CLUNY CASTLE (INVERNESS-SHIRE). Scottish, Slow Strathspey or Pastoral Air (4/4 time). D Major. Standard. AAB. Composed by Alexander Troup (b. 1835) of Dalbadgie near Ballater. The melody first appears in J. Scott Skinner's Harp and Claymore collection, published in 1904. Hardie (Caledonian Companion), 1986; pg. 14 (includes variations). Hunter (Fiddle Music of Scotland), 1988; No. 16.
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.
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"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.
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"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
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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|]