LADY MENZIES OF CASTLE MENZIES. Scottish, Jig. C Major. Standard. AABB. Composed by William Marshall (1748-1833). Castle Menzies is nearby Aberfeldy. Marshall, Fiddlecase Edition, 1978; 1845 Collection, pg. 12.
T:Lady Menzies of Castle Menzies
L:1/8
M:6/8
S:Marshall - 1845 Collection
K:C
G|c3 edc|BAG d3|~c3 edc|fef agf|e2c cBc|ABc d3|GAB cde|fed gfe:|
|:f2A agf|e>dc g3|E2g e>dc|a2f agf|(G,C)E (Gc)e|FAd ~f2a|gfe fdB|
GAB cde:|
MISS GRACE MENZIES. Scottish, Strathspey. F Major. Standard. AB (Marshall): AAB (Cranford). Composed by William Marshall (1748-1823), renowned for his strathspeys. Marshall was Steward of the Household to Alexander, the 4th Duke of Gordon, an enthusiastic supporter and patron of Marshall's music. Moyra Cowie (The Life and Times of William Marshall, 1999) finds that Grace Menzies was born at Gordon Castle where her father was cashier and was presumably overseen by Marshall who had responsibility for the entire household. Mr. Menzies kept meteorological records at Gordon Castle which still survive (and record, among other items, the severe flooding on the estate in 1829). Source for notated version: Winston Fitzgerald (1914-1987, Cape Breton) [Cranford]. Cranford (Fitzgerald), 1997; No. 147, pg. 59. Marshall, Fiddlecase Edition, 1978; 1845 Collection, pg. 4. Atlantica Music 02 77657 50222 26, Jerry Holland - "Atlantic Fiddles" (1994). Fiddlesticks Music CD1, Jerry Holland - "The Fiddlesticks Collection" (1992. Learned from a home tape of Winston Fitzgerald).
T:Miss Grace Menzies
L:1/8
M:C|
S:Marshall - 1845 Collection
K:F
f|c<F c>A c<F c>A|c<F c>A c2 ce|f<a d>f c<fA<f|GGB>c d2 d>f|
c<F c>A c<F c>A|c<F c>A c2 ce|f<a d>f c<fA<f|GGB>c d2d||f|
c<f A>f c<F A>f|c<f A>B c2 (cf)|c<f A>f c<f a>g|f<d c>A AGG>f|
c<f A>f c<f A>f|c<f A>B c2 (ce)|f<a d>f c<f A>f|GGB>c d2d||
RACHEL RAE. AKA and see "The Bashful Bachelor Hornpipe," "Courting Them All," "Don't Bother Me," "Jimmy Holmes' Favorite," "The Moving Bogs (of Allen)," "Miss Rae's Reel," "Obelisk Hornpipe," "Shaw's Reel," "Where Did You Find Her?" "The Wily Old Bachelor." Scottish, Reel. D Major. Standard. AB (Honeyman): AAB (Athole, Kennedy, Kerr, Raven, Skye): ABB' (Hardie). Attributed often to John Lowe and appearing in his Collection, Book 1, though with the footnote: "This favourite reel has been published in many collections, but none have subscribed the Author's name; it was composed by Mr. Lowe's father, many years ago, when he was teaching Dancing in Marykirk, Kincardineshire." MacDonald, in his Skye Collection opines "This excellent reel is in Mr. (John) Lowe's best style and very popular." Lowe was a dancing master in Marykirk whose famous reel first appeared in Archibald Duff's Collection of 1794 as "Raecheal Rea's Rant." His son was the Joseph Lowe who published a collection of melodies in the 1840's. Emmerson (1971) poses a class of Scottish reels defined by the rhythm quarter note-two eight notes-quarter note-two eight notes per measure. Tunes in this catagory include "Rachel Rae," "The Wind that Shakes the Barley," "Largo's Fairy Dance," and "De'il amang the Tailors." It has been suggested that the melody of "Rachel Rae" is the basis for the American old-time tune "Forked Deer." Bill Hardie (1986) thinks it is a "particulary suitable" tune to follow the triplet close of "Stirling Castle." See also "Archie Menzies" and "Sir David Davidson of Cantry" for other famous John Lowe compositions. Cameron's Selection of Violin Music (Glasgow), 1859; pg. 15. Hardie (Caledonian Companion), 1986; pg. 23. Honeyman (Strathspey, Reel and Hornpipe Tutor), 1898; pg. 7. Hunter (Fiddle Music of Scotland), 1988; No. 215. Kennedy (Fiddler's Tune Book), Vol 2, 1954; pg. 13. Kerr (Merry Melodies), Vol. 1; Set 2, No. 2, pg. 4. MacDonald (The Skye Collection), 1887; pg. 32. Raven (English Country Dance Tunes), 1984; pg. 178. Stewart-Robertson (The Athole Collection), 1884; pg. 89. Beltona 2103 (78 RPM), Edinburgh Highland Strathspey and Reel Society (1936). Fife Strathspey and Reel Society - "The Fiddle Sounds of Fife" (1980).
T:Rachel Rae
L:1/8
M:C|
R:Reel
B:The Athole Collection
K:D
A,|D2FA d2Ac|d2fd fedc|d2Ad BAGF|E2AE FDD:|
A|defg a2fd|g2bg e2cA|defg a2fd|Agfe fddA|defg fafd|g2bg eecA|
D2Ad BAGF|E2 AD FDD||
REEL O'/OF TULLOCH, THE ("Ridhle Thulichun" or "Ruighle Thulaichean"). Scottish; Reel and Strathspey. A Major/A Mixolydian. Standard. AB (Athole): AAB (Hunter, Neil, Skinner, Skye): AABB (Emmerson, Kerr): AABB' (Gow): ABCDEFGHIJKLMNO (Johnson). The tune was originally a very popular 17th century bagpipe piece, probably by an unknown composer (although in MacGregor's collection it is confidently stated that the tune was composed by John Dubh Gear, a MacGregor of Glen Lyon). MacDonald once remarked that this reel was composed at Tulloch in Aberdeenshire, and this assertion has survived in tradition. Legend has it, reports Nigel Gatherer, that the reel was improvised on the spot by a MacGregor who had just emerged victorious from a fight with a Robertson for the hand of the Laird o' Tulloch's daughter. Its earliest appearence is in David Young's 1734 Duke of Perth Manuscript (AKA the Drummond Castle Manuscript, where it appears with 160 bars of variations) and it was later reprinted in his 1740 MacFarlane Manuscript (Volume 2, No. 115). Purser (1992) states that it was adapted for the violin "with superb rhythmic pointing and synchopations, mostly composed by David Young in 1740." The piece subsequently appears in Robert Bremner's 1757 collection, the Gillespie Manuscript of Perth (1768), and Davie's 1829 Caledonain Repository (with some pizzicato variations). Johnson (1984) is of the opinion that Young probably composed the three finest sections of the version given in the former's 1984 volume (parts 'F', 'L', and 'O'). This important melody, which at one time was known as 'Righ na' m Port,' or 'King of Airs', has retained its popularity through the ages and is still part of the pipe repertory today.
***
"The Reel of Tulloch" has for several centuries been used in Scotland for a specific dance for males which is always performed to the tune, and it has been quite dominent at Highland dances for several centuries. Instructions for the popular dance, but not the melody, appear in the Menzies Manuscript (contained in the Atholl Collection of the Sandeman Library, Perth), 1749, which carries the alternate title "The Mighty Pretty Valley." J. Scott Skinner, the celebrated violinist who was also dancing master, routinely taught the dance to his students throughout the latter 19th century. Another "Reel of Tulloch" (Ruidhleadh Thulachain), for two mixed couples, was composed around 1800, and appears in dance literature in 1844 (in The Ballroom Annual), though it was mentioned in accounts of dances from the year 1819 onward. Flett & Flett conclude the dance was originally a 'society' dance which was developed at the Breadalbane Balls. It was a particular favorite of Queen Victoria, states Hunter (1979), who first witnessed its performance at a ball at Taywouth Castle given by the Marquis of Breadalbane (the dancers on the occasion were the Marquis of Abercorn, the Hon. Fox Maule, Cluny Macpherson and Davidson of Tulloch). In most parts of Scotland the dance was performed to the tune "The Reel of Tulloch" but in Roxburghshire and Berwickshire, where the dance was often known as "The Hullachan Jig," a double jig such as "The Irish Washerwoman" was played. For an extensive discussion of the dance and its origins see Flett & Flett (Traditional Dancing in Scotland), 1964, pgs. 132-155.
***
"The 'Reel of Tulloch' should be played first as a Strathspey and then as a Reel followed by 'Stumpie' and 'The Deil Among the Tailors,' a welcome combination to enthusiastic dancers" notes MacDonald in his Skye Collection. Paul Stewart Cranford (1995) remarks that versions of this reel vary in late 20th century Cape Breton, from a simple reel setting to J. Scott Skinner's elaborate strathspey variations. Emmerson (1971) finds that the tune on close examination reveals itself to be a rant. Sources for notated versions: Bremner's Scots Tunes, pg. 4 (Bremner clearly meant that parts were only to be repeated once, stated Johnson) [Johnson]; fiddler Mike MacDougall (Ingonish, Cape Breton, 1928-1982), whose style was greatly influences by the highland pipes [Cranford]. Cranford (Jerry Holland's), 1995; No. 3, pg. 2. Emmerson (Rantin' Pipe and Tremblin' String), 1971; No. 42, pg. 136. Gow (Complete Collection), Part 1, 1799; pg. 25. Hunter (Fiddle Music of Scotland), 1988; No. 250. Johnson (Scottish Fiddle Music in the 18th Century), 1984; No. 30, pgs. 82-83. Kerr (Merry Melodies), Vol. 1; Set 5, No. 4, pg. 5. MacDonald (The Skye Collection), 1887; pg. 3. Neil (The Scots Fiddle), 1991; No. 132, pg. 171. Purser (Scotland's Music), 1992; Ex. 2, pg. 174. Skinner (The Scottish Violinist, with seven variations by the author), pg. 24-25. Skinner (Harp and Claymore), 1904. Stewart-Robertson (The Athole Collection), 1884; pg. 6. Cranford Publications CP-R2, "Jerry Holland Solo" (1988). Green Linnet GLDC 1108, The Tannahill Weavers - "Cullen Bay." "The Caledonian Companion" (1975).
T:Reel of Tulloch
L:1/8
M:C|
S:Reel
B:The Athole Collection
K:A
a/f/|e2 a>c e>cA>a|e2 A>c d>B=G>f|e2 A>c e>Ac>A|B>E c/d/e d>B=G>f|
e2 e>c ecAa|e2 e>c dB=Gf|e2 e>a e>Ac>A|Bece d>B=G>B|]
c>A c/d/e cAAB|c>A c/d/e dB=GB|cA c/d/e cAcA|BEBe dB=GB|
cA c/d/e cAAB|cA c/d/e dB=GB|cA c/d/e c2 c>e|Bece d>B=G>f|]
YE'RE WELCOME CHARLIE STUART. AKA and see "Charlie Stuart," "The Confederacy," "Glen Morisone's Reel," "Kate of Garnavilla," "McAlman's Reel," "Queensbury House," "Welcome, Charlie Stewart(, You're Welcome)." Scottish, Reel; New England, Polka. D Major (Honeyman, Kerr): B Flat Major (Miller & Perron). Standard. AABB. The earliest record of the tune is in David Young's Duke of Perth MS (AKA the Drummond Castle MS), of 1734, where it appears as "The Confederacy." James C. Dick, in The Songs of Robert Burns, also finds "The Confederacy" in Walsh's Caledonian Country Dances, published a few years later, around 1736. As "Glen Morisone's Reel" it appears in Angus Cumming's 1780 Collection, written in cut time with dotted strathspey rhythms. Dance instructions, but no music, for the tune appear in the Menzies Manuscript, 1749, contained in the Atholl Collection of the Sandeman Library, Perth. The famous Scots poet Robert Burns wrote a song to the air in the Scots Musical Museum (1796), beginning "The Flower it blaws, it fades, it fa's," though Dick maintains that it was formed on one of the Jacobite ballads made after the highland rising of 1745. For Cape Breton versions see "Welcome, Charlie Stewart." Gow (Complete Repository), Vol. IV, 1817, pg. 29. Honeyman (Strathspey, Reel and Hornpipe Tutor), 1898; pg. 10. Johnson (The Scots Musical Museum), Vol. V, 1787-1803, No. 471. Kerr (Merry Melodies), Vol. 1, Set 6, No. 6, pg. 6. Miller & Perron (101 Polkas), 1978; No. 27. Roche Collection, Vol. 2, No. 344. The Scottish Country Dance Book, 1930-57, Book 7, No. 1. Smith (Scottish Minstrel), Vol. IV, 1820-24, pg. 78. Surenne, 1852; pg. 9. Walsh (Caledonian Country Dances), Vol. II, 1737, pg. 54.
T:Ye're Welcome Charlie Stuart
L:1/8
M:C
S:Honeyman
K:D
B|AFED G2 GB|AFED E2 EB|AFED GABd|AfdF D2 D:|
|:A|defd gfec|defd ecBA|defd gfeg|faAB d2 d:|