ANGUS ALLAN & DAN J'S. Canadian, Strathspey. Canada, Cape Breton. D Major. Standard. AA'BB'. Source for notated version: Dan J. Campbell and Angus Allan Gillis (Cape Breton) [Dunlay & Greenberg]. Dunlay & Greenberg (Traditional Celtic Violin Music from Cape Breton), 1996; pg. 73. ACC4-9270, Howie MacDonald - "Live and Lively" (Appears as "Inverness County Strathspey"). ACC-49394, Howie MacDonald and Natalie MacMaster - "Gift of Music" (Appears as "Traditional Strathspey"). Celtic CX011, Dan J. Campbell and Angus Allan Gillis (c. 1936). Nimbus NI 5383, Natalie MacMaster - "Traditional Music from Cape Breton Island" (1993).
ANGUS CAMPBELL [GLASGOW]. Scottish (originally), Canadian, American; Reel. USA; Missouri, Vermont, New York. Canada; Prince Edward Island. A Major. Standard. AABB. "Angus Campbell" is the product of Scottish composer and fiddle virtuoso J. Scott Skinner (1842-1927), who coined it a "concert reel" (tempo 136). Skinner turned the same melodic motif into a strathspey called "The Laird o' Drumblair." The melody quickly found its way into traditional repertory on both sides of the Atlantic and can now even be heard played by American Mid-West fiddlers as well as Canadian and New England musicians. Illustrative of its dissemination is that the title appeared in a list of dance tunes played in the early/mid-20th century by Arizona fiddler Kenner C. Kartchner, while at approximately the same time Adirondack Mountains, N.Y., fiddler Vic Kibler believed he had learned the tune in Vermont. Sources for notated versions: Kelly Jones (Missouri) [Phillips]; Francis MacDonald (b. 1940, Morell Rear, North-East Kings County, Prince Edward Island) [Perlman]; fiddler Dawson Girdwood (Perth, Ottawa Valley, Ontario) [Begin]. Begin (Fiddle Music in the Ottawa Valley: Dawson Girdwood), 1985; No. 26, pg. 39. Bohrer (Vic Kibler), 1992; No. 21, pg. 21. Brody (Fiddler's Fakebook), 1983; pg. 23. Hinds/Hebert (Grumbling Old Woman), 1981; pg. 8. Hunter (The Fiddle Music of Scotland), 1988; No. 224. Jarman (Old Time Fiddlin' Tunes), No. or pg. 23. Kerr (Merry Melodies), Vol. 1; No. or pg. 22. Messer (Way Down East), 1948; No. 7 {Messer's version is altered from the original}. Messer (Anthology of Favorite Fiddle Tunes), 1980; No. 27, pg. 26. Perlman (The Fiddle Music of Prince Edward Island), 1996; pg. 104. Phillips (Traditional American Fiddle Tunes, Vol. 1), 1994; pg. 15. Skinner (The Scottish Violinist); pg. 13. Also appears in Skinner's collection Harp and Claymore. American Heritage 516, Jana Greif- "I Love Fiddlin.'" Caney Mountain Records CLP 228, Lonnie Robertson (Mo.) - "Fiddle Favorites." Condor 977-1489, "Graham and Eleanor Townsend Live at Barre, Vermont." Fretless 101, "The Campbell Family--Champion Fiddlers." Fretless 200 A, Yankee Ingenuity- "Kitchen Junket" (1977). Green Mountain 1026, Leo Beaudoin- "Old Time Fiddler's Contest 7/30/77." Green Mountain 1050, Sonja Nordstrom- "Old Time Fiddler's Contest 7/26/75." Missouri State Old Time Fiddlers' Association 002, Taylor McBaine - "Boone County Fiddler." Missouri State Old Time Fiddlers' Association, Cyril Stinnett (Stinnett epitomized the "North Missouri Hornpipe Style of fiddling). Missouri State Old Time Fiddlers' Association, Kelly Jones (b. 1947) - "Authentic Old-Time Fiddle Tunes." Philo 1040, Jay Ungar and Lyn Hardy- "Catskill Mountain Goose Chase" (1977. Learned from Putnam County, N.Y. fiddler Bud Snow). Tradition 2118, "Scottish Dances: Jigs, Waltzes and Reels" (1979).
BLACK HOE, THE. See "The Castlebar Jig," "Castlelan Races," "Morrison's Fancy," "The Rakes of Castlebar," "The Thrush in the Strand." Canadian, Jig. Canada; Prince Edward Island, Cape Breton. G Major. Standard. AABB. Kate Dunlay (1986, 1996) states that this jig is very likely of Irish origin and that Paul Cranford found a variant entitled "Morrisson's Fancy" in O'Neill's Waifs and Strays of Gaelic Melody. Perlman (1996) gives its origin as "Irish." Source for notated version: Reuben Smith (b. 1931, Blooming Point, Queen's County, Prince Edward Island) [Perlman]. Dunlay & Greenberg (Traditional Celtic Violin Music from Cape Breton), 1996; pg. 120. Dunlay & Reich (Traditional Celtic Fiddle Music from Cape Breton), 1986; No. 81, pg. 77. Perlman (The Fiddle Music of Prince Edward Island), 1996; pg. 130. Shears (Gathering of the Clans Collection), 1986. DAB4-1985, Donald Angus Beaton -"A Musical Legacy" (1985). JC 126, John Campbell - "Cape Breton on the Floor" (1981). Cape Breton Magazine's Tape - Mike MacDougall. Rounder 7011, "The Beatons of Mabou: Scottish Violin Music of Cape Breton" (1978).
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/O' MAR/MARR/MOR, THE [1]. AKA and see "Johnny Will You Marry Me," "Lord McDonald's Strathspey," "Love Won't You Marry Me," "Reel des Noces," "Sir Alexander McDonald," "Sir Alexander McDonald's Reel," "Some Say the Devil's Dead." Scottish, Canadian; Strathspey. Canada; Prince Edward Island, Cape Breton. D Major. Standard. AAB (Gow): AABB (Athole, Kennedy, Kerr, Skye [Old Set version]): AABB' (Perlman, Skye): AABCD (Dunlay & Greenberg/Campbell): AABBCDD (Dunlay and Reich). Attributed to John Coutts of Deeside, and used for the dance the Highland Fling or Highland Schottische. Skinner, in Harp and Claymore, thinks the tune "is almost a parody of "Lord MacDonald's Strathspey." The melody appears in the Drummond Castle Manuscript (also called the Duke of Perth MS), in the possession of the Earl of Ancaster (at Drummond Castle) as a country dance; it is inscribed 'A Collection of Country Dances written for the use of his Grace the Duke of Perth by Dav. Young, 1734.' In that MS the title is "Sir Alexander McDonald's Reel." Glen (1891) finds the tune earliest in print in Robert Bremner's 1757 collection, Part 3 (pg. 34), where it appears as "Sir Alexander McDonald."
***
Imported by Scottish emigrants to the new world, "Braes of Marr" is considered an old tune in the Cape Breton, Nova Scotia, fiddling repertoire. Dunlay & Greenberg mention that one of Buddy MacMaster's aunts recalled that the strathspey was often played by Domhnull Iain an Taillear (Donald John the Tailor) Beaton (1856-1919). The third turn may be of Cape Breton origins. From there it perhaps entered into French-Canadian fiddling repertoire, for Willie Ringuette recorded the melody as a reel in 1927 under the title "Reel des Noces." Interestingly, Dunaly & Greenberg report that Cape Breton fiddler Jackie Dunn (in her 1991 Master's thesis "The Sound of Gaelic is in the Fiddler's Music") states the strathspey is known to have Gaelic words and is called "'S Math a Dhannsadh" (It is good to dance).
***
In western Ireland the tune is known as "Johnny, Will You Marry Me," and is used for the dance "the Fling;" Irish versions of strathspeys usually are played as reels, without the distinctive dotted rhythm. Set in jig time, an Irish variant is "Kate/Katy Carnery." Sources for notated versions: Dan J. Campbell and Angus Allan Gillis (Cape Breton) [Dunlay & Greenberg, Dunlay and Reich]; Hector MacKenzie (Cape Breton) [Dunlay & Greenberg]; Mary MacDonald (Cape Breton) [Dunlay & Greenberg]; Angus McPhee (b. c. 1929, Mt. Stewart, Queens County, Prince Edward Island) [Perlman]. Carlin (The Gow Collection), 1986; No. 519. Dunlay & Greenberg (Traditional Celtic Violin Music of Cape Breton), 1996; pgs. 68-69 (three versions). Dunlay and Reich (Traditional Celtic Fiddle Music of Cape Breton), 1986; pg. 50. Gow (Complete Repository), Part 2, 1802; pg. 35. Gow (Complete Repository), Part 3, 1806; pg. 10 ("Original Sett"). Honeyman (Strathspey, Reel and Hornpipe Tutor), 1898; pg. 12. Hunter (Fiddle Music of Scotland), 1988; No. 90. Kennedy (Fiddlers Tune Book), Vol. 2, 1954; pg. 18 (appears as "Some Say the Devil's Dead"). Kerr (Merry Melodies), Vol. 1; No. 4, pg. 19. Lowe (A Collection of Reels and Strathspeys), 1844. MacDonald (The Skye Collection), 1887; pg. 63 & 64 {Old Set}. Perlman (The Fiddle Music of Prince Edward Island), 1996; pg. 191. Skinner, Harp and Claymore, 1984; pg. 86. Stewart-Robertson (The Athole Collection), 1884; pg. 89 {Old Set}. ACC-49393, Hector MacKenzie- "MacNeil's Highland Ceilidh" (1992). Beltona BL2135 (78 RPM), Edinburgh Highland Strathspey and Reel Society (1936). Celtic 011 (78 RPM), "Dan J. Campbell and Angus Allan Gillis." Culburnie Records CUL 102, Alasdair Fraser & Jody Stecher - "The Driven Bow" (1988. A 4-part setting based on Cape Breton fiddlers). Decca 14026 (78 RPM), "Colin Boyd." Rounder 7009, Doug MacPhee- "Cape Breton Piano" (1977). Rounder 7012, Winnie Chafe - "Highland Melodies of Cape Breton" (1979). SA 93130, Donny LeBlanc - "Roisining Up the Bow" (1993). Silver Apple 7588-90193-4, Tommy Basker - "The Tin Sandwich" (1994). Univ. College of Cape Breton 1007, Dan Joe MacInnis- "Celtic Music of Cape Breton, Vol. I."
X:1
T:Braes of Mar
L:1/8
M:C
R:Strathspey
B:The Athole Collection
K:D
A/G/|F<A A>B d>ef>e|d<B B>A B>d BA/G/|F<A A>B d>ef>d|e>dg>f e2d:|
|:A/G/|F<A A>D FD AG/F/|G<B B>E G<E BA/G/|1 F<A A>D FD AG/F/|
(3GBG (3FAF E2D:|2 F<A A>G F>A d>e/f/g|f>dg>f e2d||
X:2
T:Braes of Mar (Old Set)
L:1/8
M:C
R:Strathspey
B:The Athole Collection
K:D
A|F<A AB/c/ d>ef>e|d<B B>A d<B BA/G/|F<A A>B d>ef>d|e<gf<a e2d:|
|:g|f<a a2 f<d a>f|g<b b2 g<e b>g|f<a a2 f<d a>f|g<bf<a e2d:|
Alexander, The 4th Duke of Gordon
***
It was first published in Marshall's First Collection of 1781, and later appeared in a Gow's Repository (First Part) in 1799. Paul Stewart Cranford (1995) remarks that some of Marshall's tunes have been in oral tradition so long in Cape Breton, Nova Scotia, that local sets have evolved; this is one such tune and numerous Cape Breton versions exist, sometimes distanced from Marshall's original. Dunlay and Greenberg (1996) note that "The Duke of Gordon's Birthday" is often used as a stepdance strathspey on Cape Breton, and Perlman (1996) records that it is the most widely played strathspey on Prince Edward Island (though the tune is distanced from its original form). Gaelic port-a-beul words have become attached to the tune, called "A' Chaora Ruadh" (The Red Sheep), and a verse by Cape Breton storyteller Joe Neil MacNeil can be found in the booklet accompanying Topic 12TS354. In County Donegal, Ireland, the tune is played as a highland where it is well-known under the title "Casey's Pig." Sources for notated versions: Douglas Lawrence of Buckie, a student of Hector MacAndrew's (Scotland) [Hunter]; Margaret (Chisholm) MacDonald (Cape Breton) [Dunlay & Greenberg]; Peter Chaisson, Jr. (b. 1942, Bear River, North-East Kings County, Prince Edward Island) [Perlman]. Dunlay & Greenberg (Traditional Celtic Violin Music of Cape Breton), 1996; pg. 91. Gow (Complete Repository), Part 1, 1799; pg. 12. Hunter (Fiddle Music of Scotland), 1988; No. 73. Kerr (Merry Melodies), Vol. 1; Set 2., No. 3, pg. 4 (appears as "Duke of Gordon"). MacDonald (The Skye Collection), 1887; pg. 99. Marshall, Fiddlecase Edition, 1978; 1822 Collection, pg. 38. McGlashan (A Collection of Reels), Vol. 3, c. 1786; pg. 2. Perlman (The Fiddle Music of Prince Edward Island), 1996; pg. 187. Stewart-Robertson (The Athole Collection), 1884; pg. 163. ACC-49398, Brenda Stubbert - "House Sessions" (1992). Appears as "Duke of Gordon Strathspey"). CAT-WMR004, Wendy MacIssac - "The 'Reel' Thing" (1994). Celtic CX 22, Donald and Theresa MacLellan - "The MacLellan Trio" (appears as "Duke of Gordon's"). Celtic CX 052, Donald MacLellan (c. 1950's). DAB4-1985, Donald Angus Beaton - "A Musical Legacy" (1985). Marimac 6501, Eddy Arsenault - "The Old Time Fiddlers of Prince Edward Island" (1993). Marquis ERA 181, David Greenberg - "Bach Meets Cape Breton" (1996). Paddledoo Music PAD 105, Buddy MacMaster - "Scottish Fiddle Rally, Concert Highlights 1985-1995" (1996). Rodeo Banff RBS 1066, Dan Joe MacInnis - "The Cape Breton Fiddle of...(1962. Appears as "Duke of Gordon"). Rodeo RLP 75, John A MacDonald - "Marches, Strathspeys, Reels & Jigs of the Cape Breton Scot." Rounder 7003, John Campbell - "Cape Breton Violin Music" (1976. Appears as "The Duke of Gordon"). Topic 12TS354, Alex Francis MacKay - "The Music of Cape Breton, Vol. 2, Cape Breton Scottish Fiddle" (1978).
T:Duke of Gordon's Birthday, The
L:1/8
M:C
R:Strathspey
B:The Athole Collection
K:G
B|G>DG>B G>D G<B|d>Bd>B A/A/A A>B|G>DG>B G>DG>B|1
d>cB>A G/G/G G:|2 D>CB,>A, G,/G,/G, G||
|:d|g>ab>g d/d/d d2|g>ab>g e/e/e e>f|g<be<g d<gB<g|A>GA>B G/G/G G:|
|:D|G>DG>D G>DG>B|d>Bg>B A/A/A AB/A/|G>EG>B G>D E/E/E|
D>CB,>A, G,/G,/G, G,||
DUMBARTON CASTLE [1]. Scottish, "Pastoral Air" or March. A Major. Standard. AAB. From Skinner's Harp and Claymore collection, credited to J. Scott Skinner. A tune by this name earlier appeared in Joshua Campbell's 1778 collection. It was the Celtic population of Scotland that gave the name Dun Breattan (now Dumbarton), 'the fort of the Brittons', to the stronghold of that people on the Clyde for four centuries (Matthews, 1972). It was the capitol of Ceretic in the 5th century and the kings of Strathclyde until 1058. The fortress proved impregnable for three centuries until it was finally taken by the Pictish king Angus and Eadbert of Northumbria in 756; it was later stormed by the Vikings in 871 at taken after Artgal was betrayed. Skinner (The Scottish Harpist), pg. 38. Olympic 6151, The Scottish Fiddle Festival Orchestra - "Scottish Traditional Fiddle Music" (1978).
FRED WILSON'S CLOG. AKA and see "Wilson's Clog," "Fred Wilson's Hornpipe," "Cincinnati Hornpipe," "Harvest Home," "Dundee Hornpipe," "Cliff Hornpipe," "Ruby Lip," "Kildare Fancy," "Cork Hornpipe," "Standard Hornpipe," "Fisherman's Favorite," "Billy Wilson's Clog," "Zig-Zag (Clog)," "California Schottische," "Kephart's Clog" (Pa.), "Snyder's Jig" (Pa.), "Granny Will Your Dog Bite" (Pa.). American, Cape Breton; Clog or Hornpipe. USA; Maine, southwestern Pa. F Major (Coles, Sweet, Tolman): D Major (Bayard, Begin). Standard. AABB. Bayard states that this well-known tune was a favorite of Pennsylvania fiddlers and fifers, and guesses it dates to the early 19th century. It was one of the tunes listed in the repertoire of Maine musician Mellie Dunham, who was Henry Ford's champion fiddler in the late 1920's. Sources for notated versions: 8 southwestern Pa. fidders [Bayard]; fiddler Dawson Girdwood (Perth, Ottawa Valley, Ontario) [Begin]. Bayard (Dance to the Fiddle), 1981; No. 410A-H, pgs. 389-392. Begin (Fiddle Music from the Ottawa Valley: Dawson Girdwood), 1985; No. 42, pg. 52 (appears as "Fed Wilson's Hornpipe"). Cazden, 1955; pg. 37. Cole (1001 Fiddle Tunes), 1940; pg. 100 (appears as "Fred Wilson's Hornpipe"). Ford (Traditional Music in America), 1940; pg. 100. O'Malley, 1919; pg. 34. Sweet (Fifer's Delight); No. or pg. 47 (appears as "Zig-Zag"). Tolman, 1969; pg. 16 (appears as "Fred Wilson's"). White's Excelsior Collection, 1907; pg. 43. White's Unique Collection, 1896; No. 113. Shanachie 14001, "The Early Recordings of Angus Chisholm" (Cape Breton). Fretless 101, "The Campbell Family: Champion Fiddlers" (as "Billy Wilson's Clog"). Fretless 103, "Clem Myers: Northeast Regional Old Time Fiddle Champion 1967 & 1970 (as "Billy Wilson's Clog"). Front Hall 01, Bill Spence & Fennigs All Stars--"The Hammered Dulcimer."
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.
HAUGHS O' CROMDALE, THE. AKA and see "Barrack Hill," "Lady Catherine Stewart/Stuart," "Merry Maids Meeting," "Merry Maid's Wedding," "New Killiecrankie," "O'Neill's March," "Sid mar chaidh n' Cal a gholaigh" (That is How the Cabbage Was Boiled), "The Spilling of the Kale," "Tralee Gaol." Scottish, Canadian; Strathspey, Air or Polka. Canada; Cape Breton, Prince Edward Island. E Minor/Dorian (Dunlay & Greenberg/MacMaster, Perlman): A Dorian (Dunlay & Greenberg/Campbell): D Minor (Lowe, Surenne). Standard. AAB (Honeyman): AABB (Athole, Dunlay & Greenberg/MacMaster, Emmerson, Kerr, Perlman, Skye): AA'BB' (Dunlay & Greenberg/Campbell). 'Haughs' are the low-lying ground along a river, in this case the Cromdale. The melody is an example of a strathspey of the schottisch structure, states Emmerson (1971); two accents to the bar {on the first and third beats of the measure} instead of one. Dunlay & Greenberg point out there are two main strains of the tune: both have similar 'A' parts, but the 'B' parts differ, one beginning on the tonic/I chord and one beginning on the VII chord. They speculate that the tune originally had only one part, as many ballads did, but that differing second turns were added to it later. John Glen (1891) finds the earliest printing of the tune in Angus Cumming's 1780 Scottish collection (A Collection of Strathspeys or Old Highland Reels, pg. 15), though it also appeared in print the same year in Alexander McGlashan's Collection of Reels as "Merry Maid's Wedding." Creighton and Calum MacLeod (1979) find it earlier in Scotland in the Margaret Sinclair Manuscript (c. 1710) under the title "New Killiecrankie," and Dunlay and Greenberg report it was said to be in an older manuscript under the title "Wat ye how the play began."
***
A Scottish country dance also goes by the name of "Haughs of Cromdale," one of the relatively few that go in strathspey tempo. Flett and Flett (1964) date the dance from somtime after 1855, the date of the introduction of the Highland Schottische, for Haughs incorporates the Highland Schottische's movements. In the Dalbeattie district of Kirkcudbrightshire before 1914 the dance was very popular, according to an informant (Mrs. Margaret Patterson of Auchencairn) who danced it as a young girl. Mrs. Patterson remembered the dance always was accompanied by a briskly played schottische such as "Kafoozalum," "Orange and Blue" or "Wha's a' the steer, kimmer."
***
During the battle of the Haughs of Cromdale in the 17th century a piper in the routed Jacobite army under the inept General Buchan bravely attempted to rally his comrades. Though badly wounded, he clambered atop a rock and continued to play until he expired; the very rock can be seen today and is still named Clach a Phíobair, the Piper's Stone (Collinson, 1975). Perhaps in memory of this feat of bravery, "Haughs of Cromdale" was one of the pipe tunes played by the British 92nd Regiment at the battle of Maya, 1813, which served to so inflame the Highlanders that they charged the French, who became so panic stricken at their audacity that they turned and ran (Winstock, 1970; pg. 139). David Glen (in his bagpipe Tutor) states the tune was the "charge and double post of the Gordon Highlanders." Dunlay & Greenberg find the tune set as both a march and a strathspey in various bagpipe collections, including Logan's Complete Tutor for the Bagpipes and The Scots Guards Collection (set as a four-part march).
***
As with many popular British Isles tunes, there were various sets of words attached to it. "As I came in by Auchindown" is one common ballad sung to the air (which tells of a battle with the English on the haughs) and can be found in James Hogg's Jacobite Relics of Scotland (Vol. 1, 1819). "Birniebouzle" is another song set to "Haughs". In Cape Breton there was a Gaelic song entitled "Sid mar chaidh an cal a dholaigh" (That is How the Kale/Cabbage Was Ruined/Spoiled) that tells the amusing story of a meeting between Scottish Highlanders and Lowlanders at an inn and how the kale broth was ruined while the lady of the house was dancing (Dunlay & Greenberg). Bayard identifies this as one of the tunes from the large "Welcome Home" tune family. See "Cape North Jig" for a 6/8 time setting of "Haughs" and the A Minor Irish variant "Tralee Gaol." Sources for notated versions: John Campbell (Cape Breton) [Dunlay & Greenberg]; Kevin Chaisson (b. 1950, Bear River, North-East Kings County, Prince Edward Island) [Perlman]. Dunlay & Greenberg (Traditional Celtic Violin Music of Cape Breton), 1996; pgs. 36 & 85. Emmerson (Rantin' Pipe and Tremblin' String), 1971; No. 65, pg. 153. David Glen (Bagpipe Tutor), 1876-1901 (two settings). Gow (Beauties of Niel Gow), 1819. Honeyman (Strathspey, Reel and Hornpipe Tutor), 1898; pg. 14. Kerr (Merry Melodies), Vol. 1; Set 7, No. 1, pg. 6. Lowe (A Collection of Reels and Strathspeys), 1844. MacDonald (The Skye Collection), 1887; pg. 85. MacDonald (The Gesto Collection). Middleton's, 1870. Perlman (The Fiddle Music of Prince Edward Island), 1996; pg. 198. Stewart-Robertson (The Athole Collection), 1884; pg. 249. Surenne (Dance Music of Scotland), 1852. ACC-49290, Natalie MacMaster - "Road to the Isle." ACC-4925, Tara Lynne Touesnard - "Heritage." Kicking Mule KM-327, "Scartaglen" (1984. Played as a march). RCC-102, Ian McKinnon & Rawlins Cross - "Crossing the Border" (1991). RMD-CAS1, Rodney MacDonald - "Dancer's Delight" (1995). Rounder 7003, John Campbell - "Cape Breton Violin Music"(1976. Appears as "Traditional Strathspey," side two).
T:Haughs of Cromdale
L:1/8
M:C
R:Strathspey
B:The Athole Collection
K:E Minor
e|B<E E>F B>A F<A|B>E E>F D>EF>A|B<E E>F B>AF>A|
d>BA>F ~E2 E:|
|:F|D<d d>e d/^c/B/A/ d2|F<A A>B A<F A2|B<e e>f g>fe>d|
B<d B/A/G/F/ E2E:|
LAIRD O' DRUMBLAIR STRATHSPEY, THE. Scottish, Strathspey. A Major (Alburger, Bain, Brody, Cranford, Emmerson, Phillips, Skinner): G Major (McCutcheon). Standard or AEAE (recommended by Skinner in 1904). AB (Alburger, Hardie, Hunter, Skinner): AA'B (Emmerson): AABB (Bain, Brody, Cranford, Phillips): AA'BB' (Perlman). The mansion of Drumblair lies in the Parish of Forgue, on the north-western borders of Aberdeenshire in the North West of Scotland. The tune was composed by J. Scott Skinner (1843-1927) for his friend and benefactor William F. McHardy of Drumblair, who gave Skinner use of a rent-free cottage for many years to support his art. In his autobiography (My Life and Adventures, Wallace Music, 1994) Skinner wrote that McHardy, the Laird, was so impressed with the composition that for the remaining 15 years of his life he sent Skinner a thank-you check at Christmas-time. McHardy could apparently well afford to be magnanimous, for he had made a fortune of over 100,000 pounds in South America with engineering enterprises before returning to live at Forgue near Huntly. The tune is considered one of the finest and most famous of Skinner's 600 compositions, and appears in his Harp and Claymore collection. It was one of the tunes included by him later in his career in the romantically entitled 1921 concert set "Warblings From the Hills." Skinner, writing in his autobiography My Life and Adventures (first serialized in The People's Journal, 1923), described his inspiration for the tune: "Suddenly [one night] a tune, 'pat' and complete, flashed into my head in his honour. I jumped out of bed [looking for music manuscript paper]...but a search produced nothing better than a piece of soap paper, and on this I promptly dashed off 'The Laird o' Drumblair.' And the tune was dispatched as it had been written." "Ye're no' gaun tae send that awfy-like paper tae the Laird," protested his wife, "He'll jist licht his pipe wi' it!" It was sent anyway. Skinner also rendered the same melodic motif as a reel called "Angus Campbell." Sources for notated versions: Jean Carignan (Montreal, Canada) [Brody, Phillips]; Bill Hardie (Scotland) [Hunter]; Francis MacDonald (b. 1950, Morell Rear, North-East Kings County, Prince Edward Island) [Perlman]; Winston Fitzgerald (1914-1987, Cape Breton) [Cranford]. Alburger (Scottish Fiddlers and Their Music), 1982; Ex. 111, pg. 187. Bain (50 Fiddle Solos), 1989; pg. 13. Brody (Fiddler's Fakebook), 1983; pg. 162. Cranford (Winston Fitzgerald), 1997; No. 77, pg. 34. Emmerson (Rantin' Pipe and Tremblin' String), 1971; No. 9, pg. 104. Hardie (Caledonian Companion), 1992; pg. 73. Hunter (Fiddle Music of Scotland), 1988; No. 134. Perlman (The Fiddle Music of Prince Edward Island), 1996; pg. 197. Phillips (Fiddlecase Tunebook), 1989; pg. 33. Skinner (The Scottish Violinist), pg. 10. Green Linnet SIF 3037, Silly Wizard - "Golden, Golden" (1985). June Appal 003, John McCutcheon - "How Can I Keep From Singing" (1975. Learned from Malcolm Dalglish, who learned it from a recording of a Scottish accordion player). Philo 2001, "Jean Carignan" (appears as third tune of "J. Scott Skinner Medley"). Philo 1031, Boys of the Lough- "Lochaber No More." The Bothy Band- "1975" (in which fiddler Tommy Peoples renders it as a strathspey, then a reel).
LONDON LASSES [1] ("Cailinide/Cailíní Lungduin" or "Cailíní Londan"). AKA and see "The Maid in the Rushes," "The Bird in the Cage," "Flying Column" [2], "Gardiner's Favourite," "Streams in the Valley," "Sunny Banks," "The Turnpike Gate." Irish, Canadian; Reel. Canada, Cape Breton. G Major. Standard. AB (Dunlay & Reich, O'Neill): AABB (Dunlay & Greenberg, Tubridy): AABB' (Breathnach): AA'BB' (Cranford). The melody was recorded by fiddler Paddy Cronin, piper Patsy Tuohy, and flute player Joe McKenna (the latter called it "Streams in the Valley"). The Cape Breton setting was popularized by the late Donald Angus Beaton, however it is clear from the transcriptions of his settings that he played the tune with parts in reverse order from those printed in O'Neill's Music of Ireland. Dunlay and Greenberg (1996) note that Cape Breton fiddler John Campbell also played the tune with parts reversed from O'Neill's. There is another setting in Breathnach's CRE II, No. 170. Sources for notated versions: Donald Angus Beaton (Cape Breton, Nova Scotia) [Dunlay & Greenberg, Dunlay and Reich]; fiddler Kevin Burke & accordion player Jackie Daly (Ireland) [Breathnach]. Breathnach (CRE III), 1985; No. 106, pg. 53. Cranford (Jerry Holland's), 1995; No. 171, pg. 48. Dunlay & Greenberg (Traditional Celtic Violin Music of Cape Breton), 1996; 95. Dunlay and Reich (Traditional Celtic Fiddle Music of Cape Breton), 1986; pg. 61. O'Neill (Krassen), 1976; pg. 110. O'Neill (1850), 1903/1979; No. 1278, pg. 240. O'Neill (1001 Gems), 1907/1986; No. 546, pg. 101. Shears (The Cape Breton Collection of Bagpipe Music), 1995. Taylor (Through the Half-door), 1992; No. 6, pg. 6. Tubridy (Irish Traditional Music, Vol. 1), 1999; pg. 21. DAB4-1985, Donald Angus Beaton- "A Musical Legacy" (1985. Appears as "Traditional Reel"). Fiddlesticks cass. ACC-49397, Jerry Holland - "Fathers and Sons" (1992). Green Linnet SIF 1058, Matt Molloy & Seane Keane - "Contentment is Wealth" (1985). JC 127, John Campbell- "Cape Breton Violinist" (1983. Appears as "Traditional Reel"). SA93130, Donny LeBlanc - "Rosining Up the Bow" (1993). Shaskeen - "The Joys of Life." STEPH 1-94, Stephanie Wills - "Tradition Continued" (1994).
T:London Lasses [1]
L:1/8
M:C|
K:G
G2 BG dGBd|eaag eg g2|G2 BG dGBd|egdB AGED|
G2 BGT dGBd|Eaag egga|bgag eaaf|gedB AGED:|
|:gfgd edBe|dGBG BGBd|g2 ag efge|dBGB AGED|
g2 ag efge|dBAB dega|bgag eaaf|gedB AGEF:|
LORD SEAFORTH REEL. AKA and see "Highland Plaid." Cape Breton, Reel. A reel version of "Lord Seaforth." Rounder 7003, John Campbell- "Cape Breton Violin Music" (1976. Appears as "A Mabou Reel"). DAB4-1985, Donald Angus Beaton- "A Musical Legacy" (1985). DMP6-27-1, Doug MacPhee- "Cape Breton Piano III" (1981). PM-14, Paul MacDonald (P.E.I.)- "Celtic Fiddle." Rounder C-7013, Joe Cormier - "Old Time Wedding Reels" (1992).
MACLAINE OF LOCH BUIE'S REEL. AKA- "The Highlander's Rant," "Greetings to the Beatons of Mabou," "MacLean of Loch Ban," "Wildcat Reel" (a similar tune), "Willy McKenzie's." Canadian, Reel. Canada, Cape Breton. A Mixolydian. Standard. AAB. The melody appears in Ross's Collection of Pipe Music (1885). Donald Angus Beaton (Mabou, Cape Breton) [Dunlay and Reich]. Dunlay and Reich (Traditional Celtic Fiddle Music of Cape Breton), 1986; pg. 40. Canadian Broadcasting Corp. NMAS 1972, Natalie MacMaster - "Fit as a Fiddle" (1993). Celtic 13 Rodeo (Banff) 1257, The MacLellan Trio- "The Music of Cape Breton" (appears as "Wildcat Reel"). Celtic CX11, John A. MacDonald- "Scottish Fiddling" (appears as "The Highlander's Reel"). DAB4-1985, Donald Angus Beaton- "A Musical Legacy" (appears as "A Mabou Reel"). PLP4-1012, Joe Cormier- "The Cheticamp Connection" (appears as "Greetings to the Beatons of Mabou"). Rounder 7003, John Campbell- "Cape Breton Violin Music" (appears as "Traditional Reel"). STEPH 1-94, Stephanie Wills - "Tradition Continued" (1994). University College of Cape Breton UCCBP 1007, Dan Joe MacInnis- "Celtic Music of Cape Breton, Vol. I" (various artists){appears as "MacLean of Loch Ban"}.
MARGAREE REEL. Canadian, Reel. Canada; Cape Breton, Prince Edward Island. A Mixolydian. Standard. AB (more common) or ABCDDC (Dunlay & Reich): AA'BB' (Perlman): ABB'CDC (Dunlay & Greenberg). The tune is usually played as a two-part reel on Prince Edward Island and Cape Breton, though the Beaton (Mabou, Cape Breton) version is longer. Dunlay & Greenberg (1996) believe the tune to be related to the strathspey "Donalbane," in Kerr's Fourth Collection. There are several towns in Cape Breton, Nova Scotia, with the name Margaree, including Margaree, Margaree Harbour, Margaree Forks, Southwest Margaree and Margaree Valley. The tune is often associated with Cape Breton fiddler Buddy MacMaster. Sources for notated versions: Donald Angus Beaton & The Beaton family (Mabou, Cape Breton, Nova Scotia) [Dunlay and Reich, Dunlay & Greenberg]; Buddy MacMaster (Cape Breton) [Dunlay & Greenberg]; Paul MacDonald (b. 1974, Charlottetown, Queens County, Prince Edward Island) [Perlman]. Dunlay & Greenberg (Traditional Celtic Violin Music from Cape Breton), 1996; pg. 56. Dunlay & Reich (Traditional Celtic Fiddle Music from Cape Breton), 1986; pg. 39. Perlman (The Fiddle Music of Prince Edward Island), 1996; pg. 101. Shears (Gathering of the Clans Collection), 1991. CAT-WMR004, Wendy MacIssac - "The 'Reel' Thing"(1994. Appears as "Donalbane"). Culburnie Records CUL 102, Alasdair Fraser & Jody Stecher - "The Driven Bow" (1988. From the playing of Buddy MacMaster). Green Linnett GLCD 1117, Altan - "Harvest Storm" (1992. Learned from Alasdair Fraser). Rounder 7011, "The Beatons of Mabou" (1978. Appears as 2nd of "Two Traditional Reels"). Rodeo (Banff) RBS 1066, Dan Joe MacInnis- "The Cape Breton Fiddle Of ..." (1962. The first two turns only). Topic 12TS354, John Willie Campbell - "Cape Breton Scottish Fiddle" (1978. Appears as "Untitled" after "Fear nan Casan Caola").
MISS SOPHIA CAMPBELL('S OF SADDELL'S). AKA and see "Mrs. McGee." Scottish, Jig. G Minor (Glen): G Major/Mixolydian (Cranford). Standard. AAB (Glen): AABB' (Cranford). Composed by Robert 'Red Rob' Mackintosh and first printed in his 1796 collection of tunes. Originally a minor-key tune, a Cape Breton 'double-tonic' version in G has been circulating since the 1950's when it was recorded (under the title "Mrs. McGee") by fiddler Angus Chisholm (Cranford). The melody remains one of the more popular of MacIntosh's compositions on Cape Breton. Source for notated version: fiddler Brenda Stubbert (b. 1959, Point Aconi, Cape Breton, Nova Scotia) learned the tune from fiddler Arthur Muise (Cheticamp, Cape Breton) [Cranford]. Cranford (Brenda Stubbert's), 1994; No. 126, pg. 44. Glen (The Glen Collection of Scottish Music), Vol. 2, 1895; pg. 37.
T:Miss Sophia Campbell
L:1/8
M:6/8
S:Glen Collection
K:G Minor
B/c/|d3 (g^fg)|dBG Bcd|c3 (f=ef)|cAF ABc|d3b3|ag^f g=fe|dcB AG^F|G3 G2:|
B/c/|d3 dBG|dBG Bcd|c3 cAF|cAF ABc|d3 dBG|dBG gfe|dcB AG^F|GGG G2 B/c/|
D3 dBG|dBG Bcd|c3 cAF|cAF ABc|d3 bag|ag^f g=fe|dcB AG^F|G3 G2||
MISS CAMPBELL'S [1]. Scottish, Reel. F Major. Standard. AB. Composed by Robert MacIntosh. MacDonald (The Skye Collection), 1887; pg. 140. Shanachie 114001, "The Early Recordings of Angus Chisholm" (Cape Breton).
T:Miss Campbell's [1]
L:1/8
M:C
S:MacDonald - Skye Collection
K:F
f|cFAF DF CF|B,FA,F GG,G,f|cFAF DFCF|B,G, BG AFFf|cFAF DFCF|
B,FA,F GG,G,B|Acf_e dBgf|ecbg aff||g|(a/g/f/e/) fc fcAF|BdcA BGGg|
(a/g/f/e/) fc Acfc|dBbg affg|afef dfcf|BfAf gGGB|AcFA BdGB|cegb aff||
OLD TIME WEDDING REEL [1]. AKA and see "Cape Breton Wedding Reel," "John of Badenyon," "MacIssac's Reel." Canadian, Reel. Canada, Cape Breton. A Aeolian. Standard. AB (Perlman): AABB (Dunlay). Dunlay & Reich (1986) and Dunlay & Greenberg (1996) record that, as a result of the classic recording by Dan J. Campbell and Angus Allan Gillis, the "Old Time Wedding Reels" have become a standard medley in Cape Breton and were often played for dancing at wedding celebrations. The Cape Breton tune is a variant of the G Dorian strathspey "John of Badenyon," found in Scottish collections, and the editors think it may be related to "Tha Duthrachd Mo Chridhe Dhuit (You Have My Heart's Love) in MacDonald's Gesto Collection (originally taken from Alexander Campbell's publication Albyn's Anthology (1816-18}). Sources for notated versions: Dan J. Campbell and Angus Allan Gillis (Cape Breton) [Dunlay and Greenberg]; Peter Chaisson, Sr. (B. 1929, Bear River, North-East Kings County, Prince Edward Island) [Perlman]. Dunlay & Greenberg (Traditional Celtic Violin Music of Cape Breton), 1996; pg. 44. Dunlay and Reich (Traditional Celtic Fiddle Music of Cape Breton), 1986; pg. 42. Perlman (The Fiddle Music of Prince Edward Island), 1996; pg. 95 (appears as "Cape Breton Wedding Reel"). DAB4-1985, Donald Angus Beaton "(appears as "Old Time Wedding Reel"). JC 126, John Campbell- "Cape Breton on the Floor" (1981). Celtic 011 (78 RPM) CX011, CX 1, "Dan J. Campbell and Angus Allan Gillis" (1930's). Celtic SCX 58, Elmer Briand (Appears as "John of Badenyon Strathspey). IMS-WRC1-618, Hector MacKenzie - "Highland Village Ceilidh" (appears as 2nd reel in "Square Set"). MacIssac LP-13, Walter MacIssac (Newfoundland)- "Musical Memories of Codroy Valley" (appears as "MacIssac's Reel"). Marimac 6501, Gus Longaphie (P.E.I.) - "The Old Time Fiddlers of P.E.I" (1993. Appears as "Cape Breton Wedding Reel"). Padledoo Music PAD105, Jerry Holland & Alasdair Fraser - "Scottish Fiddle Rally, Concert Highlights 1985-1995" (1996). Rounder C-7013, Joe Cormier - "Old Time Wedding Reels" (1992).
T:Old Time Wedding Reel #1
T:See ref. John Badenyon Strathspey Skye Collection
R:Reel
A:Cape Breton
S:Sandy MacIntyre
N:From the playing of Sandy MacIntyre
Z:Transcribed Nov 20 1998 by Wil Macaulay
M:C
L:1/8
K:Amin
B | AGEG AGEG | cdcA G2Gc | A/A/A cd edce | cAcd e2eg |
abag egdB | cAGE c2cd | edcA GEcE | D/D/D EG A3 :|
|:g | ageg agea | gedB g2gb | agea gbed | cAcd e2eg |
abag egdB | cAGE c2cd | edcA GEcE | D/D/D EG A3 :|
OLD TIME WEDDING REEL [2]. AKA and see "Hamish the Carpenter," "Och a Chiallain." Canadian, Reel. Canada; Cape Breton, Prince Edward Island. A Dorian. Standard. AB (Dunlay & Reich, Perlman): AABBAAB'B' (Dunlay & Greenberg). Dunlay & Greenberg (1996) point out this is a good reel for two fiddles to double on, since the 'B' part can be played high and low in first position. MacMaster's version illustrates this in four parts, with one low 'B' part and one high (part 'D'). The reel was set for pipes by Barry Shears in his Gathering of the Clans Collection (1986). Source for notated version: Buddy MacMaster (Cape Breton) [Dunlay & Greenberg]; Gus Longaphie (North-East Kings County, Prince Edward Island) [Perlman]. Dunlay & Greenberg (Traditional Celtic Violin Music of Cape Breton), 1996; pg. 45. Dunlay & Reich (Traditional Celtic Fiddle Music of Cape Breton), 1986; pg. 43. Perlman (The Fiddle Music of Prince Edward Island), 1996; pg. 95. JC 126, John Campbell- "Cape Breton on the Floor" (1981). Celtic 011 (78 RPM) CX011, CX 1, "Dan J. Campbell and Angus Allan Gillis" (1930's). CLM8, Carl MacKenzie - "Cape Breton Fiddle Medleys" (1996). IMS-WRC1-618, Hector MacKenzie - "Highland Village Ceilidh" (appears as 3rd reel in "Square Set"). Marimac 6501, Gus Longaphie - "The Old Time Fiddlers of P.E.I." (1993. Appears as "Hamish the Carpenter"). Paddledoo Music PAD 105, Jerry Holland & Alasdair Fraser - "Scottish Fiddle Rally, Concert Highlights 1985-1995" (1996. Appears as "Traditional Reel"). Rounder C-7013, Joe Cormier - "Old Time Wedding Reels" (1992. Appears as 2nd of "Old Time Wedding Reels"). Sea-Cape Music ACR4-12940, Buddy MacMaster - "Judique on the Floor" (1989. Appears as "Traditional Reel").
X:1
T:Old Time Wedding Reel #2
T:Hamish the Carpenter
D:Boys of the Lough, Welcoming Paddy Home (1986)
Z:Nigel Gatherer
M:4/4
L:1/8
K:A dorian
A2 GE GAgf | e2 dB de g2 | A2 GE GAgf | egdB AAAB |
A2 GE GAgf | e2 dB de g2 | (3efg dB GABd | (3efg dB G2 G2 |]
eaab a2 ge | gaba ge d2 | eaab a2 ge | dBgB BA A2 :|]\
X:2
T:Old Time Wedding Reel #2
T:Hamish the Carpenter
T:Och a Chiallain
R:Reel
A:Cape Breton
S:Sandy MacIntyre
N:From the playing of Sandy MacIntyre
Z:Transcribed Nov 20 1998 by Wil Macaulay
M:C
L:1/8
K:Amin
B | A2GE GABd | e2dB degB | A2GE GABd | egdB A/A/A AB |
A2GE GABd | e2dB dega | gedB GABd | egdB A/A/A A ||
B | Aaab a2ge | gaba gegd | eaab a2ge | dBgB A/A/A A B, |
A,aab a2ge | gaba gegd | egab ageg | dBgB A/A/A A ||
PIGEON ON THE GATE [2] ("An Colm Ar an nGeata" or "An Colúr ar an nGeata"). AKA and see "Jack Tar," "Pigeon on the Gatepost," "Pigeon on the Pier" [2], "Roddy Joe's Reel," "The Sturgeon Tea," "The Twin Sisters." Irish, Canadian; Reel. Canada; Cape Breton, Prince Edward Island. A Dorian (Breathnach, Cole, Dunlay & Greenberg/Gillis, Dunlay & Reich, O'Neill/1850): G Dorian (Allan, Cranford, Dunlay & Greenberg/Briand, Little): G Mixolydian (Perlman). Standard. AB (Breathnach): AA'B (O'Neill/1850 & 1001): AABB (Allens, Cole, Dunlay & Greenberg, Dunlay & Reich): AA'BB (Perlman): AABB' (Cranford). Some Cape Breton settings tend to have a more minor flavor than Irish ones; pipe settings are in the key of A minor. In nearby Prince Edward Island the tune is played in (at least by Francis MacDonald, whom Perlman says was heavily influenced by Cape Breton fiddling) G Mixolydian so that it sounds double-tonic. Dunlay & Greenberg (1996) report the tune seems to have developed two main strains on Cape Breton, one in A Dorian and one in G Dorian. Angus Chisholm is credited with the local popularity of the tune in Cape Breton (Cranford). The Irish County Donegal setting is a close variant of the Scotch settings. Caoimhin Mac Aoidh remarks that years ago Paddy Glackin recommended Allen's Irish Fiddler as a text which had a number of County Donegal settings, and Mac Aoidh himself believes "Pigeon on the Gate" in Allen's to be "the same setting as that which is considered to be diagnostic to (County Donegal fiddler) Neily Boyle of Dunlgoe." Boyle credited his version to his mother, Annie Sweeney of Cruit Island, and chose the key to reflect the character of her lilting. Sources for notated versions: Stephen MacLean (Washabuck, Cape Breton {and Boston, Mass.}) [Dunlay and Reich]: flute player Sonny McDonagh, 1966 (Bunanadden, Co. Sligo, Ireland) [Breathnach]: Cape Breton style fiddler Harvey Tolman (Nelson, New Hampshire) [Little]; Alex Gillis/Donald Campbell (Cape Breton) [Dunlay & Greenberg]; Elmer Briand (Cape Breton) [Dunlay & Greenberg]; Francis MacDonald (b. 1940, Moreel Rear, North-East Kings County, Prince Edward Island) [Perlman]. Allan's Irish Fiddler, No. 59, pg. 15. Breathnach (CRE II), 1976; No. 250 [1], pg. 129. Carideas na bhFidleiri Donegal Fiddle Tutor, Volume 2. Cranford (Jerry Holland's), 1995; No. 193, pg. 54. Dunlay & Greenberg (Traditional Celtic Violin Music of Cape Breton), 1996; pgs. 64 & 99. Dunlay and Reich (Traditional Celtic Fiddle Music of Cape Breton), 1986; pg. 46. Little (Scottish and Cape Breton Fiddle Music in New Hampshire), 1984; pg. 5. O'Neill (1850), 1903/1979; No. 1406, pg. 261. O'Neill (1001 Gems), 1907/1986; No. 648, pg. 116. Perlman (The Fiddle Music of Prince Edward Island), 1996; pg. 48. ACC-49G3, Tara Lynn Touesnard - "Bowing the Strings" (1992). Boot BOS 7231, Jerry Holland- "Master Cape Breton Fiddler" (1982). Cairdeas na bhFidleiri, Roisin McGrory and Damian Harrigan - "The Fiddle Music of Donegal Volume 2." Celtic 58 (SCX-58), Elmer Briand- "And His Cape Breton Fiddle." Celtic CX 29, CX 51, BDMF 5-7009, Paddy ("Scotty") LeBlac - "This is Sydney", "The Fiddling French Canadain Scot." Decca 14024 (78 RPM), "Alex Gillis" (c. 1930's). EMI, Neilly Boyle - "The Irish Phonograph." LC9501, Lee Cremo - "The Champion Returns" (1995). Marimac C-6501, "The Old Time Fiddlers of Prince Edward Island.".
T:The Pigeon on the Gate
S:Sean Ryan, fiddle (Chris Delaney collection)
R:reel
Z:Transcribed by Paul de Grae
M:4/4
L:1/8
K:GMix
Bc|:dG ~G2 dGeG|d^cde d=cAG|~F3 A cF ~F2|Acfd cF (3ABc|
dG ~G2 dGeG|d^cde d=cAG|(3FFF Ac fage|fdcA GABc:|:
dgg^f g2 ~g2|dg ~g2 bgag|ec ~c2 gceg|~f3 g fdcA|
dgg^f g2 ~g2|dg ~g2 bgag|ec ~c2 gceg|fdcA GABc:||
PUT ME IN THE BIG CHEST. AKA - "Put Me in the Great Chest." See "Beaton's Last," "Big Coffin Reel," "Cuir's a' Chiste Mhoir Mi," "Lying in the Casket," "Miss Cruiskshank's Reel," "Miss Hopkin's Reel," "Old Time Wedding Reel #3," "Primrose Reel," "Put Me in the Box," "Rose in the Garden." Scottish, Canadian; Reel. Canada, Cape Breton. A Mixolydian (Dunlay & Reich): A Major (Dunlay & Greenberg, Perlman). Standard or ADAE or AEAE. ABB (Dunlay & Reich, Dunlay & Greenberg/MacLellan): AABB' (Perlman): ABBA'BB (Dunlay & Greenberg/Campbell). Dunlay and Greenberg (1996) believe "Put Me in the Big Chest" is "barely recognizable" as being related to "Cuir Sa Chiste Mhoir Mi" or "Miss Cruickshank's Reel" by William Marshall. An alternate title is "Beaton's Last," a reference to the deathbed rendition of the tune by the famous Cape Breton fiddler Donald John the Tailor Beaton (1856-1919), who "played it with all his remaining strength just moments before he died." Another deathbed tale is connected with the tune: according to the Tannahill Weavers, the story goes that the composer of the tune lay dying and asked for a last bottle of stout. He drained it and requested that the bedroom window be opened. "I will throw this empty bottle and wherever it lands is where I wish my final resting place to be." He was buried on top of the wardrobe.
***
Paul Cranford identifies Irish versions as "Primrose Girl" and "The Rose in the Garden" (see his scordatura Cape Breton setting in Canadian Folk Music Bulletin, Vol. 19, No. 5, September 1995). A pipe setting appears in Barry Shears' Gathering of the Clans Collection, however it appears the earliest pipe version appeared in Angus MacKay's (of Raasay) Piper's Assistant 1840 (under the title "Cuir Sa Chiste Mhoir Mi"). Mackay's father, John MacKay of Raasay, had been among the last of the pupils at the famous ancient piping college of the MacCrimmons at Boreraig. The younger Mackay wrote, while still in his early twenties, a book called A Collection of Ancient Piobaireachd, or Highland Pipe Music; a piper's bible for many decades after its appearance in 1838. The song "Four Nights Drunk" is sometimes sung to this tune. Sources for notated versions: John Campbell and Donald MacLellan (Cape Breton) [Dunlay & Greenberg]; Peter Chaisson, Jr. (B. 1942, Bear River, North-East Kings County, Prince Edward Island) [Perlman]. Dunlay & Greenberg (Traditional Celtic Violin Music of Cape Breton), 1996; pg. 46. Dunlay and Reich (Traditional Celtic Fiddle Music of Cape Breton), 1986; pg. 42. Perlman (The Fiddle Music of Prince Edward Island), 1996; pg. 95 (appears as "The Big Coffin Reel"). JC 126, John Campbell- "Cape Breton on the Floor." Celtic 011 (78 RPM) CX011, CX 1, "Dan J. Campbell and Angus Allan Gillis" (1930's). Green Linnet GLCD1182, The Tannahill Weavers - "Choice Cuts 1987-1996." Paddledoo Music PAD 105, Jerry Holland and Alasdair Fraser - "Scottish Fiddle Rally, Concert Highlights 1985-1995" (1996. Appears as "Put Me in the Box"). Rounder 7001, Joe Cormier - "Scottish Violin Music from Cape Breton Island" (1974. Appears as "Put Me in the Box"). Rounder 7011, "The Beatons of Mabou" (1978. Appears as "Big Coffin Reel").
X:1
T:Put Me in the Big Chest
T:Cuir a Chiste Mhoir Mi
S:K.E. Dunlay & D.L. Reich, Traditional Celtic Fiddle Music of Cape Breton
M:C|
L:1/8
R:reel
Z:transcribed by Jack Campin
K:Amix
% A lydian/major/mixolydian pentatonic; G and D gaps
F|EFAB c2cf|ecBA F/F/F AF|EFAB c/c/c cf|ecBc A/A/A A
F|EFAB c2cf|ecBA F/F/F AF|EFAB cB cf|ecBc A/A/A A||
c|efec eAAc|efec BABc |efec efaf |ecBc A/A/A A:|
X:2
T:Old Time Wedding Reel #3
T:Put Me In the Big Chest
T:Cuir's a' Chiste Mhoir Mi
R:Reel
A:Cape Breton
S:Sandy MacIntyre
N:From the playing of Sandy MacIntyre
Z:Transcribed Nov 20 1998 by Wil Macaulay
P:ABCB
M:C
L:1/8
K:A
P:A
F | EFAB c2cf | ecBA F/F/F AF | EFAB cBcf | ecBc A/A/A A :|
P:B
c | efec eAAc | efec BABc | efec efaf | ecBc A/A/A A :|
P:C
F | EFAB c2cB | c2cB ce fz | EFAB cBcf | ecBc A/A/A A :|
STUMPIE/STUMPEY. AKA - "Reel of Stumpie." AKA and see "Butter'd Peas(e)," "Highland Wedding," "Jack's Be the Daddy On't," "The Rosses Highland." Scottish (originally), Canadian, English; Strathspey. Canada; Cape Breton, Prince Edward Island. G Major (Dunlay & Greenberg, Dunlay and Reich, Perlman, Sweet): A Major (Athole, Gow, Honeyman, Hunter, Kennedy, Raven & Skye). Standard. AB (Honeyman): AAB (Dunlay & Greenberg, Dunlay and Reich): AABB (Hunter, Kennedy, Perlman, Raven, Skye, Sweet): AABB' (Athole): AABBCCDDEEFF (Carlin/Gow). "A very old tune" (Gow). The earliest recorded appearances of this double-tonic tune are in John Walsh's Caledonian Country Dances, book 1, c. 1743-44 (under the title "Butter'd Pease"), and in David Young's Duke of Perth Manuscript (AKA the Drummond Castle MS) which predates it, having been printed in 1734. William Stenhouse stated the "Reel o' Stumpie" was in the ballad opera The Female Parson (1729) under the title "Jockey has gotten a wife," though John Glen (Early Scottish Melodies, p. 201-2) said that the "Jockey..." tune was an entirely different melody. Bruce Olsen finds they were both right as the titles "Butter'd Peas" (Stumpie) and "Jockey has gotten a wife" were switched around in The Female Parson. It is usually rendered in the key of 'A' Major in Scottish versions, but the Mabou (Cape Breton) version is in 'G' and is played a bit differently (Dunlay & Reich). Some melodic material from "Stumpie" is shared with "Lady Betty Wemyss' Reel;" James C. Dick states they cover the "same subject."
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The tune was used, as so many famous Scots melodies were, by Robert Burns for one of his revisions of a Scots song (No. 457 in Johnson's Scots Musical Museum {1796}). This song is also published in Dick's The Songs of Robert Burns (1903, No. 205) though he omitted parts he apparently deemed too risqué for the times. Charles Gore gives that the tune (or song) had been previously published as "Hap and row the Feetie o't," and that Burns reworked the material as he did with numerous other older songs. These lyrics appear in The Merry Muses of Caledonia:
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Wap and row, wap and row,
Wap and row the feetie o't
I thought I was a maiden fair,
Till I heard the grettie o't
**
My daddie was a fiddler fine,
My minnie she made mantie O,
And I mysel a thumpin quean,
And try'd the reel of stumpie O.
**
Lang kail, pease and leeks,
They were at the kirst'nin' o't,
Lang lads wanton breeks,
They were at the getting o't.
Wap and row, &c.
**
The Bailie he gaed farthest ben,
Mess John was ripe and ready o't,
But the Sherra had a wanton fling,
The Sherra was the daddie o't.
Wap an' row, &c.
**
The Burns lyrics go:
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Hap and row, hap and row,
Hap and row, the feetie o',t
I thocht I was a maiden fair
Till I heard the greetie o't.
My daddy was a fiddler fine,
My minnie she made mankie-o; (mankie=calamanco, a silk-wool material)
And I mysel' a thumpin' quean,
Wha danced the reel o' Stumpie O.
**
Gossip cup, the gossip cup,
The kimmer clash and caudle-O;
The glowin moon, the wanton loon,
The cuttie-stool and cradle-O.
Douce dames maun hae their bairn-time borne,
Sae dinna glower sae glumpie-O,
Birds love the morn and craws love corn,
And maids the reel o' Stumpie-O.
**
Dunlay and Greenberg (1996) report that Scots bagpiper Hamish Moore feels that the modern march "Highland Wedding" was derived from "Stumpie" and that he supplies a Gaelic title for the tune, "'Buail gu dluth le'd chluigean mi', meaning "strike me incessantly with your {?}." Sources for notated versions: Donald Angus Beaton (Mabou, Cape Breton) [Dunlay & Greenberg]; Paul MacDonald (b. 1974, Charlottetown, Queens County, Prince Edward Island) [Perlman]. Aird (Selection of Scotch, English, Irish and Foreign Airs), Vol. 2, 1782; No. 44. Carlin (Gow Collection), 1986; No. 221. Dunlay & Greenberg (Traditional Celtic Violin Music of Cape Breton), 1996; pg. 93. Dunlay and Reich (Traditional Celtic Fiddle Music of Cape Breton), 1986; pg. 59. Gow (Strathspey Reels), book I, 1784 (appears as "Stumpie Strathspey"). Gow (The Beauties of Niel Gow), Part 3, 1819. Gow (Collection). Honeyman (Strathspey, Reel and Hornpipe Tutor), 1898; pg. 34. Hunter (Fiddle Music of Scotland), 1988; No. 150. Kennedy (Fiddler's Tune Book), Vol. 2, 1954; pg. 16. Kerr (Merry Melodies), Vol. 1; Set 6, No. 3, pg. 6. Lowe (A Collection of Reels and Strathspeys), 1842. MacDonald (The Skye Collection), 1887; pg. 4. Perlman (The Fiddle Music of Prince Edward Island), 1996; pg. 188. Raven (English Country Dance Tunes), 1984; pg. 168. Stewart-Robertson (The Athole Collection), 1884; pg. 13. Surenne (Dance Music of Scotland), 1852. Sweet (Fifer's Delight), 1965/1981; pg. 57. Also found in many old collections. Beltona BL2128 (78 RPM), The Edinburgh Highland Strathspey and Reel Society (1936). Celtic CX 45, Wilfred Gillis - "Arisaig Airs." CTRAX 073, Hamish Moore - "Stepping on the Bridge/Daansa' air an Drochaid" (1994). DAB4-1985, Donald Angus Beaton- "A Musical Legacy" (1985. Appears as "A Mabou Strathspey"). JC 126, John Campbell- "Cape Breton on the Floor" (1981. Appears as "Traditonal Strathspey"). STEPH 1-94, Stephanie Wills - "Tradition Continued" (1994).
T:Stumpie
L:1/8
M:C
S:Strathspey
B:The Athole Collection
K:A
d|c>e a2 a/g/f/e/ a2|c>e a2 b<B B>d|c>e a2 a/g/f/e/ a2|c>eB>d c<AA:|
|:d|c>e e>d/c/ d>f f>e/d/|c>e e>d/c/ f<B B>d|1 c>e e>d/c/ d>f f>ed|c>eB>d c<AA:|2
c>e a2 b/a/g/f/ a2|c>aB>d c<AA||
WAY TO JUDIQUE, THE. AKA - "The Judique Jig." Canadian, Jig. Canada; Cape Breton, Prince Edward Island. A Major. Standard. AABB' (Perlman): AA'BB' (Cranford, Dunlay & Greeberg). Named for the town of Judique, Cape Breton, Nova Scotia. The first tune of Winston Fitzgerald's "Judique Jig Medley" (and so it is sometimes known as "The Judique Jig"). The tune was untitled, so Dunlay & Greenberg gave it the title "Way to Judique" to differentiate it from the "Judique Jig" they gave to the second tune in the medley, composed by Winston Fitzgerald. Fitzgerald learned the tune from Angus Chisholm who may have been responsible for composing or arranging the tune, believes John Donald Cameron (Dunlay & Greenberg). John Campbell, however, remembers his father playing a four-part jig of which "The Way to Judique" is the middle two turns. Source for notated version: Angus Chisholm (Margaree Forks, Cape Breton) via Winston Fitzgerald (1914-1987, Cape Breton) [Cranford, Dunlay & Greenberg]; Andrew Jones (b. 1918, Roseville, West Prince County, Prince Edward Island; now resident of Pleasant View) [Perlman]. Cranford (Winston Fitzgerald), 1997; No. 178, pg. 71. Dunlay & Greenberg (Traditional Celtic Violin Music of Cape Breton), 1996; pg. 104. Perlman (The Fiddle Music of Prince Edward Island), 1996; pg. 139. ACC-4925, Tara Lynne Touesnard - "Heritage" (1988. Appears as "Judique Jig"). Arc 527, Joe MacIsaac - "The Sound of Cape Breton." Audat 477-9010, Lee Creemo - "And the Eastern Variation" (appears as "Judique Jig"). Celtic CX 041, CX1, Winston "Scotty" Fitzgerald. Rounder 7007, Graham Townsend (Ontario) - "Classics of Irish, Scottish... Fiddling."
WEST MABOU REEL. Canadian, Reel. Canada; Cape Breton, Prince Edward Island. G Major. Standard. AB. Mabou is a town in western Cape Breton. A classic double-tonic reel thought at one time to have been composed by Donald John (the Tailor) Beaton (1854-1919), a Mabou fiddler renowned to this day in the region. Dunlay and Greenberg (1996) remark, however, that the melody seems to have "Irish variants and probable origins" (Paul Cranford finds three similar tunes in Irish tradition: "The Mayo Lasses," "Johnny When You Die," "The Old Maids of Galway"). They note the tune facilitates "doubling the melody" (i.e. two fiddles, one playing an octave below the other). Source for notated version: Donald Angus Beaton (Mabou, Cape Breton) [Dunlay & Greenberg, Dunlay & Reich]; Carl and Jackie Webster (Cardigan, central Kings County, Prince Edward Island) [Perlman]. Dunlay & Greenberg (Traditional Celtic Violin Music of Cape Breton), 1996; pg. 94. Dunlay & Reich (Traditional Celtic Fiddle Music of Cape Breton), 1986; pg. 61. Perlman (The Fiddle Music of Prince Edward Island), 1996; pg. 48. Shears (Gathering of the Clans Collection), 1986. Audat 477-9010, Lee Creemo - "And the Eastern Variation." BM-91, Buddy MacMaster - "Glencoe Hall." BRG 012, BRG 013, Cape Breton Symphony - "Pure Cape Breton" (1987). Celtic CX 48, The Five MacDonald Fiddlers- "Scottish Reels...". Culburnie CUL 113D, Alasdair Fraser & Tony MacManus - "Return to Kintail" (1999. Learned from Buddy MacMaster). DAB4-1985, Donald Angus Beaton- "A Musical Legacy" (1985). Rounder 7003, John Campbell- "Cape Breton Violin Music" (1976). SA93130, Donny LeBlanc - "Rosining Up the Bow" (1993). Topic 12TS354, Alex Francis MacKay- "Cape Breton Scottish Fiddle" (1978). UCCBP 1007 (Univ. College of Cape Breton), Donald MacLellan- "Celtic Music of Cape Breton, Vol. 1" (various artists). Cape Breton's Magazine Tape, Mike MacDougall- "Mike MacDougall's Tape For Fr. Hector" (1985).
T:West Mabou
L:1/8
M:2/4
K:G
e|g2 dg e2 dB|g2 dg eaab|g2 dg e2 dB|A2 GA BGGe|
g2 dg e2 db|g2 dg eaag|bgaf gfed|efga babg| eddB dedB|
A2 GA BAAg|eddB dedB|A2 GA BGGg| eddB dedB|
A2 GA BAAe|g2 bg e2 dB|A2 GA BGG||
WILLY McKENZIE'S. AKA and see "Greetings to the Beatons of Mabou," "Highlander's Rant," "Mabou Reel," "MacLaine of Loch Buie," "Wildcat Reel." Canadian, Reel. Canada, Cape Breton. A Mixolydian. Standard. AAB. Barry Shears finds that "Willy McKenzie," as played by Donald Angus Beaton, is a mixture of two pipe reels: "Willy McKenzie's Reel" from Robert MacKinnon's Collection of Pipe Music (c. 1890's) and "MacLaine of Loch Buie's Reel" from Ross's Collection of Pipe Music (1885). Source for notated version: Donald Angus Beaton (Cape Breton) [Dunlay & Greenberg]. Dunlay & Greenberg (Traditional Celtic Violin Music of Cape Breton), 1996; pg. 52. Celtic SCX 57, Donald and Theresa MacLellan (Appears as "Wildcat Reel/MacLaine of Lochbuie's"). DAB4-1985, Donald Angus Beaton - "A Musical Legacy" (1985. Appears as "Mabou Reel"). Rounder 7003, John Campbell - (Appears as "Traditional Reel" on side two). RLP 107, Joe MacLean - "And his Old Time Scottish Fiddle" (c. 1967. Appears as 1st reel after "Ca' the Stirks"). STEPH 1-94, Stephanie Wills - "Tradition Continued" (1994. Appears as "MacLean of Lochbouie" but is Donald Angus Beaton's setting of "Willy McKenzie").