1991; No. 114b, pg. 48. Barnes (English Country Dance Tunes, 2nd ed. only). Chappell (Popular Music of the Olden Times), Vol. 2, 1859; pg. 166. Johnson, 1984; No. 76, pg. 225. Neal Collection. Preston, Twenty-Four Country Dances for the Year 1797. Preston, Collection Book III. Raven (English Country Dance Tunes), 1984; pg. 14. Walsh, Caledonian Country Dances. Peter Barnes et al - "BLT."

EARL OF CRAWFORD, THE. Scottish, Reel. A Major. Standard. AB (Neil): AAB (Hunter). The melody was composed by self-taught fiddler Peter Milne (1824-1908), one of J. Scott Skinner's teachers and fellow-performers, who played on theater circuit until his opium addiction (brought on by taking laudenum prescribed for rheumatism) reduced him to busking on the ferry-boats crossing the Firth. Neil (1991) relates that one Earl of Crawford was became the vanquished in a 1452 battle with the Earl of Huntly, for which the latter was rewarded by the King in recognition "for keeping the crown on our head." Crawford was supposed to have "wished to have seven years in hell to have the honourable victory that had fallen the the Earl of Huntly that day," however, it came at no mean cost to Huntly for two of his brothers had been slain on the field. Hunter (Fiddle Music of Scotland), 1988; No. 227. Neil (The Scots Fiddle), 1991; No. 69, pg. 94.

EARL OF DALHOUSIE('S REEL), THE [2]. Scottish, Reel. E Flat Major (Athole, Johnson): D Major (Kerr). Standard. AB (Athole): AA'BB' (Johnson, Kerr). Composed by Nathaniel Gow (1763-1831) just prior to 1800. James Stewart-Robertson notes that E Flat Major was the original key for the tune. Pieces in the keys with more flats were a challenge to the common Scots fiddler, and Gow's use of them in his compositions shows a developing classical influence that assumed the more difficult fingerings (Johnson, 1983). Johnson, 1983; No. 74, pg. 224. Kerr (Merry Melodies), Vol. 1; Set 20, No. 2, pg.. 13. Stewart-Robertson (The Athole Collection), 1884; pg. 269.
T:Earl of Dalhousie
L:1/8
M:C|
R:Reel
B:The Athole Collection
K:E_
g|e2ge Bagf eccf|e2ge Bagf|ecBG E/E/E Eg|e2ge BG E/E/E E||c|BEGB c2 ce|BcGB cFFc|
BEGB cdeB|c<e B>G E/E/E E<c|BEGB c2 ce|BeGB cFFc|BGAB cdef|
geBG E/E/E E||

EARL OF MOIRA'S WELCOME TO SCOTLAND. AKA and see "Countess of Loudon's Strathspey," "Loudon's Bonnie Woods and Braes." Scottish, March (4/4 time). F Major. Standard. AABCCD. Composed by Duncan MacIntyre and used by the weaver-poet Robert Tannahill for his song "Louden's Bonnie Woods." Little is known about the expatriate Scot D. MacIntyre except he was a dancing master in London around the year 1795, and later spent some years in India, probably around the same time as Earl Moira, who was Governor-General of the subcontinent in 1816 (John Glen {1895} thinks Duncan may have served as a Master of Ceremonies to the Governor-General's Court). Tannahill's words are thought to commemorate the parting of the Earl from his young wife at the time he left to assume the post. Arranged as a rondo for piano by an Austro-Hungarian, Christoff Schertky, who wrote in the Scottish style and published in Philadelphia, Pa., in 1823. Neil (The Scots Fiddle), 1991; No. 111, pg. 149.

EAST NEUK OF FIFE. AKA and see "She Gripped At the Greatest On't," "Green Grow the Rushes" (Bayard, 1981;No. 206H-M). Scottish (originally), Shetland, Canadian; March, Country Dance, Scots Measure or Reel. Scotland, Lowlands region. Canada, Prince Edward Island. G Major (double tonic, G and A). Standard. AB (Skye): AABB (Athole, Brody, Emmerson, Hardie, Hunter, Kerr, Perlman, Skinner, Williamson): AA'BB' (Cooke {Thomson}). Composed by James Oswald (c. 1711-1769) and included in his Caledonian Pocket Companion (Bk. 4, 1752) as "She gripped at the greatest o't." It first appears under the above title in William McGibbon's (c. 1690-1756) Third Collection (1755) and Bremner's 1759 Scots Tunes (Bremner negotiates the double tonic by using G and A Major in even numbered strains and G and A Minor in odd numbered strains"). It is still a popular Scots tune today, including the variations which uncharacteristically have survived in the popular repertory (variations were published by Nathaniel Gow in 1823-the first three were recorded by J. Scott Skinner in the first part of the 20th century). The East Neuk of Fife is that part of Scotland's county of Fife that juts into the North Sea and contains the town of St. Andrews, the ancestral home of the game of golf. In the eighteenth century Fife sported a profusion of decaying architectural marvels, a trade in thread, the making of calico, and the shooting of porpoises in the firth for their blubber-oil" (Williamson, 1976). The tune has become associated with a Robert Burns song, though it was not his choice of an air for the words, but rather an editor's substitution (Alburger). Bayard (1981) collected versions of the tune "Green Grow the Rushes" or by the floating title (in America) "Over the Hills and Far Away." Johnson (1984) retells an anecdote about the tune which was first published in Murdoch's Fiddle in Scotland, pg. 59 (Murdoch learned it from Baillie's grandson): "One day in about 1805, the fiddler Peter (Pate) Baillie of Loanhead, near Edinburgh, was on his way to play at a ball in Fife. The journey involved crossing the Firth of Forth by ferry, and when Baillie boarded the boat at Leith the other passengers noticed the violin he was carrying. As everyone had an hour to kill before the boat reached Burntisland, Baillie was soon holding an impromptu musical session on deck, with the other passengers calling out requests for tunes:
***
A gentleman asked Pate if he could play the 'East Neuk of Fife'
with ten variations, to which the minstrel replied in his homely
way: 'Weel, sir, I'll try it'. Off Pate set at a brisk pace with both
theme and variations, till the number bargained for was completed.
But Pate did not stop here. He dashed into fresh variations of his
own improvising, more wonderful than the first, and went on,
and on, and on, the gentleman looking at him with astonishment,
till at last the fiddler did make a halt. 'Well I declare!' said the
gentleman. 'Every one of the variations must have turned out
twins since I last heard them!' (pgs. 66-67).
***
Sources for notated versions: Henry Thomson (Vidlin, Mainland, Shetland) and George Sutherland (Bressay, Shetland) [Cooke], Bremner's (Scots Tunes), pg. 17 [Johnson, 1983]; George MacPhee (b. 1941, Monticello, North-East Kings County, Prince Edward Island) [Perlman]. Aird (Selections), 1778, Vol. 1; No. 57. Brody (Fiddler's Fakebook), 1983; pg. 97. Carlin (The Gow Collection), 1986; No. 251. Cooke (The Fiddle Tradition of the Shetland Isles), 1986; Ex's. 52 and 53, pgs. 110-111. Emmerson (Rantin' Pipe and Tremblin' String), 1971; No. 89, pg. 164. Hardie (Caledonian Companion), 1992; pg. 31. Henderson (Flowers of Scottish Melody), 1935 (includes the traditional set of variations). Hunter (Fiddle Music of Scotland), 1988; No. 309. Johnson, (The Scots Musical Museum) 1787-1803; Vol. 3; No. 277. Johnson (Scottish Fiddle Music in the 18th Century), 1983; No. 34, pg. 92-93 (with variations). Kerr (Merry Melodies), Vol. 1; pg. 23. MacDonald (The Skye Collection), 1887; pg. 170. McGibbon CST, pg. 89. McGibbon Scot, Vol. 3; pg. 17. McGlashan (Collection of Scots Measures), 177?; pg. 8. Perlman (The Fiddle Music of Prince Edward Island), 1996; pg. 61. Skinner (Harp and Claymore), 1904. Skinner (The Scottish Violinist, with 5 of his variations), pg. 22-23. Smith (The Scottish Minstrel), 1820-24; Vol. 2; pg. 42. Stewart-Robertson (The Athole Collection), 1884; pg. 147. Thompson (Original Scottish Airs for the Voice, 1805; Vol. 4; No. 165. Williamson (English, Welsh, Scottish and Irish Fiddle Tunes), 1976; pg. 53. Olympic 6151, The Scottish Fiddle Festival Orchestra- "Scottish Traditonal Fiddle Music" (1978). Topic 12T280, J. Scott Skinner- "The Strathspey King."
T:East Neuk of Fife
L:1/8
M:C|
R:Country Dance
B:The Athole Collection
K:G
D|G2G2G2Bc|dBGB dBGB|A2A2A2gf|edef g2fe|dcBA GABc|
dBGB d2cB|ABcd BcAB|B2E2E2:|
|:dc|B2G2G2dc|B2G2G2ed|c2A2A2 eg|a2A2A2dc|B2G2d2G2|
g2G2d2cB|ABcd BcAB|G2E2E2:|

EBER ATKINS TUNE. AKA and see "Eber Atkins Tune," "Lead Out," "Liesel," "Sweet Sixteen," "Ten Nights in a Barroom," "Too Young to Marry." Old-Time, Breakdown. USA, Missiouri.
T:Eber Atkin's Tune
M:2/4
L:1/16
Q:120
S:Cyril Stinnett
R:reel
A:Missouri
N:This tune has appeared under more names than any other I know. For fun
N:rather than scholarship, a list follows: Lead Out, Tommy Jackson;
N:Ten Nights in a Barroom, Lyman Enloe; Liesel, Taylor McBaine; Too Young to
N:Marry, Tommy Jarrell; Soap Suds Over the Fence, Everett McGraw.
H:This is a Scots tune which traces back to "My Love is But a Lassie
H:Yet"
H:- see Kerr's Caledonian Collection
Z:B. Shull, trans.; R.P. LaVaque, ABCs
K:D
f(g|a2)fa (gf)eg|f2 d2 d2f(g|a2)fa (gf)ga|b2 e2 e2f(g|!
a2)fa (gf)eg|f2 d2 g3(f|gf)ed (cd)(eg)|f2 d2 d2:|!
(3(ABc|d2)AG (FGA(d|BA)Bc d2 A(c|d2)AG (FG)A(F|[EA][DA])[EA]([FA]
[E2A2](Ac)|!d2AG|(FG)A(d|BA)Bc df(ef)|(gf)ed (cd)(eg)|f2 d2 d2:|!

EILEAN FHIANAIN (Finan's Isle). Scottish, Air (6/8 time). D Mixolydian. Standard. AA'BB'. The tune was composed by Charles MacFarlane. Eilean Fhianain is a small island in Loch Shiel, Moidart, Inverness-shire, named for Saint Finan, a Celtic saint who lived there around 575 A.D. and a contemporary of St. Columba. He was known as 'Fhianan Luibre' (the Leper) or as 'the infirm' from the disease which was said to have been self-inflicted, received from a child whom he ministered. Later a fair named in his honor was held on the island each March 18th. Neil (1991) relates:
***
One of the few ancient bronze bells, in use in Scotland in the 9th
century, is to be found on Finan's Isle. It is on record that the bell
was stolen by one of the English troops during the 1745 Rebellion,
while they were garrisoned near Moidart. Fortunately he was
apprehended by Niall Mor Man Eilean (Big Niel of the Island),
who was custodian of the bell. Niall had given chase and had
caught him at Glenfinnan. It is said that the culprit was tied to
a tree by Niall, who then gave him a severe thrashing as a
punishment for his misdeeds, while his companions simply
looked on, without lifting a finger to help. It was found that
the tongue of the bell had somehow been removed, and it
subsequently had to be replaced with on of iron.
***
Neil (The Scots Fiddle), 1991; No. 145, pg. 185.

EILIDH. Scottish, Waltz. G Major. Standard. One part. Composed by John Bannerman, Lord Kildonan (1901-1969), a politician, rugby player, and singer and composer of Gaelic songs. "Eilidh" means Helen, and the song is set on the isle of Harris:
**
The way is long to island glen and shieling
The climb is steep o'er heather, crag and moor
But soft the tear of longing, Eilidh darling
For mem'ry's kiss in Laggan by the shore.
Your hand in mine and promise to be waiting
In sea-girt isle where living vows were made
Your heart will ever guide my spirit sailing
To Tir-nan-og where love can never fade.
('Tir-nan-og' means 'Land of the Ever-Young'.)
**
Neil (The Scots Fiddle), 1991; No. 137, pg. 177.

ERSKINE'S LAMENT. AKA - "Master Erskine's Lament, Killed at the Battle of Pinkie." Scottish. Williamson relates that a "lover's goodnight" called "Departe, Departe" was written to this tune, perhaps by Alexander Scott in the mid-16th century. The original title is given as the alternate. One Arthur Erskine was the Master of Mary Queen of Scots' household, but since the battle of Pinkie was fought when she was a little girl it is unlikely that this was the Erskine referred to. Williamson suggests it may have been his father who was killed. Henry VIII endeavoured to force a union between the young Mary and his son Edward in the so-called "Rough Wooing" in which his troops made a series of military expeditions into Scotland to "kill, burn, and spoil." After Henry died the warfare was contunued by Protector Somerset, as Henry's son Edward (VI) was too young; it was Somerset who defeated a Scottish force at the battle of Pinkie, near Musselburgh, in 1547. Flying Fish, Robin Williamson - "Legacy of the Scottish Harpers, Vol. 2."

ESME. Scottish, Air (6/8 time). B Flat Major. Standard. AB. The tune was composed by Bert Murray (b. 1913, Aberdeen), dedicated to pianist Esme Shepherd. Neil (The Scots Fiddle), 1991; No. 94, pg. 127.

ETTRICK BANKS. Scottish. James Oswald used the tune as the second section of his sonata which appears in Curious Collection of Scots Tunes (c. 1739), though it had been first published in Orpheus Caledonuis in 1725 as the tune of a song by Ramsay. It also appears in the 1768 Gillespie Manuscript of Perth. Robin Williamson thinks it was "undoubtedly old in its day." Flying Fish, Robin Williamson - "Legacy of the Scottish Harpers, Vol. 2."

ETTRICK WATER. Scottish, Air (6/8 time). D Major/Minor. Standard. One part. Composed by Alan Fernie (b. 1960), a player, composer and conductor, especially of brass and wind band settings. The Ettrick is a fast-flowing river in Scotland's Border region which streams through a wild and rugged valley until it merges with the Yarrow. The site ancient ballad "Tamlane" or "Tam Lin," which relates a mortal's capture by fairies, is in Carterhaugh, in the valley, where Tamlane's well can still be found (Neil, 1991). Neil (The Scots Fiddle), 1991; No. 50, pg. 69.

EUGENE STRATTON. Scottish, Hornpipe. B-Flat Major. Standard. AABB. Composed by the famous Scots composer and fiddler J. Scott Skinner (1843-1927), recorded by him on a 78 RPM disc in the 1920's, at the end of his career, as part of "The Celebrated Hornpipes" medley. Sources for notated versions: Jean Carignan (Montreal, Canada) [Phillips]; Winston Fitzgerald (Cape Breton) [Cranford]. Brody (Fiddler's Companion), 1983; pg. 100. Cranford (Fitzgerald), 1997; pg. 3. Phillips (Traditional American Fiddle Tunes), 1989; pg. 18. Flying Fish FF 70572, Frank Ferrel - "Yankee Dreams: Wicked Good Fiddling from New England" (1991). Folkways FG3531, Jean Carignan- "Old Time Fiddle Tunes" (appears as the second tune of 'Bank'). Philo 2001, "Jean Carignan" (appears as the second tune of 'Banks Medley'). Rounder RO 7023, Natalie MacMaster - "No Boundaries" (1996. Learned from Dave MacIsaac). Topic 12T280, J. Scott Skinner- "The Strathspey King."

EWE REEL, THE ("Seisd An Aisg," "Cor An Foisc" or "Ril na Foisce"). AKA and see "Ewe Wi' the Crooked Horn," "The Foe," "Bob with the one Horn," "Miss Huntley's," "Go see the Fun," "Sweet Roslea and the Sky over it," "The Pretty Girl in Danger," "The Red Blanket," "The Ram with the Crooked Horn," "The Kerry Lasses," "The Merry Lasses," "My Love is Far Away," "The Lowlands of Scotland," "Peter Street." Irish, Reel. Ireland; County Sligo, west Clare. G Major (Breathnach, Mitchell, O'Neill/1850): G Mixolydian/Major {'A' part} & G Major {'B' part} (Flaherty, O'Neill/1001). Standard. AB (Mitchell): AAB (Flaherty): AA'B (O'Neill): AABB (Breathnach). The Irish version of the Scots "Ewe Wi' the Crooked Horn." Breathnach (1985) found the tune under the title "Sweet Roaslea and the Sky over it" in County Monaghan, "Miss Huntly's" in Fermanagh, "Go see the fun" in Kerry, "The Red Blanket" in Clare and "The Ewe with the Crooked Horn" in Armagh. "The Pretty Girl in Danger" was the title printed by Goodman and Kerr gives it as "The Foe" and "The Bob with one horn." Sources for notated versions: piper Pat Mitchell (Dublin, Ireland) [Breathnach]; fiddler Fred Finn, 1919-1986 (Kiltycreen, Kilavil, County Sligo, Ireland) [Flaherty]; piper Willie Clancy (1918-1973, Miltown Malbay, west Clare) [Mitchell]; Chicago fiddler James Kennedy who had the tune from his father, a celebrated local fiddler from Ballinamore, County Leitrim [O'Neill]. Breathnach (CRE II), 1976; No. 145, pg. 77. Flaherty (Trip to Sligo), 1990; pg. 74. Mitchell (Dance Music of Willie Clancy), 1993; No. 106, pg. 91. O'Neill (1915 ed.), 1987; No. 261, pg. 134. O'Neill (1850), 1903/1979; No. 1229, pg. 231. O'Neill (1001 Gems), 1907/1986; No. 504, pg. 95.
T:Ewe Reel, The
L:1/8
M:C|
R:Reel
S:O'Neill - 1001 Gems (504)
K:G
DGGF DGGE|=F2 AF cFAF|DGGF DGGg|1 fdcA BGAF:|2
fdcA BG G2||g2 bg dgbg|f2 af dfaf|g2 bg dgbg|agfa g2 ga|
bgaf gdde|fefd cAGF|dggf (3gab ag|fdcA BGAF||

EW(I)E WI' THE CROOKED HORN, THE/MY [1] ("A' Chaora chrom" or "Ard Mhacha"). AKA and see"Bob with the one Horn," "Carron's Reel," "Crooked Horn Ewe," "Ewe Reel," "The Flowers of Limerick," "The Ram with the Crooked Horn." Scottish, Strathspey; Irish, Highland. G Dorian (Athole, Gow): G Minor (Fraser, Hunter, Kerr): A Minor (Honeyman). Standard. AB (Kerr): AAB (Athole, Fraser, Gow, Hunter): AABB (Honeyman). The title comes an old song, in both Scots and Gaelic. Perhaps the most famous adaptation of the lyrics is by Reverend John Skinner, set to the tune of "Carron's Reel," although some find his set wanting. Fraser further explains: "This set of the Ewe with the Crooked Horn appears to be a standard, formed a century ago, by three neighboring gentlemen in Nairnshire, eminent performers,--Mr. Rose of Kilravock, Mr. Campbell of Budyet, and Mr. Sutherland of Kinsteary. It may not be generally known, that the Ewe thus celebrated is no other than the 'whisky still, with its crooked horn (distilling tube),' which gave more milk than all the sheep in the country." The following words are from an old Scots version appearing in Chambers' Songs of Scotland prior to Burns.
***
verse:
Ilka ewe comes hame at even (x3)
Crookit hornie bides awa
***
chorus:
Ewie wi the crookit horn
May ye never see the morn
Ilka nicht you steal my corn
Ewie wi the crookit horn
***
Ilka ewie has a lambie (x3)
Crookit hornie she has twa
***
A the ewes gie milk eneuch (x3)
Crookit horn gies maist of a
***
Alburger (1983) retells the persistent tale, probably not true, of Niel Gow and this tune: "One (story) concerns a violin which is supposed to have been given to Neil by a London dealer, when Niel was up with the Duke of Atholl. After some discussion the dealer ('said to have been a Mr. Hill') told Neil 'I shall give it you if you play 'The Ewie wi' the Crooked Horn,' in anything like the style in which I heard it in your own country.' Niel played his best, and the dealer presented the violin, 'a veritable 'Gaspar di Salo in Brescia,' to the understandably sceptical Gow, who 'said to his son, 'Come awa, I'm feared he may rue and take it back.'" Niel Gow's own "Cheap Mutton," published in his "Fourth Collection," is a simple variation on this tune.
***
John Glen (1891) thought the earliest printing of the melody was in Robert Ross's 1780 collection (pg. 16), although Bruce Olson finds the melody (under the title "Crooked Horn Ewe") in Rutherford's 24 Country Dances for 1758 (see abc below) and Jack Campin notes it is in the c. 1740 MacFarlane Manuscript in dorian mode under the title "An caora crom." The title also appears in Henry Robson's list of popular Northumbrian song and dance tunes which he published c. 1800. "Ewe/Yowie wi' the crookit horn" is also the name of a Scottish song whose singing was mentioned by Alexander Jaffray in his scketch of the assembly at Aberdeen in 1777 in Recollection of Kingswells. Jaffray gives an accounty of the various assemblys or country dances and recalls them as convivial affairs:
***
After the dance, followed a supper, where cheerfulness and good humour
prevailed. Those who could sing entertained the company, which remained
to a late, or rather early hour...I particularly noticed Mrs. Grant of Caron, a
very pleasant sensible woman. Her two songs were "Yowie wi the crookit
horn," and "Tibby Fowler in the Glen."
***
Irish versions appear in reel or hornpipe form (see Ewe with the Crooked Horn [3], but in County Donegal it is popularly played as a highland (see version #5). The title appears in a list of tunes in his repertoire brought by Philip Goodman, the last professional and traditional piper in Farney, Louth, to the Feis Ceoil in Belfast in 1898 (Breathnach, 1997). Carlin (The Gow Collection), 1986; No. 55. Fraser (The Airs and Melodies Peculiar to the Highlands of Scotland and the Isles), 1874; No. 19, pg. 7. Honeyman (Strathspey, Reel and Hornpipe Tutor), 1898; pg. 17. Hunter (Fiddle Music of Scotland), 1988; No. 169. Kerr (Merry Melodies), Vol. 3; No. 187, pg. 22. McGlashan (A Collection of Reels), c. 1786; pg. 31 (appears as "Crooked Horn Ewe"). Stewart-Robertson (The Athole Collection), 1884; pg. 191. Culburnie CUL 113D, Alasdair Fraser & Tony MacManus - "Return to Kintail" (1999). Plant Life PLR017, "The Tannahill Weavers" (1979).
X:1
T:Ewie Wi' the Crooked Horn [1]
L:1/8
M:C
R:Strathspey
B:The Athole Collection
K:G Minor
F|D<G G>A F>GA>F|D<G G>A B>G A<a|f>-e d<f c<f A>F|
A<f d>B c<AG:|
G<g g>a f>ga>f|d<g g>a b>ga>^f|d<g g>a f>ga>f|dg/a/ b>ga>^f g2|
f>=f d<f c<f A>F|D<G G>A B>G A<a|b>gf>d c>BA>F|
A<f d>B c<A G||
X:2
T:Crooked Horn Ewe, The
L:1/8
M:C|
S:McGlashan - Reels
K:G Mixolydian
D>GG>A F>GA>F|D>GG>B c>GB>G|c>GB>G A>G F>C|D>GG>B AF G2|
D>GG>A F>G AG/F/|D>GG>A c>AB>G|A/B/c B/c/d c/B/A/G/ FA|DGGA FA G2||
G>gg>a f>g ag/f/|d>gg>a b>ga>g|d>gg>a f>ga>f|d>gg>b a^f g2|f>g d>f c>f A>F|
D>GG>B c>GB>G|f/g/a/g/ f>d c>BA>F|D>GGA FA G2||
X:3
T:The Crooked Horn'd Ewe
S:Rutherford's 24 Country Dances for 1758
Z:Transcribed by Bruce Olson
Q:156
L:1/8
M:C
K:G
DG2B AG "tr"FE/D/|DG2B cABG|ABcB AG "tr"FE/D/|DG2B AG/F/ G2::\
dg2a =fagf|dg2a fa g2|dg2a "tr"b(ag) a(g/f/)|\
d(g/a/) _ba/g/ (f/g/a/f/)g2|=(fefd) c_B "tr"A(G/F/)|\
Gd2c BA G2:|]

FERGUS McIVOR. Scottish, Country Dance Tune (6/8 time). A favorite Scots country dance tune that is properly in the class of tunes called Scotch jigs.

FAGAIL GHLEANN ALADAIL (Leaving Glen Aladale). Scottish, March (4/4 time). D Major. Standard. AB. Composed by Charles MacFarlane. Neil (The Scots Fiddle), 1991; No. 120, pg. 159.

FAGAIL MHIULE (Leaving Mull). Scottish, Slow Air (3/4 time). A Major. Standard. AA. Composed by pianist and accordion player Hamish Johnson (b. 1922, Glasgow), who retired to live on the Isle of Mull where his mother's people came from. Neil (The Scots Fiddle), 1991; No. 146, pg. 187.

FÁILTE NA MIOSG. AKA and see "The Musket Salute." Published by Oswald in a 1742 collection called Curious Scots Tunes.

FÁILTE SHIR SHENMAIS (Sir James's Welcome). Scottish, Pipe Tune. A tune played by Colin M'Nab, piper to M'Nab of M'Nab, at the annual piping competition (originally the Falkirk Tryst) held at the Assembly hall, Edinburgh in October 1784 (as reported in the period journal Scots Magazine).

FAIR SCOTS TUNE, A. AKA and see "My Nanny-O."

FALLEN HERO, THE. Scottish, ("Pathetickly") Slow Strathspey. A Major. Standard. AB. Composed by Nathaniel Gow (1763-1831), fiddler, composer, music publisher and bandleader; son of the famous Scots fiddler/composer Niel Gow. The title refers to the British naval hero, Lord Admiral Nelson. Carlin (The Gow Collection), 1986; No. 56. Gow (Complete Repository), Part 3, 1806; pg. 8.
T:Fallen Hero, The
L:1/8
M:C
S:Gow - 3rd Repository
K:A
{AB}c>B AR (E<C) E2|E>F Ad/c/ {c}B>A B2|{AB}c>B AF (E<C) E2|
E>F A(d/c/) (cB) A2|{AB}c>B AF (E<C) E2| E>F Ad/c/ {c}B>A B2|
{AB}c>B AF (E<C) E2|E>F A(d/c/) (cB) A2||(c<e) e>f {f}ec e2|
(c<e) e>f (f/e/)(c/A/) B2|(c<e) e>f {f} ec e2|E2 (d/c/)(B/A/) (cB) A2|
(c<e) e>f {f}ec e2|(c<e) {A}a>f (f/e/)(c/A/) B2|{AB}c>B AF (EC) E2|
E>F A(d/c/) cB A2||

FAREWELL TO EDINBURGH. Scottish, March (4/4 time). G Major. Standard. AABB. The tune appears in James Oswald's Caledonian Companion. Neil (The Scots Fiddle), 1991; No. 5, pg. 8.

FAREWELL TO IRELAND [1]. AKA- "Farewell To Erin/Eireann" [3], "The Higlander's Farewell to Ireland" [1]. Irish, Reel. A Mixolydian. Standard. AABBCCD (Brody): AABBCCDD (Cowdery, Mallinson): AABB'CC'DD (Alewine). Cowdery (1990) identifies this reel as one of the "Boyne Water" family: "The second strain...can be seen as a version of the 'Ballydesmond (Polka)' strain that has been stretched out like an accordion, leaving room to drop to A halfway through, but otherwise providing a much-elaborated but still recognizable version of our four ('Boyne Water') phrases." Caoimhin Mac Aoidh remarks that though "Farewell to Ireland" is considered one of the great reels in Irish tradition, it is really a Scots strathspey originally called "The Highlander's Farewell to Ireland." Source for notated version: Boys of the Lough (Ireland/Scotland) [Brody]. Alewine (Maid that Cut Off the Chicken's Lips), 1987; pg. 16. Brody (Fiddler's Fakebook), 1983; pg. 101-102. Cowdery (The Melodic Tradition of Ireland), 1990; Ex. 44, pg. 117 (appears as "Farewell to Erin"). Mallinson (Essential), 1995; No. 12, pg. 5. Claddagh CC17, Sean Keane- "Gusty's Frolicks" (appears as "Farewell To Erin"). Comhaltas Ceoltoiri Éireann CL13, "Tommy Peoples" (1976). Green Linnet 1009, Pat Burke and Mick Maloney- "Irish Music- The Living Tradition" (appears as "Farewell To Erin"). Green Linnet SIF 1058, Matt Molloy & Sean Keane - "Contentment is Wealth" (1985). Leader LEA 2004, Martin Byrnes. Philo 1031, Boys of the Lough- "Lochaber No More." Shanachie 29003, Tommy Peoples and Paul Brady- "The High Part of the Road."

FAREWELL TO WHISKEY [1] (Slan Le N-Uisge Beata). AKA - "Neil/Niel Gow's Farewell to Whiskey." AKA and see "Go rabh slan leis an ól," "Goodbye Whiskey" (Pa.), "The Ladies Triumph," "Murphy's Favor," "My Love is But a Lassie," "The Rose in the Garden," "Young America Hornpipe." See also related tune "Twin Sisters" (New England). Scottish (originally), Canadian, English, Irish, American; Strathspey (originally), Slow Air, Country Dance, Polka, Reel, or March (2/4 time). Canada; Cape Breton, Prince Edward Island, Ontario. USA, New England. B Flat Major (Alburger, Carlin, Dunlay & Greenberg, Dunlay & Reich, Gow, Hunter, MacDonald, Neil): A Major (Begin); slow air, country dance, polka, reel or march version often played in G Major (Athole, Brody, Cranitch, Mallinson, Martin, Miller & Perron, Moylan, O'Neill, Raven, Roche & Williamson, Sweet, Tubridy). Standard. AAB (Dunlay & Greenberg, Neil): AABB (most versions). The original was composed by the famous Scottish fiddler Niel Gow (1727-1807) who identified it as a lament on the occasion of the British government's prohibition of using barley to make whiskey in 1799 due to the failure of the crop in Scotland in that year (see the companion tune "Welcome Whiskey Back Again"); it appears in his First Collection, 2nd edition (1801), and reappears in his Fifth Collection (1809). Gow was known to frequently and heartily imbibe, and his reputation for drinking seemed almost as well known as his skill on the fiddle. Verses were written to Gow's tune (appearing in 1804) illustrating his distress at the event (in fact Niel himself noted in the original composition that it gave voice to "the Highlander's sorrow at being deprived of his favourite beverage"), which begin:
***
You've surely heard o' the famous Niel,
The man that played the fiddle weel;
I wat he was a canty chiel,
And dearly loved the whisky, O.
And aye sin' he wore tartan hose,
He dearly lo'ed the Athole brose;
And wae was he, you may suppose,
To bid 'farewell' to whisky, O.
and end:
Come, a' ye powers of music, come!
I find my heart grows unco glum;
My fiddle-strings will no play bum
To say farewell to whiskey, O.
Yet I'll tak my fiddle in my hand,
And screw the pegs up while they'll stand,
To mak a lamentation grand,
On gude auld highland whiskey, O.
***
Neil (1991) relates a well-known anecdote about Gow and his quick wit, and which also possibly refers to his consumption of whiskey:
***
It concerns his answer to a friend's query regarding the distance
between Perth and Dunkeld, which Niel had just completed after
an evening of fiddling, namely, that it was not the length of the
road which had bothered him but its breadth.
***
Another anecdote is told by Drummond (Perthsire of Bygone Days) of Neil Gow and this particular composition to the effect that when Niel first heard 'James' (probably Daniel) Dow play "Farewell to Whiskey," "he pulled his bonnet over his eyes, and rushed to the door," overcome with emotion at the rendering. While colorful, the story is false (similar tales have been told of Pagannini and others), for Dow would have had to have performed it eighteen years after he had been in the grave! Gow's slow air quickly became popular, and soon was transformed into dance versions at faster tempos. Cape Breton variations are thought to be by Donald John "the Tailor" Beaton, according to Doug MacPhee (Dunlay & Greenberg); the tune is played as a slow air on Cape Breton, as it was originally written. Paul Cranford reports that some Cape Breton musicians play the tune and variations transposed down a half-step to the key of 'A' Major and tune the fiddle to AEAE. Co. Kerry accordion player Johnny O'Leary played the tune as a polka, pairing it with "The Dark Girl Dressed in Blue." New England fiddlers often play the tune in G Major as a reel for contra dancing; the tune has been a standard there for many years.
**
Sources for notated versions: Mary (Beaton) Macdonald (Cape Breton) [Dunlay & Greenberg, Dunlay & Reich]; Strathspey (New England) [Brody]; accordion player Johnny O'Leary (Sliabh Luachra region of the Cork-Kerry border), recorded in concert at Na Piobairi Uilleann, February, 1981 [Moylan]; Cosmas Sigsworth (b. 1917, Corrville, Central Kings County, Prince Edward Island; now resident of Cardigan) [Perlman]; fiddler Dawson Girdwood (Perth, Ottawa Valley, Ontario) [Begin]. Alburger (Scottish Fiddlers and Their Music), 1983; Ex. 72, pgs. 109-110. Begin (Fiddle Music from the Ottawa Valley), 1985; No. 73, pg. 83. Brody (Fiddler's Fakebook), 1983; pg. 102. Carlin (The Gow Collection), 1986; No. 57. Cranitch (Irish Fiddle Book), 1996; No. 48, pg. 143. Dunlay & Greenberg (Traditional Celtic Violin Music of Cape Breton), 1996; pg. 141. Dunlay & Reich (Traditional Celtic Fiddle Music of Cape Breton), 1986; pg. 68. Hunter (Fiddle Music of Scotland), 1988; No. 47. MacDonald (The Skye Collection), 1887; pg. 136. Mallinson (101 Polkas), 1997; No. 11, pg. 5. Martin (Ceol na Fidhle), Vol. 1, 1991; pg. 15 (appears as "Neil Gow's Farewell to Whisky"). Miller & Perron (101 Polkas), 1978; No. 46. Miller & Perron (New England Fiddler's Repertoire), 1983; No. 134. Moylan (Johnny O'Leary), 1994; No. 55, pg. 32. Neil (The Scots Fiddle), 1991; No. 99, pg. 134. O'Neill (1915 ed.), 1987; No. 103, pg. 57 (march version). O'Neill (1850), 1979; No. 1825, pg. 343 (march version). Perlman (The Fiddle Music of Prince Edward Island), 1996; pg. 97. Raven (English Country Dance Tunes), 1984; pg 149 (appears under the title "The Ladies Triumph"). Roche Collection, 1982, Vol. 2; No. 350, pg. 62 (march version). Sannella, Balance and Swing (CDSS). Stewart-Robertson (The Athole Collection), 1884; pg. 153. Sweet (Fifer's Delgiht), 1964/1981; pg. 60. Tubridy (Irish Traditional Music, Vol. 1), 1999; pg. 11. Williamson (English, Welsh, Scottish and Irish Fiddle Tunes), 1976; pg. 67. Claddagh CC5, Dennis Murphy & Julia Clifford (both from Sliabh Luachra, Co. Kerry) - "The Star Above the Garter." DMP6-27, Doug MacPhee - "Cape Breton Piano II" (1979). F&W Records 3, "The Canterbury Country Orchestra Meets the F&W String Band." Front Hall FHR-023, Michael, McCreesh & Campbell - "The Host of the Air" (1980). Greentrax CDTRAX 9009, Albert Stewart - "Scottish Tradition 9: The Fiddler and his Art" (1993). Kicking Mule 216, Strathspey- "New England Contra Dance Music" (1977). Shanachie 33004, James Morrison- "The Pure Genius of James Morrison." Smithsonian Folkways SFW CD 40126, Rodney Miller - "Choose Your Partners: Contra Dance & Square Dance Music of New Hampshire" (1999).
X:1
T:Farewell to Whiskey
L:1/8
M:C|
K:G
GE|D2G2B2GB|A2E2 EF GE|D2G2B2AB|d2B2B2d2|
e2g2B2d2|cB AG A2B2|D2G2 BA GA|B2G2G2:|
|:Bc|d2B2g2d2|cB AG A2Bc|d2Bd g2d2|e2g2g2d2|
ef ge d2Bd|cB AG A2B2|D2G2 BA GA|B2G2G2:|
X:2
T:Neil Gow's Farewell to Whiskey
L:1/8
M:C|
R:Country Dances
B:The Athole Collection
K:G
B,/A,/|G,G/A/ B/A/G/B/ AE EF/G/|DG/A/ B/A/G/B/ dBB>d|
e/f/g/f/ e/d/B/d/ c/B/A/G/ A>B|D/E/G/A/ B/A/G/A/ BGG:|
|:B/c/|dB GB/d/ c/B/A/G/ AB/c/|dBgB dgg>d|
e/f/g/f/ e/d/B/d/ c/B/A/G/ A/c/B/A/|D/E/G/A/ B/A/G/A/ BGG:|

FIDDLER'S CONTEMPT, THE (Fuath nam Fidhleirean). Irish/Scottish, Air. One of the compositions of Ulster-born (d. 1653) Rorie Dall (O'Caithean or O'Cahan), harper to several Scottish noble families. It has also been attribued to the Scottish harper Ruaidhri (Rory) Dall Morison (c. 1656-1713 or 1714, a similarly named musician who is often confused with O'Cahan) who notoriously disliked the fiddle. It appears, with a few of his other works, in Donald Dow's (1732-1783) Collection of Ancient Scots Music and at the end of Bruce Armstrong's The Highland Harp. O'Neill (1913) gives the title as "The Fiddler's Content."

FIELD OF BANNOCKBURN, THE. Scottish, Pipe March (2/4 time). A Mixolydian. Standard. AB (Neil): AABB (Skinner). Composed by the most famous Scots fiddler, J. Scott Skinner, who published it in his "Harp and Claymore" collection in the latter part of the 19th century. The title refers to the famous victory of Robert the Bruce, King of the Scots (1274-1329), at the end of his seven year struggle with the forces of England under Edward II. Robert was by far the more skillful commander, while Edward was weak and foolish, and though the Plantagenet had twice the number of men (along with, it is rumoured, the bones of his father, Edward I, the 'Hammer of the Scots', in the forefront of his army) he fell prey to superior generalship, luck, and a final ruse by the wiley Scot. Neil (The Scots Fiddle), 1991; No. 58, pg. 81. Skinner (The Scottish Violinist, with variations), pg. 30.

FINLAYSTON HOUSE. Scottish, Slow Air. The melody was composed by amateur fiddle-composer John Riddell of Ayr (1718-95), son of a wig-maker and his wife, and first appeared in his collection of Scots tunes published by Robert Bremner, c. 1766. It was the music for the Scots poet Robert Burns' ("rather indifferent lyric," according to Collinson {1966}) elegiac song "Fate gave the word-the arrow sped," and Burns thought much of the tune, writing in Cromck's Reliques: "This most beautiful tune is I think the happiest composition of that bard born genius John Riddell of the family of Glencarnock at Ayr" (in fact, there is no conclusive evidence that Riddell had any connection with the Glencarnock family). Finlayston House, on the Firth of Clyde near Glasgow, was the seat of the Earl of Glencairn, and is the seat of the Chief of the MacMillan clan.

FIR TREE, THE. Scottish, Strathspey; English, Reel. England, Northumberland. D Mixolydian. Standard. AB (Gow): AAB (Vickers). Attributed to Neil Gow in the Skye Collection. Robert Bremmer (1713-89) also composed and pubished a strathspey by the same name (perhaps the same tune) in his Collection of Scots Reels or Country Dances (c. 1760); it is in this collection that John Glen (1891) finds the tune earliest published. Carlin (The Gow Collection), 1986; No. 59. MacDonald (The Skye Collection), 1887; pg. 49. Seattle (William Vickers), 1987, Part 3; No. 546.
T:Fir Tree, The
L:1/8
M:C
S:Skye Collection
K:D
A|F2 DB/c/ d>A=c>G|E2 =C>E =c>GE>A|F2 DB/c/ d>AG>A|F2 DB/c/ e/d/B/A/ d>f|
F2 DB/c/ d>A=c>G|E2 =C>E =c>GE>G|D>EF>G A<d A>F|G<E A>G FDD||
f|d/d/d f>d g>ef>d|e/e/e fd>g>e=ce|d/d/d f>d g>ef>d|e/e/e ~a>g f>d d<f|
d/d/d f>d g>ef>d|e/e/e f>d g>e=ce|d>ef>g a>ba>f|g>e a/g/f/e/ fdd||

FISHER'S HORNPIPE (Crannciuil {Ui} Fishuir). AKA "The Fisher's," "Fisherman's Hornpipe." AKA and see "The Blacksmith's Hornpipe" (Ireland {Joyce}), "China Orange Hornpipe," "Egg Hornpipe," "Fisherman's Lilt," "The First of May," "Kelly's Hornpipe" [3], "Lord Howe's Hornpipe," "O'Dwyer's Hornpipe," "Peckhover Walk Hornpipe," "Roger MacMum" (Irish), "Sailor's Hornpipe," "Wigs on the Green" (Ireland {Roche}). English, Irish, Scottish, Shetlands, Canadian, Old-Time, Texas Style, Bluegrass; Hornpipe, Reel, Breakdown. USA & Canada, widely known. D Major {most modern versions}: G Major {often in the Galax, Va. area, also Bayard's version collected in Prince Edward Island}: A Major (Mississippi fiddler Charles Long): F Major {Burchenal, Cranford, Honeyman, Linscott, Miller & Perron, Miskoe & Paul, Perlman, Raven, Phillips/1995, Welling}. Standard or ADAD. AABB (most versions): AA'BB (Perlman): AA'BB' (Miskoe & Paul). On the subject of the title, several writers have posited various speculations on who the 'Fisher' might have been. Charles Wolfe, among others, believes it was originally a classical composition by German composer Johann Christian Fischer (1733-1800), a friend of Mozart's, which thought Samuel Bayard (1981) concurs, noting the tune goes back to latter 18th century England where it was composed by "J. Fishar" and "published in 1780" (Most of the alternate titles he gives {and which appear above} are "floaters"). Van Cleef and Keller (1980) identify the composer as probably one James A. Fishar, a musical director and ballet master at Covent Garden during the 1770's, and note it is included as "Hornpipe #1" in J. Fishar's (presumably James A. Fishar's) Sixteen Cotillons Sixteen Minuets Twelve Allemands and Twelve Hornpipes (John Rutherford, London, 1778). A few years later the melody appeared in England under the title "Lord Howe's Hornpipe" in Longman and Broderip's 5th Selection of the Most Admired Dances, Reels, Minuets and Cotillions (London, c. 1784). McGlashan printed it about the same time in his Collection of Scots Measures (c. 1780, pg. 34) under the title "Danc'd by Aldridge," a reference to the famous stage dancer and pantomimist Robert Aldridge, a popular performer in the 1760's and 1770's. Although it is known in Europe as a hornpipe, it has also been played as a reel for dancing the Shetland Reel in Scotland's Shetland Islands. Linscott (1939) thinks the melody resembles an "ancient" Irish folk tune known as "Roger MacMum," implying it might have been derived from that source.
***
The tune became widely popular in a short span of time. It was already known as "Fisher's Hornpipe" in both England and the newly independent United States when it was written out by the American John Greenwood in his copybook for the German flute of c. 1783. Another 18th century American publication, a 1796 collection entitled An Evening Amusement for German Flute and Violin, was printed in Philadelphia by Carr and contains the hornpipe set in 'D' Major. An American country dance was composed to the tune and first appeared in this country in John Griffith's Collection, a Rhode Island publication of 1788. Both dance and tune became American classics and entered traditional repertory throughout the county. A fiddler with the Moses Cleaveland surveying party (the city of Cleveland, Ohio, is named after him) is recorded as having played "Fisher's" during an impromptu dance on the first evening the party camped on the banks of the Cuyahoga river, as recorded in the diary of a surveyor with the party. It was one of the most widely known fiddle tunes and, along with "Rickett's Hornpipe," the most popular hornpipe played in the Southern Appalachians (although as time went on hornpipes were not generally dropped from the repertoire, certainly as an accompaniment for dancing, but "Fishers" remained in the repertoire as a fiddler's tune which was frequently played when a few musicians would get together for their own enjoyment). The tune retained its popularity, and Jim Kimball states that both "Fishers" and "Ricketts" (along with "Devil's Dream" and "Soldier's Joy") were favorite tunes for the last figure of square dances in western New York state into the early 20th century.
***
Around the Galax, Va., region quite a few fiddlers, like Charlie Higgins and John Rector, play 'Fisher's' in the key of 'G' Major. Tommy Jarrell, of nearby Mt. Airy, N.C., plays the tune in 'D' Major, as did his father, Ben Jarrell, though the tune usually appears in 'F' Major in early collections (the earliest American appearance, John Greenwood's flute MS of 1783, has the tune in 'G,' however). 'F' Major renditions are still common (along with 'D' Major versions) among fiddlers in central and north Missouri-- though relatively rare in the Ozarks region of the state--perhaps because of the because of the influence of the old town orchestras or brass bands (with flat-keyd wind instruments), radio broadcasts from Canadian fiddlers, and local classically trained music professors. Despite the seeming prevalence of the hornpipe set in 'F' major in early publications, Jim Kimball finds that the John Carroll manuscript collection, copied before 1804, gives "Fisher's" in the key of D Major, as does the John Studderd manuscript, c. 1808-1815, and the John Seely manuscript, c. 1819-1830 (Carroll was an Irish-American military musician stationed at Fort Niagara at the time he wrote his manuscript who apparently played both fife and fiddle; Studderd was a native of England prior to emigrating to western New York state in the 1820's; Seely, according to family history, was a fiddler who lived in western New York state for whom "Fishers" was a favorite tune).
***
The title "Fisher's Hornpipe" has been mentioned frequently in periodicals and other printed sources in America over the years. For example, it was recorded as having been one of the catagory tunes at the 1899 Gallatin, Tenn., fiddlers contest; each fiddler would play his version of the tune, with the best rendition winning a prize (C. Wolfe, The Devil's Box, Vol. 14, No. 4, 12/1/80). Similarly, it was listed in the Fayette Northwest Alabamian of 8/29/1929 as one of the tunes likely to be played by local fiddlers at an upcoming convention (Cauthen, 1990). Moving north, another citation stated it had commonly been played for country dances in Orange County, New York, in the 1930's (Lettie Osborn, New York Folklore Quarterly), while Burchenal (1918) printed a dance from New England of the same name to the tune. A Report of the Celebration Held in August 1914 for the 150th Anniversary of the Town of Lancaster (N.H.) gives the title as one of the tunes and dances performed at a cotillion that month. The title appears in a list of Maine fiddler Mellie Dunham's repertoire (Dunham was Henry Ford's champion fiddler in the late 1920's) and Gibbons (1982) notes it has been "a traditional dance melody familiar to fiddlers throughout Canada." Perlman (1996) notes it has status as one of the "good old tunes" played by Prince Edward Island fiddlers. In the South and Midwest the tune was recorded for the Library of Congress from the playing of Ozark Mountain fiddlers in the early 1940's by musicologist/folklorist Vance Randolph, and (by Herbert Halpert) from the playing of Mississippi fiddlers Charles Long and Stephen B. Tucker in 1939. The Arizona fiddler Kenner C. Kartchner related that it, in modern times, it was "played often at (the) Weiser (Idaho) annual (fiddle) contest" (Shumway), to which Louie Attebery (1979) concurs, calling it part of the "standard fare" of many fiddlers at that festival and contest.
***
In the repertiore of Uncle Jimmy Thompson (1848-1931) {Texas, Tenn.}, and Buffalo Valley, Pa. dance fiddler Harry Daddario. See also "Miss Thompson's Reel," which particularly resembles the "Fisher's" in it's second section.
***
Sources for notated versions: Edson Cole (Freedom, N.H.) [Linscott]: Frank George (W.Va.) [Krassen]; Frank Lowery (Prince George, British Columbia) [Gibbons]; Lorin Simmonds (Prince Edward Island, 1944) [Bayard, 1981]; transplanted French-Canadian fiddler Omer Marcoux {1898-1982} (Concord, N.H.), who learned the tune when young in Quebec [Miskoe & Paul]; 6 southwestern Pa. fiddlers and fifers [Bayard, 1981]; Ruthie Dornfeld and Major Franklin (Texas) [Phillips/1995 {two different versions}]; accordion player Johnny O'Leary (Sliabh Luachra region of the Cork-Kerry border), recorded in recital at Na Piobairi Uilleann, February, 1981 [Moylan]; Dennis Pitre (b. 1941, St. Felix, West Prince County, Prince Edward Island) [Perlman]; Winston Fitzgerald (1914-1987, Cape Breton) [Cranford]; set dance music recorded at Na Píobairí Uilleann, in the 1980's [Taylor]. Allan's (Allan's Irish Fiddler), No. 105, pg. 27. Bayard (Dance to the Fiddle), 1981; No. 345, pgs. 332-334 and Appendix No. 3, pg. 573. Brody (Fiddler's Fakebook), 1983; pg. 107. Burchenal (American Country Dances, Vol. 1), 1918; pg. 47. R.P. Christeson (Old Time Fiddlers Repertory, Vol. 1), 1973; pg. 57. Cranford (Fitzgerald), 1997; No. 45, pg. 17. Ford (Traditional American Fiddle Tunes), 1940; pg. 39. Gibbons (As It Comes: Folk Fiddling From Prince George, British Columbia), 1982; No. 6, pgs. 18-19. Honeyman (Strathspey, Reel and Hornpipe Tutor), 1898; pg. 40 (two versions, one in Newcastle and Sand Dance style, on in Sailor's style). Jarman, Old Time Fiddlin' Tunes; No. 20, pg. 67. Johnson & Luken (Twenty-Eight Country Dances as Done at the New Boston Fair), Vol. 8, 1988; pg. 4. Joyce (Old Irish Folk Music and Song), 1909; No. 103. Krassen (Appalachian Fiddle), 1973; pg. 79. Kerr (Merry Melodies), Vol. 1; No. 3, pg. 42. Linscott (Folk Music of Old New England), 1939; pg. 77. Miller & Perron (New England Fiddlers Repertoire), 1983; No. 117. Miskoe & Paul (Omer Marcoux), 1994; pg. 31. Moylan (Johnny O'Leary), 1994; No. 63, pg. 36. O'Neill (1915 ed.), 1987; No. 351, pg. 171. O'Neill (Krassen), 1976; pg. 168. O'Neill (1850), 1903/1979; Nos. 1575 & 1576, pg. 292. O'Neill (1001 Gems), 1907/1986; No. 825, pg. 143. Perlman (The Fiddle Music of Prince Edward Island), 1996; pg. 117. Phillips, 1989 (Fiddlecase Tunebook: Old-Time); pg. 19. Phillips (Traditional American Fiddle Tunes), Vol. 2, 1995; pgs. 1992-193. Raven (English Country Dance Tunes), 1984; pg. 163. Reiner (Anthology of Fiddle Styles), 1977; pg. 26. Roche Collection, Vol. 3, No. 181. Ruth (Pioneer Western Folk Tunes), 1948; No. 23, pg. 10. Spandaro (10 Cents a Dance), 1980; pg. 10. Stewart-Robertson (The Athole Collection), 1884; pg. 297. Sweet (Fifer's Delight), 1964/1981; pg. 42. Taylor (Music for the Sets: Yellow Book), 1995; pg. 14. Welling (Welling's Hartford Tunebook), 1976; pg. 20. Alcazar Dance Series FR 204, "New England Chestnuts" (1981). Breton Books and Records BOC 1HO, Winston "Scotty" Fitzgerald - "Classic Cuts" (reissue of Celtic Records CX 17). Caney Mountain CEP 212 (privately issued extended play album), Lonnie Robertson (Mo.), 1965-66. Claddagh CC5, Denis Murphy & Julia Clifford - "The Star Above the Garter" (appears as "Fisherman's Hornpipe"). County 405, "The Hill-Billies." County 707, Major Franklin- "Texas Fiddle Favorites." County 756, Tommy Jarrell- "Sail Away Ladies" (1986. The only time Tommy's famous fiddling father, Ben Jarrell {who took no active part in his musical education and rarely commented on his son's efforts}, praised his playing in front of him was after hearing the younger fiddler play the tune, remarking "By gawd, that's the best I've ever heard "Fisher's Hornpipe" played"). Elektra EKS 7285, The Dillards with Byron Berline- "Pickin' and Fiddlin.'" F&W Records 4, "The Canterbury Country Orchestra Meets the F&W String Band." Folkways FA 2381, "The Hammered Dulcimer as played by Chet Parker" (1966). Folkways FG 3531, Jean Carignan- "Old Time Fiddle Tunes" (1968). Fretless 101, "The Campbell Family: Champion Fiddlers." Gourd Music 110, Barry Phillips - "The World Turned Upside Down" (1992). North Star NS0038, "The Village Green: Dance Music of Old Sturbridge Village." Rounder 0035, Fuzzy Mountain String Band- "Summer Oaks and Porch" (1973). Rounder 7004, Joe Cormier- "The Dances Down Home" (1977). Smithsonian Folkways SFW CD 40126, Northern Spy - "Choose Your Partners!: Contra Dance & Square Dance Music of New Hampshire" (1999). Topic 12T309, Padraig O'Keeffe, Denis Murphy & Julia Clifford - "Kerry Fiddles" (appears as "Fisherman's Hornpipe").
X:1
T:Fisher's Hornpipe
L:1/8
M:C|
K:F
|:c2|fc Ac Bd cB|Ac Ac Bd cB|Ac Fc Bd Gd|Ac FA G2 (3cde|
fc Ac Bd cB|Ac Fc Bd cB|AB cd ef ge|f2a2f2:|
|:ef|ge ce ge bg|af cf af ba|ge ce ga ba|gf ed c2 Bc|
dB FB dB fd|cA FA cA fc|df ed cB AG|F2A2F2:|
X:2
T:Fishers
L:1/8
M:C|
R:Hornpipe
B:The Athole Colletion
K:D
dc|dAFA GBAG|FAFA GBAG|FDFD GEGE|FDFD E2 dc|dAFA GBAG|
FAFA GBAG|FAdf gedc|d2 d2 d2:||:cd|ecAc ecge|fdAd fdaf|ecAc ecgf|
edcB A3A|BGDG BGdB|AFDF AFdA|BdcB AGFE|D2 D2 D2:|

FIT IS COME OWER ME NOW, THE. AKA and see "The Fit's Upon Me Now"??? Scottish. The air appears in the Panmure MS #9454 Seventy Seven Dances, Songs and Scots Airs for Violin, c. 1675. In his notes for the air Williamson calls it "a quirky piece of unusual structure." Flying Fish, Robin Williamson - "Legacy of the Scottish Harpers, Vol. 2."

FLING. A dance form particular to Scottish, and to some extent Irish, music. An Irish fling, borrowed from the Scots, is usually a simple reel with a dotted crotchet/semiquaver feel, often a 'catchy' melody and sometimes has words and not unusually lilted. Irish flings are generally written in 4/4 time and, although played slower than a reel, retain the reel-like swing. Some familiar examples are the tunes "The Keel Row," "Some Say the Devil's Dead" or "Johnny Won't/Will You Marry Me." In northern Ireland it is sometimes called a "Highland" or "German," though elsewhere in Ireland it goes by the name highland schottische, highland fling, or simply 'highland.' In Conamara it is sometimes called "The Johnny." The term is used in the south and west of Ireland where the dance and tunes are much rarer, according to Caoimhin Mac Aoidh (1994). Flings are generally danced by a couple in Ireland, although a rare three-person version is to be found in Cuil Aodha, County Cork.

FLORA MACDONALD'S ADIEU TO THE PRINCE (Tha mi fodh ghruaim). Scottish, Slow Air (6/8 time). F Sharp Minor. Standard. AAB. This air "is attributed, the editor knows not with what truth, to the celebrated Miss Flora MacDonald, on bidding adieu to Prince Charles. There is a degree of virtue, highly honorable to the national character for sincerity and integrity, perceptible in the universal disregard of the high rewards offered for delivering up the Prince" (Fraser). In fact, Flora Macdonald (b. c. 1721) was a celebrated heroine of the 1745 Jacobite rebellion, instrumental in saving Bonnie Prince Charlie after the battle of Culloden. Flora was born on the Hebridean side of South Uist, to which isle Charlie fled to, hotly pursued by the English forces who had offered a reward of the staggering sum of 30,000 pounds for his capture. The island was patrolled by warships and 2,000 Hanoverian troops were combing the countryside looking for him. Flora was persuaded to his cause and helped him elude his pursuers by dressing him as her Irish maidservent under the alias 'Betty Burke'. For three days she travelled with him under the constant fear of capture until he was able to make his way to Skye and then Inverness, where he was eventually rescued by a French ship which transported him to safety in Brittany. "Before leaving Portee, Flora and the Prince said their goodbyes. He was most grateful to her for risking her life for him during the three eventful days, and for looking after him with great tenderness and affection during the many dangers that had beset them. He presented her with his own portrait in miniature and after thanking her, expressed the hope that they might meet again" (Neil, 1991). They apparently never did, for Flora returned to Skye and five years later married Macdonald of Kingsburgh, with whom she had five sons and two daughters. The family soon found themselves in North Carolina, where Macdonald served with the Royal Highland Emigrant Regiment in the years prior to the American Revolutionary War. They returned to Scotland in the early 1770's and were visited by Dr. Johnson and Boswell on Skye in 1773. Flora was aged 51 at the time and was described by Johnson as "a woman of middle statue, soft features, gentle manners and elegant presence", and by Boswell as "a little woman of genteel appearance and uncommonly mild and well-bred." Flora died in 1790. Fraser (The Airs and Melodies Peculiar to the Highlands of Scotland and the Isles), 1874; No. 219, pg. 98 & No. 219, pg. 90. Neil (The Scots Fiddle), 1991; No. 162, pg. 209.
T:Flora Macdonald's Adieu to the Prince
T:Tha mi fo ghruaim
L:1/8
M:6/8
S:Fraser Collection
K:A
F|AFF F>ED|d>ed c<e z/ c|Bce f>ea|f>ed (c<B) z/F|AFF F>ED|
d>ed c<ez/||c|Bce f>aa|fed e>dc|d>ed c>ea|f>ed (c<B)z/||

FLOWER O' THE QUERN, THE. Scottish, Slow Air (4/4 time). A Major. Standard. One Part (Hunter, Neil, Skinner): AABB (Martin). Published in song form by J. Gordon Phillips, Elgin (Scotland), whose words were written as a tribute to a young woman, Mary Morrison. Mary, who lived in Forres in the latter half of the 19th century, was described as "the bonniest lass from Inverness to Aberdeen", but was widowed at an early age. She remarried David Flyslop who was the chauffeur to the Earl of Moray, and lived in a lodge at the end of one of the driveways to Darnaway Castle. The music was composed by J. Scott Skinner as a tune for the song, but the melody also became popular as a slow air. It appears in his Logie Collection, dedicated to another girl, Miss Jessie Stockwell.
**
The flo-ers grow fair on the lowland vales,
an' green grow the wids on the braes,
an' saft an' low sing the scented gales
in the lang, lang simmer days;
But dearer to me are the mountains blue
where grow the heath an' fern,
an' the bonniest flo'er is the ane I lo'e
that blooms 'mang the braes o' the Quern.
**
A quern (pronounced 'kern') is Gaelic for 'hollow'. Hunter (Fiddle Music of Scotland), 1988; No. 28 (arranged by James Hunter for string quintent). Martin (Ceol na Fidhle), Vol. 1, 1991; pg. 14 (includes a harmony part). Neil (The Scots Fiddle), 1991; No. 88, pg. 119. Skinner (The Scottish Violinist), pg. 35.

FLOWERS OF EDINBURGH [1] (Blata Duin-Eudain). AKA - "Flooers o' Edinburgh." AKA and see "Cois Lasadh/Leasa" (Beside a Rath), "Flowers of Donnybrook," "My Love's Bonny When She Smiles On Me," "My Love was Once a Bonny Lad," "Rossaviel," "To the Battle Men of Erin," "Old Virginia." Scottish (originally), Shetland, Canadian, American; Scots Measure, Country Dance Tune or Reel: English, Reel, Country or Morris Dance Tune (4/4, cut or 2/2 time); Irish, Reel or Hornpipe. Originally from Scotland, Lowlands region. USA; New England, southwestern Pa., Missouri, New York, Arizona. Canada; Prince Edward Island, Cape Breton. G Major (most versions): Morris version in D Major (Mallinson). Standard. AB (Bacon, Kerr): AAB (Bain, Mitchell): AABB (most versions): AA'BB (Phillips). Gow and others credit composition of the melody to James Oswald (Gow). Its earliest appearance in print is in Oswald's c. 1742 collection of Curious Collection of Scots Tunes (II), which appeared in London and contained the "Flowers" tune as a "crude" song entitled "My Love's bonny when she smiles on me." He printed the melody again in 1750 with the words "My love was once a bonny lad." The first version of the song and tune with the title "The Flower of Edinburgh" appeared in The Universal Magazine, April, 1749. That same year it was printed in John Johnson's Twelve Country Dances for the Harpsichord. Oswald himself republished it in 1751 in his volume Caledonian Pocket Companion under the title "The Flower of Edinburgh."
***
As regards the title, the convention "Flower of..." usually referenced a woman, although in the case of "Edinburgh" the plural form was appended at some point and stuck. The plural title appears in Herd's Scots Songs (without music) and in The Scots Musical Museum (1787, No. 13). Gow notes parenthetically in his Complete Repository (Part 4, 1817) that the 'flowers' of Edinburgh did not refer to comely females but in fact referenced the magistrates of the town. Some say the 'flowers' were female, although the females in question were prostitutes. It has also been suggested that the title refers to the stench of the old, overcrowded urban Edinburgh-a city fondly referred to as "Auld Reekie", which does not bespeak of a putrid, reeking smell, but rather comes from the Norwegian word røyk, meaning smoke. Thus 'Auld Reekie' refers to the pall of smoke that once hovered over the city, having been constantly spewed forth by its hearths. Finally, the 'flowers of Edinburgh' has been taken to refer to the contents of chamber pots which were, in the days before modern sewage systems, once disposed of by being thrown into the city streets (with or without the shouted warning "Gardez l'eau!" or "Mind yourself!"). Paul de Grae finds this latter interpretation in modern times incorporated by novelist Ian Rankin in one of his Inspector Rebus crime novels. Rebus, an Edinburgh detective, is being addressed by an "hard man" whose warning narrowly averted the Inspector's stepping in canine excrement. It will help to know human waste is called keech or keach in Ulster and Scotland (similar to the French caca, Italian cacca, Finnish and Icelandic kakku, and German kaka):
:***
"Know what 'flowers of Edinburgh' are?"
"A rock band?"
"Keech. They used to chuck all their keech out of the
windows and onto the street. There was so much of it
lying around, the locals called it the flowers of Edinburgh.
I read that in a book."
***
The renowned County Donegal fiddler, John Doherty (1895-1980) had his own idiosyncratic take on the title. In the notes for the album "The Floating Bow," Alun Evans writes of Doherty:
***
I can only say that I never found him to be other than exhilarating
company. Yet he was hard to pin down on detail, for in his mind fact and
fantasy were so tightly interwoven as to be indivisible - at least he led
you to believe so. He would tell how James Scott Skinner had composed the
tune 'The Flowers of Edinburgh' after a Miss Flowers with whom he was
besotted at the time. John must have known that this didn't ring true but a
story was a story, perhaps an example of the 'true Celtic madness' which is
said to be 'not psychotic but merely a poetic confusion of the real and the
imagined.'
***
English morris versions are from the Bampton area of England's Cotswolds and the North-West (England) tradition (where it is used as the tune for a polka step). Editor Seattle remarks of William Vickers' Northumbrian country dance version that it is "A fine setting with some distinctive 18th century touches."
***
In America the melody has also been used for country dances for over two hundred and twenty years. It was included by Greenland, New Hampshire, dancer Clement Weeks in his MS dance collection of 1783, and by Giles Gibbs (East Windsor, Ellington Parish, Connecticut) in his 1777 fife manuscript (Van Cleef & Keller, 1980). In the latter MS it is also called "Darling Swain." As "Old Virginia (Reel)" it was printed by George P. Knauff in Virginia Reels, volume II (Baltimore, 1839). Much later it was cited as having commonly been played for country dances in Orange County, New York, in the 1930's (Lettie Osborn, New York Folklore Quarterly), and was in the repertoire of Arizona dance fiddler Kenner C. Kartchner in the early twentieth century. The title also appears in a list of traditional Ozark Mountain fiddle tunes compiled by musicologist/folklorist Vance Randolph, published in 1954. Howard Marshall writes that Art Galbraith (d. 1992) of Springfield, Missouri, "had the most famous version in his area which was handed down through his family from at least 1840. Art's version is distinctive for its retention of the old 'extra beat' that has been lost in other versions." This famous Scottish reel is as well known to Pennsylvania fiddlers as it is to country players everywhere in the area of British folk music tradition, says Bayard (1944), and is one tune to which a single title has been transmitted intact through the generations of folk process.
***
In Ireland "Flowers of Edinburgh" is most common rendered as a hornpipe. The Irish "Cois Leasa" (Beside a Rath) is a version of this tune, maintains O'Neill (Dance Music of Ireland), who perhaps found it in Haverty's 100 Irish Airs, 2nd series, 1859, where "The Flowers of Edinburgh" is given in parenthesis as an alternate title for the "Rath" tune. Bayard (1981) agrees with O'Neill, though Sullivan (Bunting Collection) and Alfred Moffat do not, and the connection is not addressed in the Fleischmann index (Sources of Irish Traditional Music, 1998). Stanford/Petrie notes his Arranmore-collected Irish tune "Rossaveel" is "the old form of 'Flowers of Edinburgh.'" Finally, a version is played under the title of "The Flower of Donneybrook" in Ireland.
***
Sources for notated versions: Fennigs All Stars (New York) [Brody]; John Kubina, (near) Davistown, Pennsylvania, September 3, 1943 (learned from traditional players in Pittsburgh) [Bayard]; Gilpin, Yaugher, Hall, Wright, Shape (all southwestern Pa. fiddlers whose versions were collected in the 1940's) [Bayard]; Arnold Woodley (Bampton, England) via Roy Dommett [Bacon]; Art Stamper (Mo.) [Phillips]; piper Willie Clancy (1918-1973, Miltown Malbay, west Clare) [Mitchell]; Elliot Wright (b. 1935, North River, Queens County, Prince Edward Island) [Perlman]; fiddler Dawson Girdwood (Perth, Ottawa Valley, Ontario) [Begin]. Bacon (The Morris Ring), 1974; pgs. 46, 57, 81. Bain (50 Fiddle Solos), 1989; pg. 33. Bayard (Hill Country Tunes), 1944; No. 54. Bayard (Dance to the Fiddle), 1981; No. 340A=E, pgs. 326-327. Begin (Fiddle Music from the Ottawa Valley: Dawson Girdwood), 1985; No. 46, pg. 55. Brody (Fiddler's Fakebook), 1983; pg. 109. Burchenal (Rinnce na h-Eireann), p. 24. Calliope, pg. 28. Carlin (The Gow Collection), 1986; No. 256. Gow (Complete Repository), Part 4, 1817; pg. 16. Hardie (Caledonian Companion), 1992; pg. 32 (includes variations by Bill Hardie). Harding's Orig. Coll., No. 177. Hogg (Jacobite Relics), II, p. 129. Henderson (Flowers of Scottish Melody), 1935 (includes sets of variations). Howe's School for the Violin, p. 34. Howe's Diamond School for the Violin (1861); pg. 44. Hunter (Fiddle Music of Scotland), 1988; No. 310. Jarman (Old Time Fiddlin' Tunes); No. or pg. 6. JEFDSS, I, 82, second half of 'Birds-a-Building' equals the second half of No. 54. Jigs and Reels, p. 12. Johnson (Scots Musical Museum, edition of 1853), Vol. I, No. 13. Johnson, S.L. (Twenty-Eight Country Dances as Done at the New Boston Fair), Vol. 8, 1988; pg. 5. Kerr (Merry Melodies), Vol. 1; No. 1, pg. 23. Lerwick (Kilted Fiddler), 1985; pg. 19. Levey, No. 4. Mallinson (Mally's Cotswold Morris Book), 1988, Vol. 2; No. 30, pg. 16. Mallinson (Enduring), 1995; No. 19, pg. 8. Miller & Perron (New England Fiddlers Repertorie), 1983; No. 122. Mitchell (Dance Music of Willie Clancy), 1993; No. 88, pg. 79. Neal (Esperance Morris Book), pt. II, p. 29. O'Neill (1915 ed.), 1987; No. 350, pg. 171. O'Neill (Krassen), 1976; pg. 208. O'Neill (1001 Gems), 1907/1986; No. 920, pg. 157. O'Neill (1850), 1903/1979; No. 1746, pg. 325. Perlman (The Fiddle Music of Prince Edward Island) 1996; pg. 61. Petrie, No. 372. Phillips (Traditional American Fiddle Tunes), Vol. 1, 1994; pg. 90. Reavy (The Collected Compositions of Ed Reavy), No. 86. Reiner (Anthology of Fiddle Styles), 1979; pg. 52. Robbins, Nos. 28 & 152. Saar, No. 29. Seattle (William Vickers), 1770/1987, Part 2; No. 384. Sharp and Macilwaine (Morris Dance Tunes), Set V, pp. 2,3 (same version printed in other Sharp folk dance books). Sharp (Country Dance Tunes), 1909/1994; pg. 6. Smith (Scottish Minstrel), III, 25. Calliope (4th edition, 1788), p. 28. Stewart-Robertson (The Athole Collection), 1884; pg. 146. Sweet (Fifer's Delight), 1964/1981; pg. 59. Tolman (Nelson Music Collection), 1969; pg. 12. Wade (Mally's North West Morris Book), 1988; pg. 22. White's Unique Coll., No. 71. Williamson (English, Welsh, Scottish and Irish Fiddle Tunes), 1976; pg. 53. Breakwater 1002, Rufus Guinchard- "Newfoundland Fiddler." Edison 52313 (78 RPM), John Baltzell (Mt. Vernon, Ohio), 1928 {appears as "Flowers at Edingurgh"} [Baltzell was taught to play the fiddle by minstrel Dan Emmett]. Front Hall 01, Fennigs All Stars- "The Hammered Dulcimer." Glencoe 001, Cape Breton Symphony- "Fiddle." Kicking Mule 209, Ken Perlman- "Melodic Clawhammer Banjo." North Star NS0038, "The Village Green: Dance Music of Old Sturbridge Village." Olympic 6151, The Scottish Festival Orchestra- "Scottish Traditional Fiddle Music" (1978). Philo 1008, "Kenny Hall." Sonet 764, Dave Swarbrick and Friends- "The Ceiledh Album." Voyager VRCD 344, Howard Marshall & John Williams - "Fiddling Missouri" (1999. Learned from the playing of Missouri fiddler Art Galbraith).
X:1
T:Flowers of Edinburgh
L:1/8
M:C|
R:Country Dance
B:The Athole Collection
K:G
GE|D3E G3A|BGdG cBAG|FGFE DEFG|AFdF E3F|
D3E G3A|BGBd efge|dcBA GFGA|B2G G2:|
|:d|gfga gbag|fdfg fagf|edef gfed|B2 e>f efge|dBGB B/c/d cB|
egfa g2fe|dcBA GFGA|B2G2G2:|
X:2
T:Flowers of Edinburgggg
M:2/4
L:1/8
S:Bruce Molskey
R:Old-time
Z:M. Reid 27-Jan-199
K:G
D2|G3 D|ED B,D|G2 G2|BA Bd|cB AG|FG FE|DE FG|A4|A,4|ED EF|G3 A| BA Bc|d2
ef|ga ge|dB GB|A2 Ac|B2 F2 |1 G4-|G2:|2 G4-|G4 |:g3 a|b2 ag|fe fg|a2
A2|e3 f|gf ed|B2 e2|e2 ef|g2 e2|dB GB| Bd- dB|d2 ef|gf ef|ga ge|dB GB|A2
Ac|B2 F2|1 G4-|G4:|2 G4-|G2|]
X:3
T:Flower of Edinburgh
S:Twelve Country Dances for the Harpsichord, 1749.
Q:60
Z:Transcribed by Bruce Olson
L:1/4
M:C|
K:G
(3 G/F/E/|D3/2E/G3/2A/|B/G/ B/d/{c/}BA/G/|{G/}F3/2E/ D/E/ F/G/|\
A/F/ d/F/EF/E/|D/E/ F/D/G3/2A/|(3B/A/G/ (3 B/c/d/ e3/2g/|\
d/B/ A/G/EG/A/|BG/A/G||d|g/f/ g3/4a/4 f/4a/4b/ a/g/|\
f/e/ f3/4g/4 f/4g/4a/ g/f/|e/d/ e/f/ g/f/ e/d/|\
Bee3/2 g/8f/8e/4|d/B/ A/G/dc/B/|e/d/ e/f/ g3/2g/8a/8b/4|\
c/B/ A/G/ EG/A/|BGG|]
X:4
T:Flowers of Edinburgh
S:Scots Musical Museum, #13 (1787)
Q:60
Z:Transcribed by Bruce Olson
L:1/4
M:C
K:F
C/|C3/2 D/F3/2G/|(A/F/) (c/F/) {B/}AG/F/|\
~E3/2D/ C3/4D/4 E3/4F/4|G/E/ c/E/ ~D3/2E/|\
C3/2D/F3/2G/|~(A3/4G/4A/) c/d (d/4e/4f/)|\
(B/A/) (G/F/) {A}/G (F/G/)|A~G3/4F/4F||(c/4d/4e/)|\
(f3/4e/4f/) g/ (f/4g/4a/) ~(g/f/)|\
~(e3/4d/4e/) f/ (e/4f/4g/) ~(f/e/)|\
(d3/4c/4d/) e/ (f/e/) (d/c/)|Ad3/4e/4 d(d/4e/4) f/|\
{c/}A G/F/c(B/A/)|d/c/d/e/ .g3/2 {g/a/} A/|\
(B/A/) G/ F/ GF/G/|A~G3/4F/4F|]
X:5
T:Flowers of Edinburgh
S:from the playing of Dave Swarbrick,
S:from "The Ceilidh Album" (?)
Z:Transcribed by Nigel Gatherer
N:An English morris version?
M:2/4
K:G
L:1/8
D|GG BG/B/|dB g>e|dB B/A/G/A/|BG ED|
GG BG/B/|dB g>e|dB B/A/G/A/|BG G:|]
d|g2 f>e|Be e>f|g2 f/g/f/e/|Be eg/e/|
d/B/G/B/ dd|e/d/e/f/ gg/e/|dB B/A/G/A/|BG G:|]

FLOWERS OF THE FOREST [1]. Scottish, Lament (4/4 time). G Mixolydian. Standard. AB. This melody, the "old air" (also called "The Liltin"), appears earliest under this title in the Skene Collection, a lute manuscript of c. 1615-20. The lament makes reference to the Battle of Flodden Field, fought in Northumberland on the 9th of September, 1513, when the Scots army of James IV was soundly defeated by the English under Thomas Howard, Earl of Surray. During the fray a majority of the Scots nobility, as well as the supporting army, were slain. "'Flowers of the Forest' refers to the Scots who came from Ettrick Forest, the name given to the ancient district of Selkirkshire and Peebleshire and possibly part of Clydeside. The town of Selkirk, the 'favoured Forest Queen', dominated the area which was used by royalty for hunting and the 'Forest' boasted the finest archers in Scotland" (Neil, 1991). The melody is a more ancient version of the tune than that of version #2, which is better known. Words were set to this tune by Jane Elliot ("The Floo'ers o' the Forest") and others.
***
I've heard them liltin at the ewe milkin',
Lassies a liltin' before dawn o' day,
Now there's a moanin' on ilka green loanin,
The Flowers o' the Forest are a' wede away. (Jane Elliot)
***
Neil (The Scots Fiddle), 1991; No. 51, pg. 70. Flying Fish FF358, Robin Williamson - "Legacy of the Scottish Harpers, Vol. 1."

FLOWERS OF THE FOREST [2] (Blata Na G-Coll). AKA and see "I've Heard of Lilting." Scottish, Air (adagio) or Reel (cut time); Irish, Slow Air (4/4 time). D Major (Neil/slow pipe march, O'Neill): D Mixolydian (Johnson): A Mixolydian (Neil/air). Standard. One part (Neil): AABB'C (O'Neill): AABBCC' (Johnson). The tune was selected by Queen Victoria for widely acclaimed singer of Scottish songs John Wilson's recital during her visit to Taymouth Castle in 1842.
***
I've seen the Forest adorned the foremost,
With flowers of the fairest, both pleasant and gay;
Full sweet was their blooming,
Their scent the air perfuming
But now thy are wither'd and a' wede away. (Alison Rutherford {Mrs. Cockburn})
***
Source for notated version: Gillespie Manuscript of Perth, 1768 (the only reel version of the tune recorded). Johnson (Scottish Fiddle Music in the 18th Century), 1984; No. 71, pg. 223. Neil (The Scots Fiddle), 1991; No. 52, pg. 71. O'Neill (1850), 1903/1979; No. 538, pg. 94.

FORFAR HUNT, THE. Scottish, Reel. B Minor. Standard. AAB (Lerwick): AABB' (Athole). Composition credited to A. Allan by MacDonald. Forfar, in Angus, is the supposed site of the last great battle between the Picts and the Scots in 845, before Kenneth MacAlpin united the kingdoms. The 'hunt' refers to a genteel hunting and social club. Lerwick (Kilted Fiddler), 1985; pg. 22-23. MacDonald (The Skye Collection), 1887; pg. 66. Stewart-Robertson (The Athole Collection), 1884; pg. 133.
T:Forfar Hunt
L:1/8
M:C|
R:Reel
B:The Athole Collection
K:B Minor
BFBc d2df|ceAa fedc|BFBc d2df|cAec dBB:|
|:BbBc defd|cAec acec|1 BbBc defd|cAec dBB2:|2
BFBc dcde|fdec dBB2||

FORRES COUNTRY DANCE. Scottish, Reel. Forres, Moray, is an ancient site traditionally associated with MacBeth. The royal castle there has a rich, albeit bloody history, stemming from the ancient rivalry of the men of Moray and the kings of the Scots. The town suffered at the hands of Alexander, Wolf of Badenoch, in 1390 and subsequently declined. Tradition 2118, Jim MacLeod & His Band - "Scottish Dances: Jigs, Waltzes and Reels" (1979).

FORTY-SECOND HIGHLANDER'S FAREWELL, THE. Scottish, Pipe March (2/4 time). B Minor. Standard. AA'B. The 42nd Highlanders, known as the Black Watch, were one of the most famous units in the British Army, originally composed of Scots Highlanders. As with many old British regiments, the Black Watch acqurired its own distinctive lore and customs over the centuries. They were, for example, given the privaledge of wearing a red vulture feather on their bonnets in recognition of the regiment's gallantry at the battle of Guildermalson in 1794. Another story goes that during the Indian Muntiny its troopers found a huge gong in a bullock cart and appropriated it; ever after it was used to sound the hours wherever the regiment was stationed. Like many Scots regiments the Watch ws known for its drinking; on return from the victory of Waterloo they had to be doled out their pay in installments, else the regiment would have disintigrated from the huge benders of its troops. The officers drank as well--an English officer gazetted to the regiment would be required to wash down a Scots thistle with a glass of whiskey, making him an honorary Scotsman. The Black Watch had their share of defeats; they were beaten back by the backwoods riflemen of Andrew Jackson and the Battle of New Orleans, and in 1884 Dervishes temporarily broke a British square of which the Black Watch formed a part during the battle of Tamai. A reference to the latter by another regiment in a pub would invariably provoke a brawl (Farwell, 1981). Kerr (Merry Melodies), Vol. 3; No. 419, pg. 47. Green Linnet SIF 1047, John Cunningham - "Fair Warning" (1983).

FOUR MARY'S WALTZ. Scottish, Air and Waltz. G Major. Standard. AA (Kerr): AB (Perlman). The melody is an adaptation of a famous Scottish song that usually goes by the title of "Mary Hamilton" or "The Queen's Maries," whose chorus goes:
***
Last night there were four Maries, tonight there'll be but three,
There was Mary Beaton and Mary Seaton, Mary Carmichael and me.
***
The ballad, a lament before the fourth Mary's execution, is based on a germ of truth. Four female children were selected to accompany the six year old Scottish Princess Mary when she was sent to France and by the time they returned in 1561 the Maries had become her ladies in waiting. However, Evelyn Wells in her book The Ballad Tree, finds that the ballad maker(s) either confused or purposefully wove a tale involving Queen Mary, the real Maries who were part of her entourage, various other famous Scots ladies to whom the taint of scandal was attached (who may or may not have been named Mary) and an actual recorded tragedy. It is fact that one of the Queen's French waiting-woman was hanged for murdering her illegitimate infant, sired by the Queen's apothecary, and this event was the germ of the ballad, perhaps "enhanced" for effect. Source for notated version: Sidney Baglole (b. 1912, Southwest Lot 16, East Prince County, Prince Edward Island; now resident of Freetown) [Perlman]. Kerr (Merry Melodies), Vol. 3; No. 428, pg. 48. Perlman (The Fiddle Music of Prince Edward Island), 1996; pg. 168.

FREEDOM FOR IRELAND (Saorsacd Na N-Eirinn). AKA and see "Banks of Inverness." Irish, March. A Major. Standard. AAB. An Irish setting of the Scots tune "Banks of Inverness." O'Neill (1850), 1979; No. 1815, pg. 341.

FULL RIGGED SHIP, DA [1]. Shetland, Reel. A Dorian ('A' and 'C' parts) & A Major or Mixolydian ('B' part). Standard. ABC (Bain). Scots fiddlers generally play this tune in a medley with the similarly titled "New Rigged Ship." Bain (50 Fiddle Solos), 1989; pg. 43. Martin & Hughes (Ho-ro-gheallaidh: Sessions Tunes for Scottish Fiddlers), 1990. CCF2, Cape Cod Fiddlers - "Concert Collection II" (1999). Flying Fish FF 70572, Frank Ferrel - "Yankee Dreams: Wicked Good Fiddling from New England" (1991).

FYE TO THE COALS IN THE MORNING. AKA and see "Johnnie Cope". Scottish. The tune was set to a couple of songs about the route of the English (who were commanded by Sir John Cope) by the Scots (under Bonnie Prince Charlie) at Prestonpans (1745).

FYKET, THE [2]. Scottish, English; Reel. England, Northumberland. A Mixolydian. Standard. AB (Athole, Gow, Skye): AABB (Vickers). The title appears in William Vickers' original MS. as "The Figkit or (partly illegible, but looks like:) "Fy Got to the Pryr Besse" (Seattle). "Very old" (Skye). 'Fyket' is Scottish dialect for "fidget." Gow (Complete Repository), Part 3, 1806; pg. 25. Mooney, 1983, Choicest Scots Tunes...; pg. 14. MacDonald (The Skye Collection), 1887; Pg. 13. Seattle (William Vickers), 1987, Part 2; No. 217. Stewart-Robertson (Athole Collection), 1884; pg. 38.
T:Fyket, The
L:1/8
M:C|
B:The Athole Collection
R:Reel
K:A
=g|fAeA aAe=g|fAeA B=GG=g|fAeA aAe=g|fde=c B=GG=g|fAeA aAe=g|
fAeA B=GG=g|fAeA ceaf|=gde=c B=GG||g|f/^g/a ea cAA=g|f/^g/a e=g B=GGg|
f/^g/a ea ceaf|=gde=c B=GGg|f/^g/a ea cAA=g|f/^g/a e=g B=GGg|faea ceaf|
=gbeg B=GG||

GABHAIDH SINN AN RATHAD MOR. AKA and see "We'll Take the High Road," "The Stewart's March," "London Bridge is Falling Down." Scottish, Country Dance Tune (cut time) or March. A Major. Standard. AAB. This melody is reported to have been played by the Stewart clan pipers at the battle of Sheriffmuir in 1715. In a still earlier martial connection, Charles Stewart in his Killin Collection suggests (without verification) that this is the same "Stewart's March" said to have been piped at the battle of Pinkie in 1547. Scottish, Pipe Tune. It is perhaps the tune (under the title "Suan agus Lagan") played by Alexander Lamon, piper to the Laird of Lamont, at the annual piping competition (originally the Falkirk Tryst) held at the Assembly hall, Edinburgh in October 1784 (as reported in the period journal Scots Magazine). To modern ears the tune is unmistakably the children's game-song "London Bridge is Falling Down," which has its origins as a Welsh 'penillion', or standard-tune, for use in traditional singing contests for improvising children's songs. A derivative of the melody is "Will You Go to Sheriffmiur?" published in James Oswald's Caledonian Pocket Companion of the 1750's. Stewart-Robertson (The Athole Collection), 1884; pg. 153. Greentrax CDTRAX 9009, Donald MacDonell (1888-1967) - "Scottish Tradition 9: The Fiddler and his Art" (1993).
T:Gabhaidh Sinn an Rathad Mor
T:The Stewart's March
L:1/8
M:C|
R:Country Dances
B:The Athole Collection
K:A
e>fe>d c>d e2|B>cd>c B>c d2|e>fe>d c>d e>a|AA c>A B2A2:|
B|c>BA>B cA c2|d>cB>c dB d2|c>BA>B cA c>e|AA c>A B2 AB|
cA (3A>BA cA c2|dB (3B>cB dB d2|cA (3A>BA cA c>a|A>Bc>A B2A||

GABY BOY, THE. AKA and see "The Gobby," "Gobbie O." English, Jig. England, Shropshire. A Major. Standard. AABB. Irish and Scots versions, notes Seattle, are in A Dorian and usually are known by the alternate titles. Source for notated version: a c. 1837-1840 MS by Shropshire musician John Moore [Ashman]. Ashman (The Ironbridge Hornpipe), 1991; No. 68b, pb. 27.

GALA WATER. AKA and see "Coming Thro' the Broom." Scottish, Air (4/4 time). D Major. Standard. One part. This air is quite old and was first published around 1783 under the title "Coming Thro' the Broom". Gala Water is a tributary of the River Tweed, which forms the border in the east between Scotland and England. "It rises in Midlothian and follows the course of a beautiful winding valley, characteristic of the Border country and, after passing through the heart of Galashiels, it flows into the Tweed near Abbotsford, the home of Sir Walter Scott" (Neil, 1991). The song is played and sung each year at the festival of the 'Braw Lads Gathering', held at Galashiels. The earliest known verses are thought to be:
***
Braw, braw lads of Gala Water,
O! braw lads of Gala Water,
I'll kilt my coats aboon my knee,
And follow my love through the water.
Sae fair her hair sae brent her brow,
Sae bonnie blue her een, and cheerie,
Sae white her teeth, sae sweet her mou',
I aften kiss her till I'm weary.
***
Neil (The Scots Fiddle), 1991; No. 56, pg. 76.

GALLOWAY TOM [1]. Scottish, English; Jig. England, Northumberland. C Major. Standard. AABB. Probably the "Galloway Tom" printed in the Scots Musical Museum. Title appears in Henry Robson's list of popular Northumbrian song and dance tunes, which he published c. 1800. The name Galloway comes from the Gaelic Gall Gaidel, meaning 'the land of the stranger Gaels.' Seattle (William Vickers), 1987, Part 2; No. 395.

GALLOWGLASS, THE (An Gallóglach). AKA and see "Neil Gow's Lament for (the Death of) his Brother," "Lumps of Pudding." Irish, Double Jig. A Dorian. Standard. AAB (O'Neill/1850): AABB' (Breathnach, O'Neill/Krassen). A 'gallowglass' was the name for a mercenary soldier, often Scottish, who in ages past fought in Ireland. The Gaelic word is Galloglach which is a combination of two words: Gall, a foreigner (usuallly a Scot), and Oglach, a soldier. The term is also taken to mean a warrior who is so loyal to the clan that he is willing to die protecting his chieftain, either on the battlefield or in court. Harry O'Prey and Caoimhin Mac Aoidh explain that descendants of these warriors typically have the anglicized surname Gallogley or Gallogly, dervived from Mac Gallóglaigh, and is quite common to the north-western counties of Ireland, especially Donegal and Derry. O'Prey writes: "Strangely enough another rendition of Foreign help(er) is found in the description gall-chabhair. This has also become a common surname in the same two counties. In Irish it is Ó Gallchabhair / Gallchóir anglicised variously as Gallagher / Gallaher etc. The original surnames of these soldiers have long since been forgotten."
***
The melody was originally written by the Scots fiddler and composer Neil Gow as "Neil Gow's Lament for the Death of his Brother," published in 1792, and was later reset by the Irish as a somewhat less sombre jig. Brendan Breathnach though that Gow himself might have been influenced by the old jig "Lumps of Pudding." Paul de Grae relates that "The Gallowglass" was the jig Cork accordion player Jackie Daly was playing in a pub in the mid-1990's when he collapsed with a serious medical problem. After a period of convalescence Daly fortunately recovered and quipped that he'd have to go back to the pub and play the whole tune, in case they thought he only knew the first bit of it! The tune was recorded by fiddle player Frank O'Higgins in 1937, probably the first time on sound recordings. Source for notated version: fiddler Bobby Casey (County Clare, Ireland) [Breathnach]. Breathnach (CRE III), 1985; No. 21, pg. 11. O'Neill (Krassen), 1976; pg. 55. O'Neill (1850), 1903/1979; No. 1023, pg. 191. O'Neill (1001 Gems), 1907/1986; No. 236, pg. 53. Gael-Linn Records CEF 130, Kevin & Seamus Glackin - "Na Saighneain" (Northern Lights). Mulligan LUN 018, Bobby Casey - "Taking Flight" (1979).
T:Gallowglass, The
L:1/8
M:6/8
S:O'Neill - 1001 Gems (236)
K:A Minor
A/B/|cBA eBd|cAA A2 A/B/|cBA e^fg|BGG G2 A/B/|
cBA eBd|cea e2d|cBA GAB|cAA A2:|
||e|a^ga e=fd|cAA A2 A/B/|cBA e^fg|BGG G2e|a^ga e=fd|cAA Aed|cBA GAB|cAA A2||
||e|a^ga e=fd|cAA A2 A/B/|cBA e^fg|BGG G2e|aeg fdB|ecA B^GE|ABc dBe|cAA A2||

GEORGE BOOKER [1]. AKA- "George Boker." AKA and see "The Marquis of Huntley's Farewell" (Marshall's Scottish Airs, 1822), "Keeper Hill" (O'Neill's Music of Ireland), "Georgia Town," "Camp Chase." Old-Time, Breakdown. USA; Virginia, Tennessee, Southern Ky., West Virginia, Arkansas. A Major/Mixolydian. Standard. AABB (Brody, Krassen): AA'BB (Phillips). Guthrie Meade and Mark Wilson (1976) believe the piece was originally a Scots tune of the "Hurdle Race"/"Angus Campbell" variety, basing their opinion apparently on a rendition of "George Booker" by the Tennessee fiddler Uncle Am Stuart (Vo 14914). Stuart was born in Morristown, Tenn., in 1856 and recorded the tune in 1924 when he was quite elderly; he had an archaic style formed in the latter half of the 19th century, and thus was closer perhaps to the American origins of the melody. The high part of this tune "is almost certainly a hornpipe," states Miles Krassen (1973) in another opinion, "but the low part is not. (West Virginia fiddler) Henry Reed played a version with a low part that is much more characteristic of hornpipes." The melody appears under the "Booker" title in George P. Knauff's Virginia Reels, volume III (Baltimore, 1839). Bruce Green thinks this tune may have been brought to the southern Kentucky region by a fiddler named John Gregory, originally from Virginia (in connection with similar Kentucky melodies, see Ed Hayley's "Grey Eagle Jig"). The tune was recorded for the Library of Congress by musicologist/folklorist Vance Randolph in the early 1940's from Ozark Mountain fiddlers. Alan Jabbour believes "George Booker" is similar to "Camp Chase" and speculates that the former may have been the tune originally played in the Civil War prison camp which gave West Virginia fiddler Solly Carpenter his freedom. Source for notated version: Am Stuart (Tennesse) [Krassen]: Henry Reed (Monroe County, West Virginia) [Krassen]: Alan Block with Ebenezer (Brody, Phillips). Brody (Fiddler's Fakebook), 1983; pg. 117. Krassen (Masters of Old Time Fiddling), 1983; pg. 19-20 and pgs. 88-90. Krassen (Appalachian Fiddle), 1973; pg. 84. Phillips (Traditional American Fiddle Tunes), Vol. 1, 1994; pg. 95. Biograph 6007, Ebenezer- "Tell It to Me." Vocalation 14914, Uncle Am Stuart (1924). Recorded by Asheville N.C. (originally Tenn.) fiddler Dedrick Harris (b. 1968?) for Broadway in 1924.

GILDEROY [2]. AKA and see "Black Rock"(Pa.), "The Duck Chewed Tobacco" (Va.), "Guilderoy," "Gilder Roy," "Gilda Roy," "Gilroy," "Gilderoy's Reel," "Injun Et a Woodchuck" (Pa.), "Mairi ban Og," "Nellie On the Shore" (Pa.), "The Old Soldier," "Red-Haired Boy," "Wooden Leg." Old-Time, Breakdown. USA; Ky., Va., Ohio, Pa., Mass. A Minor/Mixolydian. Standard. AABB. The title Gilderoy is an Englished version of the Gaelic 'Gilleruadh' or 'Giolla Ruadh', meaning red-haired lad or youth. Historically, Gilleruadh was the nickname of a famous Scottish highwayman named McGregor who was captured and executed in 1636; the song describes his exploits and moralizes on his fate. Glen records that the tune was first printed in the British Isles in 1726 (where it appears in Alexander Stuart's Musick for Allan Ramsay's Collection of Scots Songs), in William Thompson's Orpheus Caledonius of 1733 and again in 1742, though Cazden (et al, 1982) dates the tune as "possibly from 1650," perhaps to coincide with the demise of the famous highwayman. It quickly became popular and appears in the later 18th century Scottish collections of Aird, Bremner, Gillespie (1768), Oswald, McGibbon, and McLean (1772) {where it is ascribed to Robert McIntosh}. The Scots national poet, Robert Burns, set one of his early lyrics to it, called "From Thee, Eliza." Macfarlane, in his 'Studies' claimed this tune, among others, was a Gaelic melody, and postulated that an analysis of airs for alteration of musical accent and the introduction of what he termed 'slurs' could detect which tunes had been originally Gaelic but were altered to fit English lyrics. Bayard (1981), Cazden (et al, 1982) and others have long determined that 'Guilderoy', in both vocal and instrumental settings, stems from the protean 'Lazarus' air (see also "Bonaparte's Retreat"), and numbers among one of the half-dozen or so most extensively used melodies in the entire English-speaking folk tune repertory (see JWFSS, I, 142). Elaborates Bayard: "This melody is one of several which provide some index of the extent to which the local tradition is independent of commerical printed collections of fiddle tunes. Bub Yaugher's (Pennsylvania-collected) variant represents the version in which 'Guilderoy' seems always to be known in western Pennsylvania--distinctive in melodic outling, and invariable played in the mixolydian mode. As might be expected the tune is not always known under this name, which is, however, the one most often attached to it. The mixolydian version of 'Gilderoy' is undoubtedly Irish: the editor has repeatedly heard it performed by Irish fiddlers in Massachusetts, and they have always played this version, in variants rather close to the Pennsylvania sets. The printed collections, on the other hand, nearly always give the tune in dorian or aeolian tonality, which corresponds to the tonality of its well known (English and) Scottish versions. Tune versions like this, therefore, present good evidence for the comparative freedom of the Pennsylvania folk fiddlers from influence of printed collections, and for the independence and authenticity of their tradition. The reason for the tenacity of the name 'Guilderoy' is that the famous song by that name was frequently sung to forms of this tune in British tradition" (Bayard, 1944). Flood (1906) claims the tune as Irish and says it was originally called "Molly MacAlpin," a lament written soon after five members of that family (also called Halpin or Halfpenny) were outlawed. Another related Irish tune, likewise in the Lazarus family, include the oft-heard "Star of the County Down" (in duple and triple versions). The title appears in a list of traditional Ozark Mountain fiddle tunes compiled by musicologist/folklorist Vance Randolph, published in 1954. The alternate Pennsylvania titles given above are floaters--"Injun Et a Woodchuck" comes from the ditty sung to the tune:
***
Injun et a woodchuck,
He et it in a minute
(or: I'll be darned if he didn't.)
He et it so darned quick
He had no time for to skin it. (Bayard, 1981)
***
Sources for notated versions: Irvin Yaugher Jr. (Mt. Independence, Pennsylvania, October 19, 1943; learned from his great-uncle) [Bayard, 1944]: seven southwestern Pa. fiddlers [Bayard, 1981]. American Veteran Fifer, No. 35. Bayard (Hill Country Tunes), 1944; No. 85 (appears as "Guilderoy"). Bayard (Dance to the Fiddle), 1981; No. 169A-G, pgs. 119-122. "Calliope," pg. 438. Cazden, pg. 32. Edinburgh Musical Miscellany, I, 240. Ford, 1940; pg. 43 (appears as "The Old Soldier"). Hardings Original Collection, No. 51. Howe's Diamond School for the Violin, 1861; pg. 39. Jigs and Reels, pg. 8. Johnson, The Scots Musical Museum (edition of 1853), I, No. 56, II, No. 220. JFSS, II, 119. JWFSS, I, 142. Krassen, 1973; pg. 81. O'Neill, Music of Ireland, No. 1748. O'Neill Irish Music, No. 356. Reavy, No. 90. Robbins, No. 131. Roche Collection, Vol. 3; No. 188. Sannella, Balance and Swing (CDSS). Smith, The Scottish Minstrel, Vol. 2, 18. Southern Folklore Quarterly, VI, pg. 8 (appears as "The Duck Chewed Tobacco"). Edison 52022 (78 RPM), John Baltzell {Baltzell lived in Mt. Vernon, Ohio, the same home town as minstrel Dan Emmett (d. 1904). Emmett taught Baltzell to play the fiddle when he returned to the town, poor, in 1888}. In the repertoire of Magoffin County, Ky. fiddler John Salyer (as "Gilda Roy").

GILLAN THE DROVER ("Giolla na Drover" or "Gillan an Drover"). AKA and see "The Drover Lads," "Gillanadrouar," "Gille Na Drobhair," et al. Irish, English, Scottish; March (6/8 time) or Highland Jig. England, Northumberland. F Major (O'Neill): G Major (Peacock). Standard. AABBCCDD (Kerr): AABB'CCDDEEFFGGHHII (O'Neill, Peacock). The tune with the Englished title (a corruption of the Gaelic "Giolla na Drover" {sometimes "Gillan an Drover"} meaning "The Drover Lads") is claimed by both Irish and Scots. O'Neill styles it an "ancient Irish March," and thought it was (in 1915) "considerably over a century old." O'Neill's dating is confimed by Northumbrian sources for the tune is printed in Peacock's Tunes (c. 1805) and the title appears in Henry Robson's list of popular Northumbrian song and dance tunes, which he published c. 1800. Peacock notes that it should be played at a slow tempo. The tune seems to Bayard (1981) to be related to the marching air "Domhnall na Greine" (Daniel of the Sun).
***
Despite the popular image of long range cattle drives as an American 'wild west' phenomenon, such drives were common in Britain in the 18th century, often originating in Scotland and routing through Carlisle and the west, or by the valleys of North Tyne and Coquet in the east through to Northumberland. There was a great cattle market at Falkirk (called the Falkirk Tryst) in Scotland. Drovers' places of call can be traced by the names of still-existing inns, such as the Cat and Bagpipe in East Harlsey in Yorkshire, the Drovers' Inns at Boroughbridge and Wetherby, Drovers' Rest in Cumberland, Drovers' Call between Gainsborough and Lincoln, and two Highland Laddie's-one in Nottingham and one near Norwich, at St. Faiths (Collinson, 1975). So important was Scottish beef to England that Highland drovers were allowed to keep their arms (for defense of themselves and their herds from the depredations of the notorious Scottish cattle theives) following Culloden and the Disarming Act of 1747.
***
Beef, however, was not the only Scottish export to head south at the hands of drovers. Many farms in the Highlands had whisky stills, and a field of barley shimmering in the wind surely meant a whisky still was nearby. In 1797 there were some 200 stills in operation in the parish of Glenlivet, and the 4th Duke of Gordon, for one, felt that the making of whiskey was a divine right of his tenants, although he was finally pressured by London to at least tax the trade. Drove routes were used by the inhabitants of Glenlivet to convey the liquor south, and many a sturdy well-laden Highland garron could be seen on the Braes of Livet winding their way up to the water shed of the Ladder hills down through Glen Nochty, Strathdon and on the the lowlands and borders (Moyra Cowie, 1999).
***
Campbell (Albyn's Anthology), 1816, Vol. 1; No. 12, pg. 100. Kerr (Merry Melodies), Vol. 3; No. 272, pg. 30. MacDonald (The Skye Collection), 1887; pg. 176. McGoun's (Repository of Scots and Irish Airs), c. 1800. O'Neill (1915 ed.), 1987; No. 104, pgs. 58-59. Peacock (Peacock's Tunes), c.1805/1980; No. 29, pg. 12. Front Hall FHR-08, Alastair Anderson - "Traditional Tunes" (1976. From the playing of Colin Ross). Green Linnet SIF 1047, John Cunningham - "Fair Warning" (1983).

GILLE NA DROBHAIR. AKA and see "Gillan the Drover" et al. The tune seems to Bayard (1981) to be related to the marching air "Domhnall na Greine" (Daniel of the Sun). Campbell (Albyn's Anthology), 1816, Vol. 1; No. 12, pg. 100. McGoun's (Repository of Scots and Irish Airs), c. 1800. O'Neill, 1915, No. 104 (as "Gillan the Drover").

GINLEING GEORD(I)E. AKA and see "Wylam Away," "Wile Him Away." Scottish, English. England, Northumberland. Published in Henry Playford's 1700 collection of Scottish tunes (Original Scots Tunes).

GLENGARRY'S DIRK. AKA - "Mac mhic Alastair," "Biodag Dho'ill 'ic Alasdair," "Glengarry." Scottish, Strathspey. A Major (Scottish versions-Athole, Fraser, Kerr, Neil): C Major (Cape Breton/PEI-Cranford, Perlman). Standard. AB (Fraser): AAB (Athole, Cranford, Kerr, Perlman). "Glengarry's family have always been celebrated for supporting the dignity of a Highland chief, and for keeping up a retinue of minstrels; hence the tendency of minstrels to celebrate their patrons. Glengarry's late piper, his blind bard and minstrel, and Neil Kennedy, his late fox-hunter, have all been listened to with much pleasure by competent judges" (Fraser). 'Mac Mhic Alastair' is the patronymic given to Glengarry, chief of the Macdonells of Glengarry. The name was derived from the 15th century son of the Lord of the Isles, named Alexander. Neil (1991) reports: "The Macdonells of Glengarry are a branch of the parent Clan Macdonald or Clan Ranald. The Macdonalds were one of the most powerful and numerous of the clans in the Highlands. From the reign of King Robert the Bruce, who conferred on them the distinction of taking up position on the right flank in battle, the Macdonalds have distinguished themselves by their courage and fighting qualities, which were in evidence over the years at battles such as Inverlochy and Sheriffmuir." Honors over the years evidently went to their heads, for the tale is told that a Macdonald chief was inadvertently misplaced from being seated at the head of the table at an important gathering; allaying the fears of those assembled, however, the canny Macdonald declared that 'Where Macdonald sits, that is the head of the table.' Cape Breton versions are generally played in C Major. The piece was recorded on a 78 RPM record by Cape Breton fiddler Angus Chisholm. Source for notated version: Peter Chaisson, Sr. (b. 1929, Bear River, North-East Kings County, Prince Edward Island) [Perlman]. Cranford (Jerry Holland's), 1995; No. 72, pg. 22. Fraser (The Airs and Melodies Peculiar to the Highlands of Scotland and the Isles), 1874; No. 29, pg. 10. Kerr (Merry Melodies), Vol. 2; No. 170, pg. 20. Neil (The Scots Fiddle), 1991; No. 128, pg. 167 (appears as "Glengarry"). Perlman (The Fiddle Music of Prince Edward Island), 1996; pg. 201. Stewart-Robertson (The Athole Collection), 1884; pg. 23.
T:Biodag Dhò'ill 'ic Alasdair
T:Glengarry's Dirk
L:1/8
M:C
R:Strathspey
B:The Athole Collection
K:A
E<C C>B, A,>C E<C|E<C C>c BA F2|E<C C>B, A,>CE>C|c>BA>F E<C B,2:|
C>EA>E F>EA>E|C>EA>E F>E C2|C>EA>E F>EA>E| c>B A<F E<C B,2|
C>EA>E F>EA>E|C>EA>c ecd2|c>ae>c d>Bc>A|B>GA>F E>C B,2||

GLOOMY WINTER('S NOW AWA). AKA and see "Reverend Mr. Patrick Macdonald of Kilmore," "Lord Balgonie's Delight," "Lord Balgonie's Favorite," "Mr. Nairne's Strathspey." Scottish (originally), Canadian; Strathspey and Air. Canada, Cape Breton. A Minor. Standard. AAB. Composition of the melody was claimed by Alexander Campbell (1764-1824) in his Albyn's Anthology (1815), who was supposed to have composed it about 1783 under the title "Strathspey, Rev. Mr. Macdonald of Kilmore." John Glen (1891) notes that there has been considerable discussion on the origin of the tune, which was inserted in Niel Gow's Fourth Collection (1800) under the title "Lord Balgonie's Delight" ('a very old Highland Tune'), and who thus has a rival claim. The antiquarian Stenhouse and Glen each researched the tune, with Stenhouse concluding it was an old one, tracing some resemblance between it and other tunes. In a collection published six years earlier than the Gow collection Glen found the melody under the title "Mr. Nairne's Strathspey" but could find no remarks on the age or antiquity of the melody. He reviewed Campbell's original music sheet and concluded that Campbell should be credited with authorship and that Gow's claim was unsupportable. In fact, the tunes origins may have been older than either source, as "Gloomy Winter" bears resemblance to "The Cordwainers' March," a trade tune of the shoemaker's guild, printed in Aird some thirty years before Gow. Purser (1992) is of the opinion that Campbell should be left with the composition, and sees no particular evidence to award it to the Gows.
***
Lyrics were written by the famous Scots poet Robert Tannahill, who, like Campbell died in tragic circumstances (Tannahill drowned himself while Campbell died in miserable poverty). George Farquhar Graham notes in the Appendix to his Songs of Scotland (1853) that there is a letter he found that proves Tannahill obtained his tune from Gow's volume. In the last decade of the 20th century "Gloomy Winter" was used as the theme for the movie The Piano. Source for notated version: Winston Fitzgerald (1914-1987) [Cranford]. Cranford (Winston Fitzgerald), 1997; No. 213, pg. 85. Kerr (Merry Melodies), Vol. 1; Set 9, No. 1, pg. 7. Winston Fitzgerald - "House Parties and 78's."

GO TO BERWICK, JOHNNY. AKA and see "Barwick Billy." AKA - "Berwick Johnny," "Berwick Jockey." Scottish, English; Old Hornpipe (3/2 time). England, Northumberland. F Major (Gow, Williamson): G Major (Stokoe): D Major (Gatherer). Standard. AB (Gatherer): AAB (Gow/2nd Repository): AABB (Stokoe): AABBCC (Gow/Carlin, Williamson): AABBCCDD (Gow/4th Repository). A triple-time hornpipe of a style which originated in the Border regions of England and Scotland, but also associated with the English counties of Lancaster, Nottingham, and Derby. The Old English name Berwick has to do with a dwelling place or outlying farm involved with barley cultivation. The town of Berwick itself is in the Border region of northern England in Northumberland. Williamson (1976) thinks the tune may date from the union of the (Scottish and English) crowns in 1707, when a wanted man could cross the border to safety over the Tweed River at Berwick.
**
Perhaps the earliest printed version (albeit unfinished) is in a MS called Margaret Sinkler's Musick Book of 1710 (a manuscript copy of the music book of Andrew Adam, Glasgow) where it appears as "Berwick Johnny," while another early version appears in William Dixon's 1733 manuscript (under the title "Berwick Bully"). The title, also as "Berwick, Johnny," appears in Henry Robson's list of popular Northumbrian song and dance tunes, which he wrote c. 1800. There presently survive lyrics to the melody. Carlin (The Gow Collection), 1986; No. 504. Gatherer (Gatherer's Musical Museum), 1987; pg. 25. Gow (Complete Repository), Part 2, 1802; pg. 30. Gow (Complete Repository), Part 4, 1817; pgs. 22-23. Johnson, Scots Musical Museum (1793-1841). Stokoe & Bruce (Northumbrian Minstrelsy), 1882; pg. 162. Williamson (English, Welsh, Scottish and Irish Fiddle Tunes), 1976; pg. 58.
X:1
T:Go to Berwick Johnny
L:1/8
M:3/2
S:Gow - 2nd Repository (1st and 2nd part)
N:the last two parts appear in Gow's 4th Repository
K:F
c2F2F2 c2 dcBA|c2F2F2 c2A2f2|c2F2F2 c2 dcBA|B2G2G2 A2B2d2:|
f3 g f2F2 ABcA|f3g f2F2A2c2|f3g f2F2 ABcA|g3a g2G2 B2d2|f3g f2F2 ABcA|
f3g f2 F2A2c2|f3g fgag agfe|d2g2g2 G2B2d2||
c3c dcBA dcBA|c2c dcBA c2f2|c2c dcBA dcBA|B2G2 ~G3A (B2d2):|
|:(c2A2) (f2A2) (a2A2)|(c2A2) (f2A2) (c2f2)|(c2A2) (f2A2) (a2A2)|B2G2 ~G3A (B2d2):|
X:2
T:Go to Berwick, Johnnie
L:1/8
M:3/2
S:Bruce & Stokoe - Northumbrian Minstrelsy
K:G
d2G2G2d2 edcB|d2G2G2d2B2g2|d2G2G2d2 edcB|d2A2A2B2c2e2:|
|:g3a g2G2 BcdB|g3a g2G2B2d2|g3a g2G2 BcdB|e2a2a2A2c2e2|
g3a g2G2 BcdB|g3a g2G2 B2d2|g3a bagf gfed|e2a2a2A2c2e2:|

GO TO THE DEVIL AND SHAKE YOURSELF [1] (Imtig Do'n Diabal's Corruid Tu Fein). AKA and see "The Growling Woman," "When (you are) Sick Is It Tea You Want?" "The One-Legged Man," "The Penniless Traveler," "Come from the Devil and shake yourself." Scottish, Jig (6/8); Irish & English, Jig. England, Shropshire. D Major (Ashman, Cole, Huntington, Kennedy, O'Neill, Raven, Trim): C Major (Gow). Standard. AABB. Flood (1906) identifies the tune as originally from Munster. However, the Scots certainly have a claim as early versions appear under the "Devil" title in Napier's Selection of Dances (London, 1798) and Gow's Second Complete Repository (between 1799 and 1836). Editor Ashman relates that the tune was once much used for songs of political satire, and he believes it can also be found as an old hymn air. Campbell's gives the tune in ten strains (William Litton's version gives strain 5 & 6). Gow (1802) remarks:"This tune may be played slow." Source for notated version: a c. 1837-1840 MS by Shropshire musician John Moore [Ashman]. American Veteran Fifer, pg. 66. Ashman (The Ironbridge Hornpipe), 1991; No. 107b, pg. 44. Campbell's Country Dances, pgs. 22-23. Carlin (The Gow Collection), 1986; No. 472. Cole (1001 Fiddle Tunes), 1940; pg. 52. DeVille (The Violin Player's Pastime), pg. 10. Gow (Complete Repository), Part 2, 1802; pg. 21. Howe (Musician's Omnibus), pg. 43 & No. 2, pg. 107. Huntington (William Littens), 1977; pg. 30. Kennedy (Fiddlers Tune Book), Vol. 2, 1954; pg. 35. Levey (The Dance Music of Ireland), No. 13. O'Neill (1001 Gems), 1907/1986; No. 358, pg. 73. Raven (English Country Dance Tunes), 1984; pg. 110. Trim (Thomas Hardy), 1990; No. 26.
X:1
T:Go to the Devil and shake yourself
L:1/8
M:6/8
S:Gow - 2nd Repository
K:C
G|Gcc ~c>BA|G>AG GEF|Gcc c2d|ecA A2G|Gcc ~c>BA|
G>AG GEF|Gcc (Bd)f|ecc ~c2:|
|:e/f/|gec ~cBc|AFF ~F2 f/g/|afd dec|BGG G2G|Gcc ~c>BA|
G>AG GEF|Gcc (Bd)f|ecc ~c2:|
X:2
T:Go to the Devil and Shake Yourself
L:1/8
M:6/8
S:O'Neill - 1001 Gems (358)
K:D
Add dcB|ABA AFA|Add d2e|fec B2A|Add dcB|ABA AFA|dfd ege|fdd d2z:|
|:afd dcd|BGG G2g|bge ede|cAA A2A|Add dcB|ABA AFA|dfd ege|fdd d2z:|

GOLD RING, THE [1] ("Fáinne N-Oir" or "Fáinne Óir {Ort}"). AKA and see "The Pharroh," "Tá Fáinne Air." Irish, Jig. D Mixolydian ('A' and 'B' parts) & G Major ('C', 'D', and 'E' parts) {Brody, O'Neill}. Standard. AABBCCDDEEFF (Boys/Lough): AABBCCDDEE (Brody): AABBCCDDEEFFGG (Mallinson, O'Neill): AABCC'DD'EEFG (Mitchell): AABB'CCDD'EEFFGG (Taylor). Known as an uilleann piper's tune (O'Neill says it was a favorite of piper Pat Touhey's). Caoimhin Mac Aoidh relates Seamus Ennis's story of a piper who had the courage to spend a night hiding near a fairy rath to listen to the wonderful music of the little folk. As usual they returned to the rath at sunrise to sleep, the nights' festivity over, and the piper crept out from hiding. On close investigation of the site he found a tiny gold ring on the ground, dropped by a fairy reveller. The very next evening he returned to the rath and hid in the same place to listen again to the music of the wee folk but this time he also overheard the lamenting of a fairy piper over the loss of the ring. The fairy cried that he would grant any wish to get it back, upon which he man stepped from hiding and offered to return the ring, explaining how he found it lost. True to his word the fairy granted the human one wish, and asked the piper to name it. 'The jig I heard the other night,' said the man, who added he could not quite remember it (due to the fairies blocking the memory of their tunes), and the fairy piper granted the wish on the spot-the tune that has ever since been called in memory of the incident "The Gold Ring." The Boys of the Lough relate a very similar story concerning a farmer who surprised a fairy gathering on returning home late one night. It seems the fairies were dancing to the music of a fairy piper, but ran off after being startled by the intruder. The farmer was about to continue his journey home when found a gold fairy ring, left behind after the flight of the fey folk. He managed to return it to the fairies and in exchange they gave him the tune that the fairy piper had been playing when he first surprised them. O'Neill (1913) maintains that pipers converted this jig from a nine-part melody called "The Pharroh or War March," which was obtained from Dr. Petrie in 1835 and printed in Bunting's Ancient Music of Ireland, published in 1840 (the word pharroh seems to Paul de Grae to have been derived from the Irish work faire {pronounced 'far-eh'} meaning watch or wake). Bunting thought the tune to be "very ancient." The Fleischmann index links this tune to "Scots Hall," published by Thompson in his Compleat Collection of 200 Favourite Country Dances, c. 1755, though some think the connection weak. Sources for notated versions: flute player and piper John Ennis, originally from County Kildare [O'Neill]. piper Willie Clancy (1918-1973, Miltown Malbay, west Clare) [Mitchell]. Boys of the Lough, 1977; pg. 16. Brody (Fiddler's Fakebook), 1983; pg. 123. Mallinson (Enduring), 1995; No. 51, pg. 22. Mitchell (Dance Music of Willie Clancy), 1993; No. 139, pgs. 110-111. O'Neill (Krassen), 1976; pg. 72. O'Neill (1850), 1903/1979; No. 708, pg. 132. O'Neill (1001 Gems), 1907/1986; No. 12, pg. 19. Taylor (Music for the Sets: Blue Book), 1995; pg. 12. Claddagh CC17, Sean Keane - "Gusty's Frolics." Claddagh CC39CD, "The Pipering of Willie Clancy, Vol. 2" (1993). Claddagh: CCF 27 CD, Conal O'Grada - "Top of the Croom" (1990). Gael-linn CEFCD 114, Tony MacMahon & Noel Hill - " "I gCnoc na Graí" ('In Knocknagree'). Mulligan 004, "Matt Molloy." Seamus Creagh & Aidan Coffey - "Traditional Music from Ireland." Chieftains - "Cotton Eyed Joe." POSCD0001, Paul O'Shaughnessy - "Stay Another While" (1999). Trailer LER 2090 (or Rounder 3006), Boys of the Lough, "Second Album" (1974). Liam O'Flynn - "The Piper's Call." Brian Mac Aodha - "Throw Away the Keys." Seamus Ennis - "Masters of Irish Music."
T:Gold Ring, The
L:1/8
M:6/8
R:Jig
K:G
d|cAG GFG|cAF GBd|cAG GFG|cAG FAd|cAG GFG|cAF G2E|FAd fed|cAF GB:|
|:d|cAd cAd|cAF GBd|cAd cAd|cAG F2d|cAd cAd|cAF G2E|FAd fed|cAF GBd:||
|:~g3 gdc|BGG GBd|~f3 fcB|AFF FGA|~g3 gdc|BGG GBd|fag fed|cAF GBd:|
|:gdd fdd|gdd fdd|gdd fdd|cAF GBd|gdd fdd|gdd fdd|fag fed|1 cAF GBd:|2 cAF G2A||
B2G ABG|d2G G2A|B2G ABG|cAG FGA|BAG AGF|GFD FGA|f/g/ag fed|cAF G2A|
B2G A2G|d2G G2A|B2G A2G|cAG FED|~B3 c2A|GFD FGA|fag fed|cAF G2||

GORDON CASTLE [4]. Scottish, Slow Air (4/4 time). E Minor. Standard. AABB. Neil (The Scots Fiddle), 1991; No. 83, pg. 112.

GRAMACHREE MOLLY (Grad Mo Croide A Maire). AKA and see "The Harp That Once Through Tara's Hall," "Molly Asthore," "Will you go to Flanders," "Little Molly O," "Gramachree," "Gradh mo chroidhe." Irish, Slow Air (4/4 time). G Major. Standard. One part. 'Gramachree' is an Englished version of the Irish "Gra Mo Croi" (Graidh mo chroidhe), or 'love of my heart.' The song "Gramachree Molly" was originally composed by a young Irishman, George Ogle, in his early 20's. Bruce Olson finds that it first appears with the tune in The London Magazine, of Sept. 1774, proved popular, and soon thereafter appears in many songbooks, printed with and without the tune. Dan Mozell found a fife setting of the tune in the John Greenwood Manuscript from the post-Revolutionary period, now kept at the New York Historical Society. Greemwood had been a fifer in the Revolution and later became dentist to George Washington. Johnson (Scots Musical Museum), No. 46. O'Neill (1850), 1903/1979; No. 524, pg. 91.
T:Gramachree Molly
C:John Greenwood Manuscript #30, N.Y. Historical Society
M:C
Q:1/2=70
K:G
G | d>ed>B e>fg>e | d<BAc A2 G2 z d | d>ed>B e>fg>e | dB G2 d e/f/ |
g<fg>a gfed | e>dg>B d2 z d | g>fg>a gfed | e>dc>B e3 f |
g>f ede>f g>e | dB GA/B/ c/d/e/f/ | g/f/e/d/ e/d/c/B/ e/d/e/f/ g>c |
B>c A2 G2 z :|

GREEN GROW THE RUSHES O. AKA - "Green Grow the Rashes." AKA and see "The East Neuk of Fife," "Grant's Rant," "Irish Whiskey," "Over the Hills and Far Away," "Paddy Caught/Got a Rat," "Paddy Killed the/a Rat," "Paddy Run the/a Rat." Scottish (originally), Irish, English, American; Strathspey, Hornpipe, Barndance, Highland, Highland Schottische, Fling, Slide (12/8 time), March or Reel. G Major. Standard. AB (Cole, Moylan, Tubridy): AAB (Athole, Ford, Gow): AABB (Ashman, Bayard, Hardings, Johnson, Kerr, Miller & Perron, Raven, Sullivan, Taylor): AABB' (Skye): AA'BB' (Flaherty). The air first appears in early lute manuscripts of the 17th century; a note in Graham (1908) claims the first strain of the tune occurs twice in the Straloch Manuscript of 1627. It appears in the Panmure Collection of c. 1705, a fiddler's MS repertory book. Johnson (1984) states the whole tune was recorded in fiddle manuscripts from the 1680's and was already ancient when printed in Stewart's Reels (1761-5, pg. 13) and the Gillespie Manuscript of Perth (1768). The present title is from Robert Burns's reworking of the poem sung to a tune called "Grant's Rant"--in the transition the rant form was dropped and a strathspey rhythm was substituted, a not uncommon fate of rants. Burns' version is somewhat more polite, states Robin Williamson, for the tune seems originally to have been linked to lyrics satirizing the proflicacy of priests. Johnson (1984) confirms the Scottish song (first mentioned in The Complaint of Scotland in 1549) originally was a rude or risque text.
***
The American collector Ford (1940) relates the following tale, a superficially plausible and thus repeated yarn, though unfortunately completely untrue: "'Green Grow the Rushes O' was a popular melody of American soldiers at the time of the Mexican war, to which they set many verses. The following verse is descriptive of their associations in the land of the senorita:
***
Green grow the rushes, O!
Red are the roses, O!
Kiss her quick and let her go,
Before you get the mitten, O!
***
The deviltry of the American soldier boys was very much resented by the Mexicans. Any American who attempted to kiss a senorita was certain to have his face slapped by her. They called this to 'get the mitten.' Whereever Americans were would also be heard verses of 'Green Grow the Rushes, O.' The Mexicans, in mockery, gave the name 'green grow' to their tormenters, their pronunciation being 'gingo.' After the war 'Gringo' became the sobriquet for all Americans." Another source gives the similar assertion that the song which gives rise to the word "gringo" is "Green Grow the Lilacs." Ford, at any rate, has a poor reputation for veracity.
***
Accordion player Johnny O'Leary, of the Sliabh Luachra region of the Cork-Kerry border, plays the tune as a 12/8 time slide. In other parts of Ireland the tune is played as a barndace, highland and/or hornpipe.
***
Bayard's thirteen Pennsylvania collected versions of the tune are divided into two groups, corresponding with two main British Isles variants. One is called in America the "Over the Hills and Far Away" (a floating title) group, corresponding to "The East Neuk of Fife" in the British Isles; the other retains the British "Green Grow the Rushes" title. One of Bayard's sources (1981, Appendix No. 11, pg. 576) was a Massachusetts Irish-American born near Cork, a Mrs. Anastasia Corkery, who knew in the 1930's the following quatrain to the first strain:
***
Green grow the rushes O,
Blackbirds and thrushes O,
The piper kissed the fiddler's wife
Behind the bunch of rushes O.
***
Sources for notated versions: Chieftains (Ireland) [Miller & Perron]; Johnny O'Leary (Slibah Luachra, Co. Kerry), recorded at Ballydesmond in February, 1973 [Moylan]; 13 southwestern Pa. fiddlers, fifers and manuscripts [Bayard]; Gillespie MS. [Johnson]; a c. 1837-1840 MS by Shropshire musician John Moore [Ashman]; flute player Noel Tansey (b. 1940, Cuilmore, County Sligo) [Flaherty]; Castle Ceili Band [Sullivan]. Aird (Selections), Vol. 6, 1903?; No. 37. Ashman (The Ironbridge Hornpipe), 1991; No. 74b, pg. 31. Bayard (Dance to the Fiddle), 1981; No. 206A-M, pgs. 158-162. Breathnach, 1971; No. 4. Cole (1001 Fiddle Tunes), 1940; pg. 21 (Reel). Emmerson (Rantin' Pipe and Tremblin String), 1971; Nos. 30 & 31, pgs. 130-131. Ford (Traditional Music in America), 1940; pg. 72. Flaherty (Trip to Sligo), 1990; pg. 95. Gow (Complete Repository), Part 1, 1799; pg. 12. Graham, 1908; pg. 37. Hardings All-Round Collection, 1905; No. 86, pg. 27. Jarman, 1951; pg. 76. JEFDSS, Vol. 9; pg. 147 (Shetland variant). Johnson, Vol. 1, 1787-1803; No. 77. D. Johnson, 1984; No. 70, pg. 223. Kennedy (Fiddlers Tune Book), Vol. 2, 1954; pg. 17. Kerr (Merry Melodies), Vol. 1; No. 5, pg. 19. Kerr (Merry Melodies), Vol. 2; No. 117, pg. 14. MacDonald (The Skye Collection), 1887; pg. 80. McGibbon (A Collection of Scots Tunes), c. 1795; Vol. 1; pg. 12. Miller & Perron (Irish Traditional Fiddle Music), 1977; Vol. 1, No. 15 (hornpipe version). Moylan (Johnny O'Leary), 1994; No. 25, pg. 16. Oswald (The Caledonian Pocket Companion), Vol. 1, 1780?; pg. 18. Petrie-Stanford (Complete Collection), 1903-06; No. 1427. Raven (English Country Dance Tunes), 1984; pg. 173. Saar, 1932; No. 18. Scottish Country Dance Book, Book 12, 1930; No. 2. Sharp (Sword Dance Tunes), Book 2, 1911-13; pg. 3. Smith (The Scottish Minstrel), Vol 4, 1820-24; pg. 91. Stewart-Robertson (The Athole Collection), 1884; pg. 157. Sullivan (Session Tunes), Vol. 3; No. 30, pg. 12. Taylor (Where's the Crack), 1989; pg. 4. Thompson (A Select Collection...Scottish Airs), 1, Vol. 4, 1805; No. 155. Tubridy (Irish Traditional Music, Vol. 1), 1999; pg. 12. Walsh (Caledonian Country Dances), Vol. 2, 1737; pg. 25. White's Unique Collection, 1896; No. 72. Flying Fish, Robin Williamson - "Legacy of the Scottish Harpers, Vol. 2". Front Hall 018, How to Change a Flat Tire - "Traditional Music From Ireland and Shetland" (learned from Kathleen Collins). Green Linnet GLCD 1175, Cherish the Ladies - "New Day Dawning." Green Linnet GLCD 1187, Cherish the Ladies - "One and All: the best of Cherish the Ladies" (1998). Island ILPS9432, The Chieftains - "Bonaparte's Retreat" (1976).
T:Green Grow the Rashes O!
L:1/8
M:C|
R:Reel
B:The Athole Collection
K:C
D|G2 BA BGGB|A/A/A ed eAAB|c2 ce dBGB|A/B/c BA GEE:|
A|G/G/G gf gddg|eaa^g aeef|gage dcBG|A/B/c BA GEEA|
Gggf gddg|eaa^g aeef|gbeg dgBG|A/B/c BA GEE||

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Ceolas > Tunes > Fiddler's Companion

The Fiddler's Companion

Ceolas > Tunes > Fiddler's Companion