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The Fiddler's Companion

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Result of search for "campbells are coming":

BALDOOSER, THE. This tune is a derivative of "The Campbells Are Coming," according to Bayard (1981).

BHA MI AIG BHANAIS AIR BHAIL INBHIR-AORA. AKA and see "The Campbells are Coming," "I Was at a Wedding in Inverara Town."

BURNT OLD MAN [1] ("An Seanduine Doit/Doighte" or "Sean Duine Dóite"). AKA - "Burdened Old Man." AKA and see "Georgie, the Dotard," "Hob or Nob." Irish, Air (6/8 time). D Major. Standard. AAB. Bayard (1981) believes this tune to be a cognate of the tunes "Miss McLeod's Reel" and "The Campbells are Coming", and that all three are "recognizable cognates of 'The White Cockade' as well." The song (which features bawdy lyrics on the 'maids never wed an old man' motif) can be found in Peter Kennedy's Folksongs of Britain and Ireland and was recorded by Relativity on their first album of the same name (Green Linnet SIF 1059). Caoimhin Mac Aoidh remarks that most older Irish fiddlers (even English-speaking ones) know the tune by the Gaelic name, "Sean Duine Dóite" (pronounced "shaan din-uh doy-chuh"), but that the English name is prevailing among the younger players. While the Irish word dóite does mean burnt, the title would be more meaningfully translated as "The Withered Old Man." The alternate title "The Burdened Old Man" is not used in Ireland. Breathnach's "Anthony Frawley's Jig" is a related tune. Baoill (Ceolta Gael), pgs. 84-85. O'Neill (1850), 1979; No. 90, pg. 17.

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.
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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.
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"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:
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O Tommy come tickle me, I'll tell you where;
Just under my navel there's a big bunch of hair. (Bayard).
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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").

CAMPBELLS ARE COMING, THE [2] (Tá na Caimbéalaigh ag Teacht). AKA and see "The Lasses of Sligo." Irish, Slip Jig. G Major. Standard. ABB'CC'. The alternate title "Lasses of Sligo" is from O'Neill's Waifs and Strays of Gaelic Melody" (1922), reprinted from Power's Musical Cabinet (1810); it is not the jig usually known by that name. Source for notated version: fiddler Pat Kellegher, 1967 (Bunanadden, Co. Sligo, Ireland) [Breathnach]. Breathnach (CRE II), 1976; No. 95, pg. 51.

CAMPBELL'S FROLIC. AKA and see "Campbells are Coming."

FIELD OF HAY, THE. Irish, Jig. E Flat Major. Standard. AB. Resembles both "The Campbells Are Coming" and "The White Cockade"--Bayard (1981) wonders if they all are indeed related and from some common ancestor. Source for notated version: noted from the whistling of Philip Gleeson, Coofree, county Limerick [Joyce]. Joyce (Ancient Irish Music), 1873/1890; No. 89, pg. 82.

HOB OR/A NOB.. AKA and see "The Campbells Are Coming," "The Burnt Old Man," "The Old Man," "An Seanduine" (The Old Man), "Robi Down/Donn." English, Scottish, American; Country Dance Tune (6/8 time). England, Northumberland. USA, Connecticut, Pennsylvania. G Major. Standard. AABB. The melody is recognizable to modern ears as the Scots air "The Campbells are Coming." The melody first appears in collections in England, including Walsh's Caledonian Country Dances (4th book, c. 1745) and Johnson's Collection of 200 Favourite Country Dances (1748). Flood (1906) identifies the melody, which he claims was originally Irish, as a Jacobite era song (early 18th century) annexed by the Scots and used as the vehicle for the song "The Campbells are Coming." An American, Daniel Burnap, included it in several of his chime clocks, which he manufactured in the late 18th century at East Windsor, Connecticut. The melody under the "Hob" title is also contained in Timothy Swan's Suffield, Connecticut, MS of 1777. A related air, which Bayard (1981) says is "doubtless a descendant of the original melody," is "Robi Down/Donn." When played in duple time several writers have noticed similarities with "Miss McLeod's Reel" and even "The White Cockade." Aird (Selections), Vol. 1, 1778; No. 21. American Veteran Fifer, 1927; No. 58. Ford (Traditional Music in America), 1940; pg. 110. Gow (Complete Respository), Vol. 1, 1784; pg. 15. Graham, 1908; pg. 169. Harding's Original Collection, 1928, and Harding Collection, 1915; No. 186. Harding's All-Round Collection, 1905; No. 189. Howe (School for the Violin), 1851; pg. 35. Howe (Diamond School for the Violin), 1861; pg. 41 and pgs. 60-61 (as part 2 of Caledonian Quadrilles). Jarman, 1951; pg. 63. Kerr (Merry Melodies), Vol. 1; pg. 32. Johnson (Scots Musical Museum), Vol. 2, 1788; No. 299. O'Malley, 1919; pg. 11. Oswald, (Caledonian Pocked Companion), Vol. 2, 1780?; pg. 24. Robbins, 1933; No. 32. Seattle (William Vickers), 1987, Part 3; No. 443. Smith (Scottish Minstrel), Vol. 1, 1820; pg. 32. Sweet (Fifer's Delight), 1964; pg. 37. White's Excelsior Collection, 1907; pg. 74.

I WAS AT A WEDDING IN INVERARA TOWN (bha mi aig bhanais air bhail Inbhir-aora). AKA and see "The Campbells are Coming."

LARRY O'GAFF [1] (Lamrais Ua Gabaig). AKA and see "Bundle and Go," "Daniel O'Connell," "Hob or Nob," "Making Babies by Steam," "O'Gaff's Jig." Irish (originally), American, Canadian; Double Jig. Ireland, County Sligo. USA; New England, Maine, New York, Pa. Canada, Prince Edward Island. A Major (Bronner): D Major (Bayard, Flaherty, Stanford/Petrie): G Major (Allan, Bayard, Brody, Cole, Kerr, Perlman, Phillips, Sweet, Tolman): F Major (Hardings). Standard. AB (Bayard, Bronner, Stanford/Petrie): AAB (Kerr): AABB (Allan, Cole, Hardings, Perlman, Phillips, Roche, Sweet, Tolman): AABB' (Flaherty, O'Neill). The "Larry O'Gaff" title for the tune comes from a nonsensical stage-Irish song whose words are only rarely reported (they can be found in a folk version in Creighton's "Songs and Ballads from Nova Scotia"), and it appears the melody normally was used as an instrumental piece. It is usually associated with Northeastern players in the United States. The older title was probably "Hob or Nob" posits Bayard (1981), which was the title of an old British dance. Bronner (1987) suggests notes that suggests a connection with "The Campbells Are Coming" and "Miss McLeod's Reel," which his source (central N.Y. fiddler Les Weir) also called "Hob or Knob". He thinks that the popularity of "Larry O'Gaff" may come from its ability to replace the aforementioned tunes at country dances. In fact, by 1858 it was reported not as a jig but as a country dance in Howe's Ball-Room Hand Book. David Taylor (1992) remarks at the similarity of the piece with the Irish jig "Daniel O'Connell," and says that the two tunes, though commonly played in different keys, are often confused. He further notes "Bundle and Go," which is listed as an alternate title for "Larry O'Gaff" by Roche, is and alternate title (though an unusual one) for his "Daniel O'Connell." "O'Gaff" 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). The title appears in the repertoire list of Maine native Mellie Dunham, an elderly fiddler who was Henry Ford's champion dance musician in the mid-1920's. Words to the 'A' part of the tune begin:
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It was early on Monday, I mean late on a Sunday,
We went to the wedding of Darvey McGraw.
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The tune is also the vehicle for the song "Humours of Whiskey."
Sources for notated versions: Grant Rogers (Delaware County, New York, 1976) [Bronner]; Hiram Horner (fifer from Westmoreland and Fayette Counties, Pa., 1963), Amasiah Thomas (Jefferson County, Pa., 1952), Mary Ann Rogers (elderly fiddler from Greene County, Pa., 1930's), Samuel Losch (Juniata County, Pa., 1930's), Lorin Simmons (fiddler from Prince Edward Island, 1930's) [Bayard]; accordion player Joe Fallon (b. 1935, Collooney, County Sligo) [Flaherty]; Jehile Kirkhuff (Pa.) [Phillips]; Joseph Doucette (b. 1910, DeBlois Road, West Prince County, Prince Edward Island) [Perlman]; set dance music recorded at Na Píobairí Uilleann in the 1980's [Taylor]. Adam, 1928; No. 55. Allan's Irish Fiddler, No. 26, pg. 7. American Veteran Fifer, 1927; No. 7. Bayard (Dance to the Fiddle), 1981; No. 558A-D, pgs. 497-498 and Appendix No. 34. Brody (Fiddler's Fakebook), 1983; pg. 164. Bronner (Old Time Music Makers of New York State), 1987; No. 35, pg. 132. Cazden (Dances from Woodland), 1945; pg. 22. Cazden (Folk Songs of the Catskills), 1955; pg. 30. Cole (1001 Fiddle Tunes), 1940; pg. 59. DeVille, 1905; No. 51. Flaherty (Trip to Sligo), 1990; pg. 98. Greenleaf, No. 186 (1st part of a quadrille). Hardings All-Round Collection, 1905; No. 105, pg. 33. Jarman (Old Time Fiddlin' Tunes), 1951; No. or pg. 17. Kerr (Merry Melodies), Vol. 1; No. 10, pg. 36. Miller & Perron (New England Fiddlers Repertoire), 1983; No. 32. O'Neill (1850), 1903/1979; No. 869, pg. 161. O'Neill (1001 Gems), 1907/1986; No. 128,pg. 36. Perlman (The Fiddle Music of Prince Edward Island), 1996; pg. 127. Phillips (Traditional American Fiddle Tunes), Vol. 2, 1995; pg. 370. Stanford/Petrie (Complete Collection), 1905; No. 373, pg. 94. Sweet (Fifer's Delight), 1965/1981; pg. 32. Taylor (Music for the Sets: Yellow Book), 1995; pg. 4. Tolman (Nelson Music Collection), 1969; pg. 4. White's Excelsior Collection, 1907; pg. 74. Audat 477-9048, Graham Townsend - "Down Home Fiddlin.'" Century 36464, Albert Cyr- "Old Time Fiddling," 1969. Edison 50653 (78 RPM), John H. Kimmel (accordianist from N.Y.C.), 1920 (appears as third tune of "Haste to the Wedding Jigs"). F&W Records 4, "The Canterbury Country Orchestra Meets the F&W String Band." Folk Legacy FSA-27, Sandy Paton (1965). Folkways FA 2381, "The Hammered Dulcimer as played by Chet Parker" (1966). Fretless 122, Roma McMillan- "Old Time Fiddling 1976." Gennett 6101 (78 RPM), Uncle Steve Hubbard and His Boys, c. 1928. John Edwards Memorial Foundation JEMF-105, Camile Dubois - "New England Traditional Fiddling" (1978). Smithsonian Folkways SFW CD 40126, Two Fiddles - "Choose Your Partners!: Contra Dance & Square Dance Music of New Hampshire" (1999).
X:1
T:Larry O'Gaff
L:1/8
M:6/8
K:G
g2G BAG|ded dBG|cec BdB|ABc def|g2G BAG|ded dBG|cec BdB|AGA G3:|
|:d2g gfg|gfg afd|d2a aga|aga b2a|gba gfe|dge dBG|cec BdB|AGA G3:|
X:2
T:Larry O'Gaff
T:Making Babies by Steam
M:6/8
L:1/8
C:Traditional
S:Andy McGann
R:Jig
K:D
c | dDD FED | AdB AFD | G3 F2E | DFA B2c |
dDD FED | AdB AFD | GBG FAF | ECA, D2 :||
F | ABc d3 | dcd ecA | Bcd egf | ede f2e |
dfe dcB | AdB AFD GBG FAF | ECA, D2 :||

LASSES OF SLIGO, THE. AKA and see "The Campbells are Coming" [2]. The title is from O'Neill's Waifs and Strays of Gaelic Melody (1922) and is taken from Power's Musical Cabinet (1810). It has no relation to the jig usually known as "Lasses of Sligo."

MISS McLEOD'S/MacLEOD's REEL [1] ("Cor Ingean Ni Mic Leod" or "Cor Mhic Leoid"). AKA and "Billy Boy," "The Cake's All Dough," "Did You Ever See the Devil Uncle Joe?" "Enterprise and Boxer," "The Enterprising Boxer," "The Girl with the Handsome Face," "Green Mountain," "Hop Up Ladies," "Hop High Ladies," "Hop Light Ladies," "John Brown," "May Day," "Miss MacLeod of Ayr," "MacLeod's Reel," "McLeod's Reel," "Miss McCloud," "Misses McCloud's Reel," "Mistress McCloud's Jig," "Mr. McLaw'd." "Mrs. McLeod of Raasay's Reel," "Mrs. MacLeod Raasay," "Nigger in the Woodpile" (Pa.), "Old Mammy Knickerbocker" (Pa.), "The Virginia Reel," "Walk Jaw Bone." Irish, Scottish (originally), American, Old-Time; Reel and Breakdown. Ireland, County Donegal. G Major (most versions): A Major (Ashman, Roche, Songer): F Major (Hardings). Standard. AABB. A universal favorite in the British Isles and North America. Apparently the tune was first printed in Gow's Strathspey Reels of 1809 (pg. 36), with the note "An original Isle of Skye Reel. Communicated by Mr. McLeod."
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It was popular as long ago as 1779 in Ireland as its playing is mentioned in an account by a foreign visitor named Berringer or Beranger of a "cake" dance (i.e. where the prize was a cake) he participated in while visiting in Connacht. O'Neill (1913) relates Beranger's observations somewhat differently and gives that it was one of six tunes played by Galway pipers in 1779 for the entertainment of the traveller. In modern times in Ireland the tune was included in a famous set of the late Donegal fiddlers, brothers Mickey and Johnny Doherty, who played it as the last tune after "Enniskillen Dragoons" and "Nora Criona" (Wise Nora), though sometimes they substituted "The Piper of Keadue" for "Miss McLeod's." The whole set was played in the rare AAAE tuning, which required playing in position (Caoimhin MacAoidh).
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The title "Peter Street" 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). The reel 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:
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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)
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Charlie Piggott, in his book Blooming Meadows (1998) written with Fintan Vallely, relates that accordion player Johnny O'Leary was at the deathbed of his mentor, the famed Sliabh Luachra fidder Pádraig O'Keeffe, in St. Catherine's Hospital, Tralee. O'Keeffe was lucid until the end, and engaged in witty repartee with O'Leary:
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'You know two great reels,' he said. 'Don't ever forget them.'
'What are they?' said I.
'"Miss McCloud" and "Rolling in the Ryegrass",' he said.
'You see, "Miss McCloud" is a great reel,' he said, 'but we're playing
it wrong.'
'How do you mean it?' says I.
'I'm at it now,' he says, 'but I suppose I won't be left alive to do it-
play it backwards. And,' he says, 'you'll never in your life hear a nicer
reel.'
Whether 'tis right or not, I don't know. He was just going to do it when
he died. He said he had a sister that had the first part of it done backwards
with a concertina and, Pádriag said, 'twas double nicer than the way we're
playing it. He was a genius, you know. He was a genius.
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The melody has had a long history in America and has proved enduringly popular with fiddlers in many regions. Cauthen (1990) notes the tune's mention in the "Marion Standard" of April 30, 1909, which reported its having been played at a housewarming in Perry County, Alabama, in 1827. Bronner collected the tune from central New York fidders, who also knew it under the title "Virginia Reel" and, from one source, the "interchangable title" of "Campbells are Coming," a jig. Some confusion in his sources seems to stem from the interchangability of many triple and duple meter tunes under the "Virginia Reel" moniker, but Bronner states that versions of "Miss McLeod" in 12/8 time were "not uncommon" in his collecting experience. Samuel Bayard (1981) also wondered if "Miss McLeod" was a reworking of some set of the 6/8 time "The Campbells Are Coming," a family which includes (among others) "The Burnt Old Man" and "Hob or/and Nob." O'Neill (1913) has no doubts and states unequivocably that the 'McLeod' and 'Campbell' tunes either had a common origin or that the former was derived from the latter (or its Irish equivalent, "An Seanduine"). The title appears in a list of the repertoire of Maine fiddler Mellie Dunham (the elderly Dunham was Henry Ford's champion fiddler in the mid-1920's) and it was cited as having commonly been played for Orange County, New York, country dances in the 1930's (Lettie Osborn, New York Folklore Quarterly). Arizona fiddler Kenner C. Kartchner remembered the tune being played in the Flagstaff-Williams (Ariz.) area in 1903 (Shumway). The title (as "MacLeod's Reel") appears in a list of traditional Ozark Mountain fiddle tunes compiled by musicologist/folklorist Vance Randolph, published in 1954. A rendering of the tune under the title "Mistress McCloud's Jig" was recorded by him for the Library of Congress from fiddlers in that region in the early 1940's. Bayard (1981) noted that the tune was usually played in the British Isles with with the parts ending on the second of the scale, resulting in an "endless" or "circular" tune, while fiddlers in the Americas usually ended on the tonic. Also in the repertoire of Uncle Jimmy Thompson (Texas, Tennessee) as "McLeod's Reel."
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Novelist and fiddler Thomas Hardy, of Devonshire, England, knew the tune and worked it into his novel The Mayor of Casterbridge (1886):
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Farfrae was footing a quaint little dance with Elizabeth-Jane--an old
country thing, the only one she knew, and though he considerately toned
down his movements to suit her demurer gait, the pattern of the shining
little nails in the soles of his boots became familiar to the eyes of every
bystander. The tune had enticed her into it; being a tune of a busy,
vaulting, leaping sort--some low notes on the silver string of each fiddle,
then a skipping on the small, like running up and down ladders--'Miss
McLeod of Ayr' was its name, so Mr. Farfrae had said, and that it was
very popular in his own country [Scotland].
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Words are sometimes set to the tune, especially in American variants. These words were collected in Scotland:
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Macaphee turn yer cattle roon loch o' Forum (3 times)
Here and there and everywhere the kye are in the corn.
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Waitin' at the shielin' o Mhaire bhan mo chroi (pronounced: varie van ma cree)
Waitin' at the shielin' o faur awa' tae sea
Hame will come the bonny boats Mhaire bhan mo chroi
Hame will come the bonny boys, Mhaire bhan mo chroi.
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A curious alternate title for "McLeod's," "The Enterprising Boxer" is a miss-hearing of the name "Enterprise and Boxer," which refers to a naval engagement between two ships of those names.
***
Sources for notated versions: Michael Coleman (Co. Sligo/New York) [DeMarco and Krassen], John McDermott, (New York State, 1926) [Bronner], 8 southwestern Pa. fiddlers [Bayard]; a c. 1837-1840 MS by Shropshire musician John Moore [Ashman]; accordion player Johnny O'Leary (Sliabh Luachra region of the Cork-Kerry border), recorded at Na Piobairi Uilleann, October, 1984 [Moylan]. Adam, No. 20. Allan's Irish Fiddler, No. 69, pg. 17. American Veteran Fifer, 1927; No. 6. Ashman (The Ironbridge Hornpipe), 1991; No. 25a, pg. 6 (appears as "Mr. Mc Law'd a Popular Dance"). Bayard (Dance to the Fiddle), 1981; No. 249A-H, pgs. 211-213. Brody (Fiddler's Fakebook), 1983; pg. 192. Bronner (Old Time Music Makers of New York State), 1987; No. 4, pg. 26 (appears as 1st tune of "Virginia Reel Medley"). Burchenal (American Country Dances, Vol. 1), 1918; pgs. 10-11 (appears as "Virginia Reel" [2]). Cazden (Dances from Woodland), 1945; pg. 24. Cazden (Folk Songs of the Catskills), pg. 29. Cole (1001 Fiddle Tunes), 1940; pg. 29 (appears as "Miss McCloud's"). DeMarco and Krassen (Trip to Sligo), 1978; pgs. 38, 52, 66. Gale, No. 30. Hardings All Round Collection, 1905; No. 183, pg. 58. Hardings Original Collection and Harding Collection, No. 36. Howe (Diamond School for the Violin), 1861; pg. 44. Howe, 1951; pg. 34. Jarman (Old Time Fiddlin' Tunes), No. or pg. 10. Kennedy (Fiddlers Tune Book), Vol. 1, 1951; No. 48, pg. 24 (appears as "May Day"). Kerr (Merry Melodies), Vol. 1; pg. 5. Miller & Perron (New England Fiddlers Repertoire), 1983; No. 109. Moylan (Johnny O'Leary), 1994; No. 143, pg. 84. O'Malley, pgs. 10 & 22. O'Neill (1915 ed.), 1987; No. 275, pg. 140. O'Neill (Krassen), 1976; pg. 134. O'Neill (1850), 1903/1979; No. 1418, pg. 263. O'Neill (1001 Gems), 1907/1986; No. 655, pg. 117. Robbins, No. 96. Roche Collection, 1982, Vol. 1; No. 148, pg. 59. Ruth (Pioneer Western Folk Tunes), 1948; No. 112, pg. 39. Smith (Scottish Minstrel), Vol. 4, pg. 50. Songer (Portland Collection), 1997; pg. 136. Surenne, pg. 11. Sweet (Fifer's Delight), 1965/1981; pg. 32. Trim (Thomas Hardy), 1990; No. 4 (appears as "Miss MacLeod of Ayr"). Tubridy (Irish Traditional Music, Vol. 1), 1999; pg. 19. White's Excelsior Collection, pg. 42. White's Unique Collection, No. 170. Biograph 6003, The Bogtrotters- "The Original Bogtrotters" (appears as "Hop Up Ladies"). Brunswick (78 RPM), John McDermott (N.Y. state), 1926 (appears as 1st tune of "Virginia Reel Medley"). CCF2, Cape Cod Fiddlers - "Concert Collection II" (1999). County 201, The Old Virginia Fiddlers- "Rare Recordings" (appears as "Hop Light Ladies"). Davis Unlimited 33015, Doc Roberts- "Classic Fiddle Tunes" (appears as "Did You Ever See the Devil, Uncle Joe"). Gael-Linn CEF 045, "Paddy Keenan" (1975. Appears as "McLeod's Reel/Cor Mhic Leoid"). Glencoe 001, Cape Breton Symphony- "Fiddle." Globestyle Irish CDORBD 085, The Kerry Fiddle Trio - "The Rushy Mountain" (1994. Reissue of Topic recordings). Green Linnet 1023, Joe Shannon and Johnny McGreevy- "The Noonday Feast." Green Linnet SIF1122, Kevin Burke - "Open House" (1992). John Edwards Memorial Foundation JEMF-105, Uncle Joe Shippee - "New England Traditional Fiddling" (1978). June Appal 007, Thomas Hunter- "Deep in Tradition." Nimbus NI 5320, Ciaran Tourish et al. - "Fiddle Sticks: Irish Traditional Music from Donegal" (1991). Rounder 0057, Frank Dalton and George Wood- "Old Originals, Vol. 1" (appears as "Hop Light Ladies"). Rounder 0058, John Patterson- "Old Originals, Vol. II" (appears as "Did You Ever See the Devil, Uncle Joe?"). Shanachie 33001, Patrick J. Touhey- "The Wheels of the World." Tennvale 001S, Bob Douglas- "Old Time Dance Tunes Fron the Sequatchie Valley" (Appears as "Hop Light Ladies"). Tennvale 003, Pete Parish- "Clawhammer Banjo." Topic 12T309, Padraig O'Keeffe, Denis Murphy & Julia Clifford - "Kerry Fiddles." Transatlantic 341, Dave Swarbrick- "Swarbrick 2." Victor 20537 (78 RPM), Mellie Dunham, 1926 (appears as 1st tune of "Medley of Reels"). Mickey Doherty - "The Gravel Walks."
T:Miss McLeod's Reel
L:1/8
M:C|
K:G
|:G2 BG dG BG|GB BA Bc BA|G2 BG dG BG|A2AG (3ABc BA|
G2BG dG BG|GB BA Bc d2|(3efg ed Bd ef|ge dB Ac BA:|
|:G2 gf ed eg|B2BA BcBA|G2 gf ed Bd|ea ag fd ef|g2 gf ef ge|
dB BA Bc d2|(3efg ed Bd ef|ge dB Ac BA:|

MRS. MACLEOD (OF) RAASAY. AKA and see "Miss McLeod of Raasay," "Miss McCloud," "Miss McLeod('s Reel)," "Miss Macleod of Ayr," "Da Broon Coo" (Shetland), "Hop High Ladies," "Enterprising Boxer." Scottish, Reel or Scottish Measure. Scotland, Isle of Skye. A Major. Standard. One part (Gow): AB (Honeyman): AABB (Perlman): AA'BB' (Athole, Skye). Composed by Sir Alexander MacDonald, according to Keith Norman MacDonald, editor of the Skye Collection. When played as a jig the melody is "The Campbells are Coming." The piece was published in Niel Gow's Fifth Collection, 1809, and is the obvious ancestor to the famous American fiddle tune known variously as "Hop High Ladies," "Hop Light Ladies" or other titles. Gow said he had the tune from Mr. McLeod of Raasay who described it as an original Isle of Skey reel. Source for notated version: "Communicated (composed?) by Mr. McLeod of Raasay. An original Isle of Skye reel" (Gow). Source for notated version: Elmer Robinson (b. 1910, Mount Pleasant, West Prince County, Prince Edward Island; now resident of Woodstock) [Perlman]. Carlin (The Gow Collection), 1986; No. 304 (appears as "Mrs. McLeod of Rasay"). Emmerson (Rantin' Pipe and Tremblin' String), 1971; No. 52, pgs. 141-142. Gow, 5th Collection. Honeyman (Strathspey, Reel and Hornpipe Tutor), 1898; pg. 18. Hunter (Fiddle Music of Scotland), 1988; No. 249. Kerr (Merry Melodies), Vol. 1; Set 5, No. 2, pg. 5 (appears as "Mrs. McLeod"). Lowe (A Collection of Reels and Strathspeys), 1844. MacDonald (The Skye Collection), 1887; pg. 8. Perlman (The Fiddle Music of Prince Edward Island), 1996; pg. 98. Stewart-Robertson (The Athole Collection), 1884; pg. 6. "The Caledonian Companion" (1975). "Melodeon Greats" (1978). Bob Smith's Ideal Band - "Ideal Music" (1977). "Fiddlers Three Plus Two."

O TOMMY COME TICKLE ME. AKA and see "The Campbells Are Coming," "Hob and/or Knob." American, Jig. USA, southwestern Pa. E Flat Major. Standard. ABB. The tune has "a worn-down and altered second part--perhaps an entirely different strain from the usual second half of this exceedingly well-known tune" (Bayard, 1981). It takes its name from its associated rhyme:
***
O Tommy come tickle me, I'll tell you where:
Just under my navel there's a big bunch of hair.
***
Source for notated version: Hiram White (Pa., 1930's) [Bayard]. Bayard (Dance to the Fiddle), 1981; No. 539C, pg. 479.

OLD MAN, THE [1] (An Seanduine). "The Campbells Are Coming," "Hob or Nob." Irish, March (6/8 time). D Major. Standard. ABCDEF. See also the closely related airs "Robi Down (Donn)," "The Field of Hay," and "The Baldooser." O'Neill says this tune is a good example of the many variants an old and popular melody may acquire. The fist setting in his Music of Ireland is from the Irish language singing of his mother in Bantry, west Cork. The second and third settings are from O'Daly (1849). In Scotland the tune is famously known as "The Campbells are Coming", and has been at least since the beginning of the 18th century. O'Daly (The Poets and Poetry of Munster) 1st ed. (1849) and 2nd ed. (1850), pg. 96. O'Daly (5th ed. c. 1885; Meehan, editor), pg. 118. O'Neill (1915 ed.), 1987; No. 120, pg. 67.

ROBI DOWN/DONN. A closely related air to "The Campbells are Coming" or "Hob and/or (K)nob."

SEANDUINE, AN (The Old Man). AKA and see "The Campbells Are Coming," "Hob and/or Nob," "O Tommy Come Tickle Me" (Pa.), "The Old Man." Irish, Jig. D Major. Standard. AABB. This is also a song tune (see "The Old Man"). See the related "The Old Man Rocking the Cradle." Source for notated version: "From my mother" [Mulvihill]. Mulvihill (1st Collection), 1986; No. 65, pg. 79 (appears as "An Shean Duinne"). Columbia 35612, "The Chieftains" (1978).

TÁ NA CAIMBÉALAIGH AG TEACHT. AKA and see "The Campbells are Coming."

WILT THOU PLAY ME FAIR, HIGHLAND LADDIE. Scottish, March. Played derisively by one of the companies of the main body of Loyalist Scottish troops, Argyle's Highlanders, as they marched into Perth and Dundee during the ill-fated Jacobite rebellion of 1715, led by the Earl of Mar (Bobbing John) {Winstock, 1970}. See also notes for "(Stay and) Take the Breeks With Thee," and "The Campbells are Coming."


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