Ceolas: The Fiddler's Companion

Result of search for "Duke of Perth":

ALLASTOR. Scottish, Country Dance Tune. The melody appears in the Drummond Castle Manuscript, "A Collection of Country Dances written for the use of his Grace the Duke of Perth by Dav. Young, 1734." The MS was in the possession of the Earl of Ancaster at Drummond Castle in the early 1970's.

ATHOLL BRAE(S). AKA - "Althol Bray." AKA and see "Braes of Athole," "The Pigeon on the Gate." Scottish, English; Reel. England, Northumberland. G Major. Standard. AABBCCDD. Not a version of "Athole Brose." Printed in the Drummond Castle Manuscript (sometimes called Duke of Perth MS because it is inscribed "A Collection of Country Dances written for the use of his Grace the Duke of Perth by Dav. Young, 1734." In the early 1970's the MS was in the possession of the Earl of Ancaster at Drummond Castle. Alburger (Scottish Fiddlers and Their Music), 1983; Ex. 17, pg. 388. Seattle (William Vickers), 1987, Part 2; No. 376.

AULD WIFE AYOND/AHUNT THE FIRE, THE. AKA and see "Aald Wife Ahunt the Fire," "Old Wife Beyond the Fire." Scottish, Reel, Slow Strathspey or Country Dance Tune (4/4 time); Shetland, Reel. G Major (Cranford, Gow, Kerr): F Major (Hunter). Standard. One part (Hunter): AAB (Gow): AABB (Kerr): AA'BB (Cranford). Known also throughout the Shetlands. According to Glen the tune was first published by Bremner (1757, pg. 90) and Stewart (1761, pg. 12), however, the melody appears earliest in the Drummond Castle Manuscript (in the possession of the Earl of Ancaster at Drummond Castle), inscribed "A Collection of Country dances written for the use of his Grace the Duke of Perth by Dav. Young, 1734." Carlin (The Gow Collection), 1986; No. 8. Cranford (Jerry Holland's), 1995; No. 164, pg. 47. Gow (Complete Repository), Part 1, 1799; pg. 14. Gow (Complete Repository), Part 2, 1802; pg. 6 (slow strathspey). Hunter (Fiddle Music of Scotland), 1988; No. 43. Kerr (Merry Melodies), Vol. 2; No. 115, pg. 14. Fiddlesticks cass., Jerry Holland - "A Session with Jerry Holland" (1990).
X:1
T:Auld wife ayont the Fire, The
L:1/8
M:C|
S:Gow - 1st Repository
K:G
c|{c}B2 AG E/E/E cA|{c}B2 AG G/G/G gd|{c}B2 AG E/E/E (cA)|(B/c/d) A>B G2G:|
c|B(dd)e c>dcB|Bddg (g/f/e/f/) g>d|B(dd>)e c>dcA|(B/c/d) (AB) G2 Gc|B(dd>)e c>dcA|
Bddg (g/f/e/f/) g>d|B>cde c>dcA|B<d A>B {F}G3||
X:2
T:Auld wife ayont the Fire
L:1/8
M:C
R:"Very Slow" Strathspey
S:Gow - 2nd Repository
K:G
d|{c}B2 ~A>G FGA{B}c|{c}B2 ~A>G Gg g>d|(cB) ~AG F>GAc|(B<d) A>B {F}G2G:|
c|B>cde ~c>dcA|(Bc)de de/f/ gd|B>cde c>dcA|(B<d) A>B {F}G2 G>c|B>cde ~c>dcA|
B>c de/f/ (g/f/)g/a/ g>d|B>cde ~c>d cA|(B<d) A>B G2G||

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

BORDER REEL, THE. AKA and see "Stool of Repentance." Scottish, Reel (12/8 time). Appears in David Young's Duke of Perth MS dated 1734 ("A Collection of Country Dances written for the use of his Grace the Duke of Perth by Dav. Young." This MS is sometimes called the Drummond Castle Manuscript and was in the possession of the Earl of Ancaster at Drummond Castle in the early 1970's.

BRAES OF ATHOLE, THE. AKA and see "Athol(e) Brae." Scottish, Medley (4/4). G Major. Standard. AABBCCDD (Alburger, Gow): AABBCCDDEEFF (McGlashan). Vickers' version of "Athole Brae" differs in detail but not in outline (Seattle). Printed by an anonymous publisher in 1734 in the Duke of Perth MS., written by David Young. Glen (1891) finds the earliest appearence of the tune in print in Robert Bremner's collection (pg. 78). Alburger (Scottish Fiddlers and Their Music), 1983; Ex. 17, pg. 38. Carlin (The Gow Collection), 1986; No. 463. Gow (Complete Repository), Part 2, 1802; pg. 18. McGlashan (Collection of Strathspey Reels), c. 1780/81; pg. 15. Stewart-Robertson (The Athole Collection), 1884; pg. 301.
T:Braes of Athole, The
L:1/8
M:C|
R:Reel
B:The Athole Collection
K:G
d|B2 AG B/c/d e/f/g|BAGB A/A/A Ad|B2 AG B/c/d e/f/g|D3B G/G/G G:|
|:f|gdBg dgdB|gdBg f2 Ae/f/|gdBg dgdB|c/B/A/G/ FA G/G/G G:|
|:c|BGBG BG B/c/d|BG B/c/d e/f/g Ac|BG B/c/d e/f/g f/g/a|D3B G/G/G G:|
|:f|gdBg dgdB|g/f/e/d/ Bg f2 Ae/f/|gdBg dgdB|c/B/A/G/ FA G/G/G G:|

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|dA B>d BA/G/|F<A A>B d>ef>d|e>dg>f e2d:|
|:A/G/|F<A A>D FD AG/F/|GE 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|dA dB d>ef>d|e<gf<a e2d:|
|:g|f<a a2 f<d a>f|gg|f<a a2 f<d a>f|g<bf<a e2d:|

BROWN'S REEL [2]. Scottish, Reel. B Flat Major. Standard. AAB. Glen (1891) finds the tune earliest in print in Neil Stewart's 1761 collection (pg. 41). There is a once popular Scottish country dance by this title in Angus, which is also called "The Duke of Perth" in East Fife and Perthshire. Flett & Flett (1964) suggest that it is likely that "Brown's Reel" was a district dance of its own, accompanied by a melody also known as "Brown's Reel." They speculate the "Browns Reel" tune may be the reel of that name in the MS collection of Peter Hardie, a fiddler from Tullymet born about 1775, and that the Brown of the title may in fact be one of the Browns of Kincardine in Strathspey, a fiddling family credited with being the originators of the strathspey style. MacDonald (The Skye Collection), 1887; pg. 192.
T:Brown's Reel [2]
L:1/8
M:C
S:MacDonald - Skye Collection
K:B_
B,DFB AFcF|Bdce dfBd|B,DCE DFBd|1 cAFA B2B2:|2 cAFA B2||de|fdBd bagf|
EdcB AFcF|BFdF cFec|AFGA Bcde|fdBd bagf|edcB AFcF|Bdce dfeg|fFGA B2B2||

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

CADGER O' CRIEFF, THE. Scottish, Reel and Country Dance Tune. A cadger is a carrier, originally a person who ferried customers about in sedan chairs (see note for "Cadgers of Cannongate") though later the word came to be a euphemism for a begger. Crieff is a town in Perthshire. The tune appears in the Bodleian Manuscript (1740), which resides in the Bodleian Library, Oxford; it is inscribed "A Collection of the Newest Country Dances Performed in Scotland written at Edinburgh by D.A. Young, W.M. 1740." The melody also appears in Young's Duke of Perth (the personage to whom it was inscribed to), also called the Drummond Castle Manuscript (1734).

CAMSTRONNAN'S RANT. Scottish, Country Dance Tune (9/8 time). The melody appears in the Drummond Castle Manuscript, in the possession of the Earl of Ancaster at Drummond Castle. It is inscribed "A Collection of Country Dances written for the use of his Grace the Duke of Perth by Dav. Young, 1734."

CONFEDERACY, THE. AKA and see "Glen Morisone's Reel," "You're Welcome Charlie Stewart." English, Scottish; Reel. England, Northumberland. D Major. Standard. AABB. The tune appears in the David Young 1734 Duke of Perth Manuscript (also called the Drummond Castle Manuscript because it is in the possession of the Earl of Ancaster at Drummond Castle). It appears as "The Confederalecy" in William Vicker's original 1770 Northumbrian dance tune MS. (Seattle). Seatlle (William Vickers), 1987, Part 2; No. 322.

CORBY REEL. Scottish, Reel. The tune appears in David Young's 1734 Drummond Castle Manuscript (also known as the Duke of Perth MS because of Young's inscription).

COUNTR(E)Y KATE. Scottish, Country Dance Tune (9/8 time). The melody appears in the Drummond Castle Manuscript, in the possession of the Earl of Ancaster at Drummond Castle. It is inscribed "A Collection of Country Dances written for the use of his Grace the Duke of Perth by Dav. Young, 1734."

CROOKED STOVEPIPE. American, Canadian; Reel or Polka. USA; New England, Michigan, Missouri. Canada; Ontario, Prince Edward Island. G Major. Standard. AA'B (Miller & Perron/1983): AABB (Johnson): AA'BB' (Begin, Miller & Perron/1978, Miskoe & Paul, Perlman, Phillips). The tune is sometimes attributed to Colin J. Boyd. It is thought that it originated in Canada and spread to New England from Ottawa. Crooked Stovepipe is also the name of a dance performed to the tune, popularized in New Hampshire by the late callers Ralph Page and Duke Miller. Sources for notated versions: Vivian Williams [Phillips]; transplanted French-Canadian fiddler Omer Marcoux {1898-1982} (Concord, N.H.), who could not recall where he learned the tune, "I've always known that" [Miskoe & Paul]; Reuben Smith (b. 1931, Blooming Point, Queens County, Prince Edward Island) [Perlman]; Dawson Girdwood (Perth, Ottawa Valley, Ontarion) [Begin]. Begin (Fiddle Music in the Ottawa Valley: Dawson Girdwood), 1985; No. 15, pg. 28. Jarman (Old Time Fiddlin' Tunes), No. or pg. 1. Johnson (The Kitchen Musician's No. 7: Michigan Tunes), Vol. 7, 1986-87; pg. 7. Miller & Perron (101 Polkas), 1978; No. 75. Miller & Perron (New England Fiddlers Repertoire), 1983; No. 106. Miskoe & Paul (Omer Marcoux), 1994; pg. 34 (appears as "Crooking Stovepipe"). Perlman (The Fiddle Music of Prince Edward Island), 1996; pg. 152. Phillips (Traditional American Fiddle Tunes), Vol. 2, 1995; pg. 343. Sannella (Balance and Swing) (CDSS). Condor 977-1489, "Graham & Eleanor Townsend Live at Barre, Vermont." Folkways 8826, Per's Four--"Jigs and Reels." RCA Victor LCP 1001, Ned Landry and his New Brunswick Lumberjacks - "Bowing the Strings with Ned Landry." Smithsonian Folkways SFW CD 40126, Lester Bradley & Friends - "Choose Your Partners!: Contra Dance & Square Dance Music of New Hampshire" (1999).
T:Crooked Stovepipe
L:1/8
M:C|
K:G
G2B2 Bc dB|G2B2 Bc dB|G2B2 e3B|d2c2 cd cA|F2A2 AB cA|
F2A2 ABcd|e3d e2f2|1 g2fe dc BA:|2 g2g2a2^a2||
b3c' b2a2|g4 g2f2|e2e2f2g2|a6b2|c'3d' c'2a2|
f6e2|d2d2e2f2|g2g2a2^a2|b3c'b2a2|g4g2f2|e2e2f2g2|
a6b2|c'3c'c'2a2|f6e2|d2d2e2f2|g2fe dc BA|]

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

DROUTH. Scottish, Jig. The tune appears in the Drummond Castle Manuscript, in the possession of the Earl of Ancaster at Drummond Castle. It is inscribed "A Collection of Country Dances written for the use of his Grace the Duke of Perth by Dav. Young, 1734" (and for this reason it is sometimes called the Duke of Perth MS).

DRUMMOND CASTLE. Scottish, Jig and Country Dance Tune (6/8 time). A Minor. Standard. AABB (Emmerson, Hunter, Kerr): AABB' (Cranford). The melody, described as "old" in the Gow collection, appears in the Drummond Castle Manuscript, in the possession of the Earl of Ancaster at Drummond Castle. It is inscribed "A Collection of Country Dances written for use of his Grace the Duke of Perth by Dav. Young, 1734." Gow sets the tune in Oswald's giga form, used for Scottish solo jigs, which consists of a specific rhythmic pattern of quarter and eighth notes given by Emmerson (1971). Cranford (Jerry Holland's), 1995; No. 206, pg. 59. Emmerson (Rantin' Pipe and Tremblin' String), 1971; No. 79, pg. 159. Hunter (Fiddle Music of Scotland), 1988; No. 280. Niel Gow (Second Collection), 1788. Kerr (Merry Melodies), Vol. 4; No. 260, pg. 28.

DRUNKEN WIVES OF FOCHABERS, THE. Scottish, Strathspey. Scottish, Highlands. G Dorian. Standard. AAB. A companion piece to "Drunken Wives of Carlisle," written in the latter 18th century, this time commenting on a northeast Scottish Highlands town's women. The tune appears as a country dance in the Drummond Castle Manuscript, in the possession of the Earl of Ancaster at Drummond Castle; it is inscribed "A Collection of Country Dances written for the use of his Grace the Duke of Perth by Dav. Young, 1734." Carlin (The Gow Collection), 1986; No. 36. Stewart-Robertson (The Athole Collection), 1884; pg. 199.
T:Drunken Wives of Fochabers, The
L:1/8
M:C
R:Strathspey
B:The Athole Collection
K:G Minor
A|D/D/D D2 F>GA>F|G/G/G G>A B>GA>d|D/D/D D>E F>G A<c|
d>fc>f A<GG:|
=e|f>dc>A f>ga>g|g/g/g g>a b>ga>g|f>dc>A f<g a>g|f>dc>A B<G G>=e|
f>dc>A f>ga>f|g/g/g g>a b>ga>g|f>dc>A f>ga>g|f<dc<f A>GG||

DUKE OF ATHOL'S BLEW BRITCHES. Scottish. The melody appears in the 1768 Gillespie Manuscript of Perth.

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

DUKE OF HOSTINE'S MARCH, THE. Scottish, March. The tune appears in the 1768 Gillespie Manuscript of Perth.

DUKE OF PERTH. AKA and see "Love in a Village" [3], "Da Fashion o da Delting Lasses" (Shetland). Scottish, Reel. G Major. Standard. AAB (Athole, Gow): AABB (Emmerson, Johnson, Kerr, Sweet). Johnson (1983) finds an early version of this famous piece in Stewart's Reels (1761) and believed it to have been written in the mid-18th century. Glen (1891) states the earliest printing to be in Robert Bremner's 1757 collection, however, Emmerson (1971) finds the earliest written record in David Young's 1734 Drummond Castle Manuscript (also called the "Duke of Perth Manuscript"). Another early version is to be found in the 1768 Gillespie Manuscript of Perth. Although called a reel the tune meets the criteria for a rant, however, it is now mostly played at a condisderably slower tempo as a Scottish measure or country dance in 2/4 time. The Scottish country dance performed to the tune was also called Duke of Perth and was very popular around Angus, East Fife and Perthshire, note Flett & Flett (1964), to the extent that it was a feature at various hunt balls in the region. The dance The Duke of Perth is also called Brown's Reel and both these names were used in Perthshire, East Fife and Angus. The same steps went by different names elsewhere in Scotland, to which other tunes were played; in the upper parts of Ettrick it was called Keep the Country, Bonny Lassie, and in Lanarkshire, Ayrshire, Arran and Galloway it was known as Pease Strae. Source for notated version: Stewart's Reels (c. 1761-5) [Johnson]. Emmerson (Rantin' Pipe and Tremblin' String), 1971; No. 41, pg. 136. Gow (Complete Repository), Part 1, 1799; pg. 15. Johnson (Scottish Fiddle Music in the 18th Century), 1984; No. 72, pg. 223. Kerr (Merry Melodies), Vol. 1; Set 16, No. 4, pg. 11. Stewart-Robertson (The Athole Collection), 1884; pg. 171. Sweet (Fifer's Delight), 1964/1981; pg. 56. Tradition 2118, Jim MacLeod & His Band - "Scottish Dances: Jigs, Waltzes and Reels" (1979).
T:Duke of Perth
L:1/8
M:C|
R:Reel
B:The Athole Collection
K:G
B|G>B dB gBdB|gBdB aAAB|G>B dB gBdB|cAdc BGG:|
f|gage abaf|gage beef|gage abaf|gdec BGGf|gage abaf|
gage beef|gage abaf|gdec BGG||

DUKE OF YORK'S MINUET, THE. Scottish, Minuet. The air appears in the 1768 Gillespie Manuscript of Perth.

DUKE'S DANG OWER HIS DADDY, THE. AKA and see "Buff Coat." Scottish, Jig. D Major. Standard. AABB. The tune appears in the 1768 Gillespie Manuscript of Perth (as "Ducks dang Over My Dadie"). Kerr (Merry Melodies), Vol. 1; No. 13, pg. 32. Sweet (Fifer's Delight), 1964/1981; pg.

EPHEY M'NAB. AKA - "Eppie M'Knab," "Euphie McNab." Scottish, Country Dance Tune (6/8 time). John Glen (1891) finds the earliest printing of the melody in Robert Bremner's 1768 2nd collection (pg. 111), however, the melody (under the title "Euphie McNab") had much earlier appeared in the Drummond Castle Manuscript (in the possession of the Earl of Ancaster at Drummond Castle), inscribed "A Collection of Country Dances written for the use of his Grace the Duke of Perth by Dav. Young, 1734." Instructions for a country dance to this tune were written down in 1752 by John McGill, dancing master in Girvan.

FASHION O DA DELTING LASSES, DA. AKA and see "The Duke of Perth." Shetland, Reel. Shetlands, Mainland district. D Major. Standard. AAB. Aly Bain states "it must have been composed in honour of some new fashion in the Delting area." Source for notated version: A. Peterson (Shetland) [Anderson & Georgeson]. Anderson & Georgeson (Da Mirrie Dancers), 1970; pg. 22. Green Linnet GLCD 3105, Aly Bain - "Lonely Bird" (1996).

FAIRLY SHOT ON/OF HER. AKA and see "'Weels Me I Gotten Shott On Her," "Freely Shot Ower"(? Shetland). Scottish, English; Jig (12/8 time). England, Northumberland. G Major. Standard. ABB (Stokoe): AABBCCDD (Vickers). Seattle (1987) says: "This is a good fiddle setting of a tune more widely known in pipe versions...An unusual version appears in Atkinson as ''Weels Me I Gotten Shott On Her.'" Bewick's and Bruce & Stokoe's versions are not particularly similar. The title appears in Henry Robson's list of popular Northumbrian song and dance tunes which he published c. 1800. The tune appears in the Drummond Castle Manuscript (in the possession of the Earl of Ancaster at Drummond Castle), inscribed "A Collection of Country Dances written for the use of his Grace the Duke of Perth by David Young, 1734." Bewick's Pipe Tunes, 1986; No. 14. Bruce & Stokoe (Northumbrian Minstrelsy), 1882; pg. 187. Seattle (William Vickers), 1987, Part 2; No. 261.
T:Fairly Shot of Her
L:1/8
M:6/8
S:Bruce & Stokoe
K:G
B||c2Ac2A|c2e ecA|c2A c2A|GBd dBG|c2A c2A|c2e ece|fdf ece|
dBg dBG|c2A c2A|c2e ecA|c2A c2A|GBd dBG|c2A c2A|c2e ece|
ceg dBG|A2B dBG||
|:G2g gfg|c2e ece|G2g g/f/e/f/g/e/|GBd dBG|G2g gfg|gfg d2B|
cde dBG|A2B dBG:|

FOUR AND TWENTY HIGHLANDMEN. Scottish, Reel. The melody appears in the Drummond Castle Manuscript, 1734, inscribed "A Collection of the best Highland Reels written by David Young, W.M. & Accomptant." The MS, in the possession of the Earl of Ancaster at Drummond Castle, is sometimes called the "Duke of Perth MS."

G(H)ILLIE CALLUM (The Lad Malcolm). AKA and see "Keellum Kallum (taa fein)," "Sword Dance," "Tail Toddle." Scottish, Strathspey. A Mixolydian. Standard. AAB. The earliest record of the tune is in David Young's 1734 Drummond Castle Manuscript (in the possession of the Earl of Ancaster at Drummond Castle; sometimes called the Duke of Perth MS because of the inscription); Glen (1891) finds it also in Bremner's 2nd collection (pg. 108) under the title "Keelum Kallum taa fein." "Gillie Callum" retained its popularity into the next century, and J.S. Skinner, who was a dancing master as well as a celebrated violinist, taught the dance at such places as Elgin and Balmoral (where among other dances he had four children dance Gillie Callum "in a masterly style, such as has not been witnessed in this locality before") {Aberdeen Free Press}. In fact, Skinner included the tune later in his collection The Scottish Violinist, under the title "Sword Dance." Several sources note that this is the tune generally played as a Strathspey and Reel for the Highland Sword Dance, and the melody is today familiar in association with a Highland sword dance in which great care is taken not to displace the crossed swords during the exercise. There are puirt-a-beul words to the tune which begin:
***
Gille Callum da pheighinn, (Gille Callum two pennies,
Gille Callum da pheighinn, Gille Callum two pennies,
Da pheighinn, da pheighinn, Two pennies, two pennies,
Gille Callum bonn-a-sia! Gille Callum 'coin of six'.)
***
The Gille Calum was performed not only by men, but (at least on some occassions) by women. Elizabeth Grant of Rothiemurchus wrote of the festivities at Kinrara, the home of the Duchess of Gordon, Jane Maxwell:
***
We are often over at Kinrara, the Duchess having perpetual dances, either in
the drawing room or the servants hall and my father returning these entertainments
in the same style. A few candles lighted up bare walls, at short warnings fiddles
and whisky punch were always at hand and then gentles and simples reeled
away in company till the ladies thought the scene becoming more boisterous
that they liked remaining in; nothing more however, a highlander never forgets his
place, never loses his native inborn politeness, never presumes upon on favour.
***
She follows this passage with a description of the beautiful dancing of Lady Jane Montague, who not only danced the Gille Calum but Sean Triudhas as well.
***
Carlin (The Gow Collection), 1986; No. 66 (with variations) {appears as "Gillie Callam Da Pheithein"}. Gow (Complete Repository), Part 4, 1817; pg. 35. Honeyman (Strathspey, Reel and Hornpipe Tutor), 1898; pg. 20 (appears as "Ghillie Callum"). Hunter (Fiddle Music of Scotland), 1988; No. 124. Kerr (Merry Melodies), Vol. 1; Set 5, No. 3, pg. 5. MacDonald (The Skye Collection), 1887; pg. 14. McGlashan (A Collection of Reels), c. 1786; pg. 26. Stewart-Robertson (The Athole Collection), 1884; pg. 9 (appears as "Gille Calium"). Celtic CX45, Wilfred Gillis - "Arisaig Airs."
T:Gille Callum
L:1/8
M:C|
S:McGlashan - Reels (pg. 26)
N:"The Original Sett" (sic)
K:A Mixolydian
A<A c>e d2 BG|A<A c>e d2 c>A|E<E G>B d2 B>G|A<A c>e dB e2|A<A c>e d2 B>G|
A<A ce d2 c>A|BEBe d2 B>G|A<A c>e B/c/d e2||A<A c>A g2 B>G|A<A c>A a2 ae|
G2 g2 d2 B>G|A<A c>A dB e2|A<A c>A g2 B>G|A<A c>A a2 ae|g2 a/g/f/e/ d2 B>G|
A<A c>A B/c/d e2||A<A c>A AgBG|A<A c>A AacA|aefd egBG|A<A c>e B/c/d e2|
A<A c>A AgBG|A<A c>A AacA|gbeg dgBG|A<A c>E B/c/d e2||
|:A<A c>A G/G/G BG|A<A c>A A/A/A c>A|c>ABA G/G/G B>G|A<A c>A B/c/d e2:|
|:A<A c>e dgBG|A<A c>e AacA|a/g/f/e/ fd gdBG|A<A c>e B/c/d e2:|
|:A2 cA BGBG|A2 cA cAcA|cAcA BGBG|A<A c>A B/c/d e2:|
|:A<A c>e AgBG|A<A c>e AacA|gaeg dgBb|gaeg dg e2:|
T:Gille Callum
L:1/8
M:C|
S:Strathspey
B:The Athole Collection
K:A
e|:AAc>e d2 B>G|AAc>e d2 c>A|B>EB>e d2 B>G|AAc>e d>B e2:|
||AAc>e =g2 B>G|AAc>e a2 c>A|a2 c>A =g2B>G|AAc>e d>B e2|
AAc>e =g2 B>G|AAc>e a>ba>f|=g>ag>e d>=gB>G|AAc>e d>B e2|]

GLEN MORISONE'S REELL (sic). AKA and see "The Confederacy," "You're Welcome Charlie Stewart." Scottish, Reel. The melody is to be found in David Young's Duke of Perth MS. (also known as the Drummond Castle MS) of 1734, where it is one of the earliest examples of dotted strathspey-like rhythms. It was later printed in Angus Cumming's 1780 collection.

HEY MY NANNY. AKA - "Oh My Nanny," "Hey My Nancy." Scottish, English; Slip Jig and Country Dance Tune. England, Northumberland. A Mixolydian (Gow, Vickers): D Major (Huntington). Standard. AABB. Appears in Bewick's Pipe Tunes (1986) as "Oh My Nanny," though "only the first strains correspond in detail" (Seattle). The melody appears in the Drummond Castle Manuscript in the possession of the Earl of Ancaster; it is inscribed "A Collection of Country Dances written for the use of his Grace the Duke of Perth by Dav. Young, 1734". Robert Bremner prints a version in his 1757 "A Collection of Scots Reels," pg. 46., which John Glen (1891), evidently not knowing of Young's MS, thought was the earliest printing. The title also appears in Henry Robson's list (as "Hey, My Nanny, My Nanny") of popular Northumbrian song and dance tunes ("The Northern Minstrel's Budget"), which he published c. 1800. The tune "Hunt the Fox" in Cole's 1001 is very similar. Carlin (The Gow Collection), 1986; No. 411. Gow (Complete Repository), Part 3, 1806; pgs. 24-25 (appears as "Hay my Nanny"). Huntington (William Litten's), 1977; pg. 32 (appears as "Hey My Nancy"). Seattle (William Vickers), 1987, Part 2; No. 293.
T:Hay (sic) My Nannie
L:1/8
M:9/8
S:Gow - 3rd Repository
K:A
=g|:f2A ceA ceA|f2A ceA Bd=g|f2A ceA cef|=gfg dBG Bdg:|
|:f>ga eae ce=g|fga ef=g Bdg|f>ga eae cef|~=gfg dBG Bdg:|

HEY TO COUPER/COWPER. AKA and see "Warkworth Castle." AKA - "Hey to Cupar." Scottish, English; Jig and Country Dance Tune. England, Northumberland. D Major. Standard. AABB (Lerwick, Vickers): AABB' (Gow). The earliest record of the tune is found in David Young's Duke of Perth Manuscript (AKA the Drummond Castle Manuscript) of 1734, in the possession of the Earl of Ancaster at Drummond Castle. John Glen (1891), evidently not knowing of Young's MS, found the earliest printing to be in Robert Bremner's 1757 collection (pg. 89). The Fife, Scotland, town of Cupar is perhaps the place referred to in the title. Carlin (Gow Collection), 1986; No. 518 (appears as "Hey to Cupar"). Gow (Complete Repository), Part 2, 1802; pg. 25. Lerwick (Kilted Fiddler), 1985; pg. 37. Seattle (William Vickers), 1987, Part 2; No. 309.
T:Hey to Cupar
L:1/8
M:6/8
S:Gow - 2nd Repository
K:D
A,|D>ED F2G|A2c AFD|G2e F2d|EFD C>B,A,|D>ED F2G|A2B AFD|FdF Edc|d3D2:|
|:A|d>ed f2g|{fg}a2g fed|BcB c2d|efd cBA|ded f2g|{fg}a2g fed|1 B/c/dB c/d/ec|
{c}d3 D2:|2 Bgf edc|{c}d3D2||

HIGHLAND LADDIE(, THE ORIGINAL) [1]. AKA - "Hielan Laddie." AKA and see "Bonny Laddie," "Clashing At Her," "Donkey Riding," "High Caul'd Cap," "I have two yellow goats" (Ireland), "The Lass of Livingston." Scottish, English, New England; Scotch Measure, Quickstep, March, Polka, or Country Dance Tune (cut time). England, Northumberland. D Major (Kerr, Raven): F Major (Johnson): G Major (Miller & Perron, Vickers): A Major (Emmerson, Gow). Standard. AB (Raven): AABB (Emmerson, Kerr, Seattle/Vickers): ABCD (Johnson): AABBCCDD (Gow). In the Gentleman's Magazine for 1750 that "The Highland Laddie written long since by Allan Ramsay, and now sung at Ranelagh and all the other gardens; often fondly encor'd, and sometimes ridiculously hiss'd," for, as Emmerson (1971) points out, the rising of 1745 of Bonnie Prince Charlie was fresh in the minds of many at the time. However, by the end of the century that memory had dimmed to the extent that Gow noted in his Repository (Part Second, 1802) "The Quick step (sic) of the gallant 42nd Regiment (The Royal Highlanders, or, more popularly, The Black Watch). Performed when the Regiment was reviewed by His Majesty at Ashford, May 7, 1802." It is still played on ceremonial occasions. The melody appears in the Drummond Castle Manuscript (in the possession of the Earl of Ancaster at Drummond Castle), inscribed "A Collection of Country Dances written for the use of his Grace the Duke of Perth by Dav. Young, 1734." John Glen (1891) finds the earliest printing of the tune in Robert Bremner's 1757 collection (pg. 47). Highland Laddie is also the name of a simple step dance which used to be taught to children, and is the name of a Scottish country dance.
***
Numerous sets of words exist to the melody. This was often sung to the pipe tune version:
***
Where ha' ye been a' the day?
Bonnie laddie, Hielan' laddie
Saw ye him that' far awa'
Bonnie laddie, Hielan' laddie
On his head a bonnet blue
Bonnie laddie, Hielan' laddie
Tartan plaid and Hielan' trews
Bonnie laddie, Hielan' laddie
***
Barry Finn reports that the melody was used as a capstan and a 'stamp and go' shanty, and (without the grand chorus) was also used as a halyard shanty. It was popular on the Dundee Whalers, then later used (c. 1830's and 40's) as a work song for stowing lumber and cotton in the Southeastern and Gulf ports of the United States. An older Dundee version goes:
***
Where have ye been all the day, Bonnie Laddie, Hieland Laddie
Where have ye been all the day, my Bonnie Hieland Laddie
***
Chorus:
Way hay & away we go, Bonnie Laddie, Hieland Laddie
Way hay & away we go, my Bonnie Hieland Laddie
***
I did see ye down the glen, Bonnie Laddie, Hieland Laddie
I did not see ye near the burn, my Bonnie Hieland Laddie
***
Chorus
***
No, I was not down the glen, no, I was not near the burn
I joined a ship & went a sailing, sailed far north & went a whaling
***
Shipped on board of a Dundee whaler, shipped on board as a whaling sailor
Bound away to Iceland cold, found much ice but not much gold
***
Greenland is a cold country, it's not the place for you and me
We caught some whales and boiled their blubber, oil and fat choked every scupper
***
I'll be glad when I get home, I'll give up this whaling game.
***
A later shanty called "Donkey Riding" was derived from the tune:
***
Was you ever in Quebec, moving timber on the deck
Where you nearly break your neck, riding on a donkey
***
Finn thinks the shanty probably goes back at least to the 1820's or earlier when the Scottish whalers out of Dundee, Peterhead, & Aberdeen were in their Greenland Fisheries hay-days, chasing the right whale. Source for notated version: Bowie Manuscript, c. 1789 [Johnson]. Carlin (The Gow Collection), 1986; No. 568. Emmerson (Rantin' Pipe and Tremblin' String), 1971; No. 29, pg. 129. Gow (Complete Repository, Part Second), 1802; pgs. 2-3. Johnson (Scottish Fiddle Music in the 18th Century), 1984; No. 1, pg. 22. Kerr (Merry Melodies), Vol. 1; No. 5, pg. 21. Miller & Perron (101 Polkas), 1978; No, 95. Raven (English Country Dance Tunes), 1984; pg. 150. Seattle (William Vickers), 1987, Part 2; No. 265 (appears as "Clashing At Her"). Green Linnet SIF 1076, Relativity - "Gathering Place" (1987). Green Linnet SIF 1121, Tannahill Weavers - "The Mermaid Song."
T:The Original Highland Laddie
L:1/8
M:2/4
S:Gow - 2nd Repository
K:A
E|A>Bcc|dB ~c2|cBB A/B/|cBB A/F/|A>B cc|dB ~c>B|AFF E/F/|AFF:|
e|(fa) (ef)|(d/c/)B/A/ {AB}c2|cBB A/B/|cB B>e|fa ea|(d/c/)B/A/ c>B|AFF E/F/|AF~F:|
|:e|a>b c'c'|d'b c'2|c'b~b a/f/|d'b c'>b|af~f e/f/|af~f:|
|:ag|fa ea|(d/c/)B/A/ {AB}c2|cB~B A/B/|cB ~B>e|fa ea|(d/c/)B/A/ c>B|AF~F E/F/|AF~F:|

JACKIE LAYTON. AKA - "Jackie/Jacky Latin/Latten," "Jockey Latin," "Jackey Layton," "Jack Leighton," "Jennie, Rock the Cradle." AKA and see "Jockey Latin." Scottish, English, Irish; Reel and Country Dance Tune. England, Northumberland. G Major (Gow, Peacock, Stokoe & Bruce): A Major (Kerr): D Major (O'Neill). Standard. AB (Kerr): ABC (O'Neill): AAB (Gow, Stokoe & Bruce): AABBCCDDEEFFGGHHII (Peacock). Another tune in which the provenance is debatable and which is popular throughout the British Isles as a bagpipe and fiddle tune. The earliest appearance in print of the melody under the "Latin" title (or variations of the same) appears to be in the Scottish Drummond Castle Manuscript (in the possesssion of the Earl of Ancaster at Drummond Castle), inscribed "A Collection of Country Dances written for the use of his Grace the Duke of Perth by Dav. Young, 1734." It is also said to have been published in the same year in Ireland in Neal's 3rd Collection of Country Dances (1734), according to Matt Seattle (whose information was supplied by Sean Donnelly). Closely following this is the melody appeared in Daniel Wright's Flute Tutor (1735) and the ballad opera The Female Rake (1736), indicating its popularity at that time. "Jacky Latin" appears in the 3rd book of The Compleat Country Dancing Master (1735) and volume 2 of Walsh's Caledonian Country Dances (c. 1737). Later printings can be found in Waylet's Collection of Country Dances (1749), book 12 of Oswald's Caledonian Pocket Companion (c. 1759-60), the McLean Collection (printed by James Johnson in Edinburgh, 1772), the Gillespie MS. of Perth (1768), and Bremner's McGibbon Collection (1768), though tune in the McLean Collection has been found contain a transposed flute version of the piece that Robert Bremner published four years earlier. The title appears in Henry Robson's list of popular Northumbrian song and dance tunes ("The Northern Minstrel's Budget"), which he published c. 1800, indicating that its popularity had at least spread to the Borders region. Johnson included "Jacky" in his Scots Musical Museum (No. 430), as the tune for Robert Burns' "Lass of Ecclefechan."
***
A correspondent of Francis O'Neill's, one Patrick O'Leary of Drumlona, Eastwood, Adelaide, South Australia claimed the melody was Irish in origin and related this story:
***
This fine old reel is said to have been composed in honor of
a young man, John Duffy--better known as 'Jack' Duffy--who
lived in the townland of Lattan, near (Walter 'Piper') Jackson's
home in the parish of Aughnamulien. Duffy being a fine,
strapping young man, a local Adonis, and an incomparable
dancer in those days when dancing was a fine art in Ireland,
he won Jackson's friendship and esteem to such a degree, that
the great composer immortalized him in the beautiful tune,
'Jack o' Lattan."
***
A variant of this story is the one which puts forward that Jack Lattin (1711-1731) was an Irishman who danced himself to death at the age of 21. Yet another identification has it that Lattin was an accomplished and gifted fiddler and an associate of another famous Irishman immortalised in tune: Larry Grogan, the gentleman piper from Wexford.
***
The melody was published in O'Farrell's Collection of National Irish Music for the Union Pipes (1804) as "Jack Latten with variations," a five part tune, the whole of which was reproduced by O'Neill in his Waifs and Strays of Gaelic Melody (No. 236), though this seems to be the earliest Irish printing. In the Fleischmann index, however, there is a note that the tune appears under the title "Irish Tune" in John Young's Collection of Scotch Tunes for the Violin (c. 1700), and if the reference is accurate, this would seem to indicate Irish origins for the melody predate Scottish ones. Carlin (The Gow Collection), 1986; No. 392. Gow (Complete Repository), Part 3, 1806; pg. 18. Kerr (Merry Melodies), Vol. 3; No. 106, pg. 13. O'Neill (1001 Gems), 1907/1986; No. 537, pg. 100 (appears as "Jacky Latin"). Peacock's Tunes, c. 1805/1980; No. 49, pg. 23. Bruce & Stokoe (Northumbrian Minstelsy), 1882; pg. 176.
X:1
T:Jockey Latin
L:1/8
M:C|
S:Gow - 3rd Repository
K:G
(B/A/B/c/) dg dBBg|dBBg {e}d2 cB|(G/A/B/c/) de dBBg|a(AA>)B (A/B/c) B>A:|
(G/A/B/c/) dB ecdB|(G/A/B/c/) dB {e}d2 cB|(G/A/B/c/) dB ecdB|c(AA>)B (A/B/c/) B>A|
(G/A/B/c/) dB ecdB|(G/A/B/c/) dB {e}d2 cB|(G/A/B/c/) dB ecdB|a(AA>)B (A/B/c) B>A||
X:2
T:Jackie Layton
L:1/8
M:C
S:Bruce & Stokoe - Northumbrian Minstrelsy
K:G
G/A/B/c/ dg dBBg|dBBg d2B2|G/A/B/c/ dg dBBg|
gAAB c2 BA|G/A/B/c/ dg dBBg|dBBg d2B2|
G/A/B/c/ d/e/g/e/ d/c/B/d/ B/c/d/f/|gAAB c2 BA:|
|:G/A/B/c/ dB ecdB|G/A/B/c/ dG d2 cB|G/A/B/c/ dB ecdB|
eAAB c2 BA|G/A/B/c/ dB ecdB|G/A/B/c/ dB c2 BA|
G/A/B/c/ d/c/B/d/ e/d/c/e/ d/c/B/d/|eAAB c2 BA:|
X:3
T:Jacky Latin
L:1/8
M:C|
R:Reel
S:O'Neill - 1001 Gems (537)
K:D
(3ABc|dAFA DAFA|dAFG A2 (3ABc|dAFA DAFA|GFEF G2 (3ABc|dAFA DAFA|
dAFG A2 (3ABc|dBcA BGAF|GFEF G2||AF|DFAc BGTAF|DFAB A2 AF|DFAc BGAF|
GFEF G2 FE|DFAc BGAF|DFAB A2 (3ABc|dBcA BGAF|GFEF G2||AG|
(3FED AD BDAD|(3FED AB A2 AG|(3FED AD BDAD|GFEF G2 AG|
(3FED AD BDAD|(3FED AB A2 (3ABc|dBcA BGAF|GFEF G2||

KEEP THE COUNTRY BONNIE/BONNY LASSIE/LASS. Scottish; Reel. A Major. Standard. AB (McGlashan): AAB (Athole, Gow, Honeyman, Kerr): AABB (Vickers): AABB'(Skye). John Glen (1891) finds the earliest printing of this tune in Robert Bremner's 1757 collection (pg. 32). There is a Scottish country dance of the same title which was once danced in parts of Ettrick (taught by a country dance master named James Laidlaw), though Flett & Flett believe it never attained much popularity under the title (or danced to this this tune). The same figures were danced to "Duke of Perth" ("Brown's Reel") and "Pease Strae," called by the names of those tunes, and appeared to be much more widespread in the 19th century. Carlin (The Gow Collection), 1986; No. 487. Gow (Complete Repository), Part 2, 1802; pg. 25. Honeyman (Strathspey, Reel and Hornpipe Tutor), 1898; pg. 19. Kerr (Merry Melodies), Vol. 2; No. 12, pg. 4. MacDonald (The Skye Collection), 1887; pg. 25. McGlashan (A Collection of Reels), c. 1786; pg. 41. Stewart-Robertson (The Athole Collection), 1884; pg. 24. Seattle (William Vickers), 1987, Part 3; No. 447.
T:Keep the Country Bonny Lassie
L:1/8
M:C|
R:Reel
B:The Athole Collection
K:A
f|eAcA Bcdf|eAcA eAcA|dfce Bcdf|ecac e2e:|
g|aece Bcdf|aece aece|aece Bcdf|ecac e2 eg|aece Bcdf|
aece aece|dfce Bcdf|ecac e2e||

KICK THE WORLD BEFORE YOU. AKA and see "Red Stockings." Scottish, Country Dance Tune (9/8 time). The melody appears in the Drummond Castle Manuscript (in the possession of the Earl of Ancaster at Drummond Castle), inscribed "A Collection of Country Dances written for the use of his Grace the Duke of Perth by Dav. Young, 1734."

KING OF DAMASCUS. Scottish, Country Dance Tune (4/4 time). The melody appears in the Drummond Castle Manuscript (in the possession of the Earl of Ancaster at Drummond Castle), inscribed "A Collection of Country Dances written for the use of his Grace the Duke of Perth by Dav. Young, 1734."

KIRKCUDBRIGHT. Scottish, Country Dance Tune (4/4 time). The melody appears in the Drummond Castle Manuscript (in the possession of the Earl of Ancaster at Drummond Castle), inscribed "A Collection of Country Dances written for the use of his Grace the Duke of Perth by Dav. Young, 1734." Kirkcudbright is an Old English word meaning 'Cuthbert's church'.

KISSED YESTREEN/YESTREVEN. AKA - "As I was Kissed Yestreen." Scottish, Jig. A Dorian. Standard. AB (Kerr): AABB (Sweet). The melody appears in the Drummond Castle Manuscript (in the possession of the Earl of Ancaster at Drummond Castle), inscribed "A Collection of Country Dances written for the use of his Grave the Duke of Perth by Dav. Young, 1734." Kerr (Merry Melodies), Vol. 1; No. 2, pg. 31. Sweet (Fifer's Delight), 1964/1981; pg. 36.

LADDIE WITH THE YELLOW COATIE. Scottish, Country Dance Tune (4/4 time). The air appears in the Drummond Castle Manuscript (in the possession of the Earl of Ancaster at Drummond Castle), inscribed "A Collection of Country Dances written for the use of his Grace the Duke of Perth by Dav. Young, 1734."

LADY CHRISTIAN MONTGOMERY'S HORNPIPE. Scottish, Country Dance Tune (3/2 time). This melody, in old hornpipe metre, appears in the Drummond Castle Manuscript (in the possession of the Earl of Ancaster at Drummond Castle), inscribed "A Collection of Country Dances written for the use of his Grace the Duke of Perth by Dav. Young, 1734."

LADY JEAN HUM(E)'S REEL. Scottish, Country Dance Tune (12/8 time). The melody appears in the Drummond Castle Manuscript (in the possession of the Earl of Ancaster at Drummond Castle), inscribed "A Collection of Country Dances written for the use of his Grace the Duke of Perth by Dav. Young, 1734", and in the Gillespie Manuscript of Perth (1768). John Glen (1891) found the earliest appearence of the tune in print only in Robert Bremner's 1757 collection (pg. 50), and was evidently unaware of Young's MS.

LADY SUSAN MONTGOMERY'S HORNPIPE. Scottish, Country Dance Tune (3/2 time). This melody, in the old hornpipe metre, appears in the Drummond Castle Manuscript (in the possession of the Earl of Ancaster at Drummond Castle), inscribed "A Collection of Country Dances written for the use of his Grace the Duke of Perth by Dav. Young, 1734."

LENNOX'S LOVE. English, Reel. England, Northumberland. G Major. Standard. AABB. Does not resemble "Lennox Love to Blantyre." A tune by this title appears in the Drummond Castle Manuscript (in the possession of the Earl of Ancaster at Drummond Castle), inscribed "A Collection of Country Dances written for the use of his Grace the Duke of Perth by Dav. Young, 1734." Seattle (William Vickers), 1987, Part 2; No. 336.

LET'S BE GAY. American, Reel. G Major. Standard. AABB. A variant of "The Duke of Perth." Cole (1001 Fiddle Tunes), 1940; pg. 22.

LOCHEIL HOUSE. Scottish. A mid-20th century composition by Angus Fitchett, listed as an accompaniment to the dance Duke of Perth. Loch Eil is a sea loch, with the mouth near Fort William, at the head of Loch Linnhe. It spans approximately 10 miles west. Angus Fitchett (Scottish Dance Music Collection), pub. by Mozart Allan.

LOVE IN A VILLAGE [3]. AKA and see "Duke of Perth." English, Reel. G Major. Standard. AABB. None of the 3 versions appear to be particularly similar to each other. Trim (Thomas Hardy), 1990; No. 23.

LUCKY BLACK'S DAUGHTER. Scottish, Country Dance Tune (4/4 time). The melody appears in the Drummond Castle Manuscript (in the possession of the Earl of Ancaster at Drummond Castle), inscribed "A Collection of Country Dances written for the use of his Grace the Duke of Perth by Dav. Young, 1734."

MALTMAN (COMES A/ON MONDAY), THE. AKA and see "Sir Roger de Coverly," "Old (Sir) Roger a Coverdill." Scottish, English; Country Dance Tune (9/8 time). G Major (Gow): D Major (Johnson): B Flat Major (Knowles). Standard or Scordatura (ADAE). AABBCC (Gow): AABBCCDDEEFFGGHH (Knowles): AABBCCDDEEFFGGHHIIJJKKLL--- MMNNOOPPQQRRSSTTUU (Johnson {theme and variations}). A version of the seventeenth century country dance "Sir Roger de Coverly." The title comes from the first line of Allan Ramsay's words to the tune, published in his Tea-Table Miscellany (Vol. 3, 1723). The tune appears in the Drummond Castle Manuscript (in the possession of the Earl of Ancaster at Drummond Castle), inscribed "A Collection of Country Dances written for the use of his Grace the Duke of Perth by Dav. Young, 1734," and in Robert Bremner's 1757 collection (pg. 47). Source for notated version: Bremner's 1759 Scots Tunes, pg. 18. Carlin (Gow Collection), 1986; No. 462. Gow (Complete Repository), Part 2, 1802; pg. 17. Johnson (Scottish Fiddle Music in the 18th Century), 1984; No. 33, pgs. 89-91. Knowles (A Northern Lass), 1995; pg. 22.
T:Maltman, The
L:1/8
M:9/8
S:Gow - 2nd Repository
K:G
D|E/F/GG G2g dBG|F2(A A)EA F2D|E/F/GG G2g def|g2(G G>)AG G2:|
|:c|Bcd efg dBG|F2(A A)EA F2D|dBd ece def|g2G GAG G2:|
|:(d2/e/2f/)|g3 f2e dBG| F2(A A)EA F2D|gag f2e def|g2(G G)AG G2:|

(MY) AIN KIND DEARIE (O). AKA and see "The Lea Rig," "O Lassie Art Thou Sleeping Yet?" "The Wedding." Scottish, English, Canadian; Reel, Slow March and Air. England, Northumberland. Canada; Prince Edward Island, Cape Breton. G Major. Standard or AEAE (Cape Breton). AB (most versions): AABB (Perlman). A popular 18th century melody, this tune appears the Gillespie Manuscript of Perth (1768, pg. 55), Robert Bremner's 1757 collection (pg. 76), and the Drummond Castle Manuscript (in the possession of the Earl of Ancaster at Drummond Castle), inscribed "A Collection of Country Dances written for the use of his Grace the Duke of Perth by Dav. Young, 1734." There are also resemblances between this tune and "Christmas Eve," "Our President," "Here's a Health Unto Our Leader," "The Fearless Boys," and the 1st part of Bayard's Pennsylvania collected "Hell Broke Loose in Georgia." The title (as well as the alternate titel "Lea Rig," by which it is also commonly known) comes from the words set to the tune (which also provide one of the alternate titles, "The Lea Rig" by which it is now better known), in common use in the countryside of Scotland in the 18th century. They begin:
***
I'll lay thee o'er the lea rig,
My ain kind dearie O.
***
Scots poet Robert Burns adapted the melody to his song of the same title, which is close to the setting given in Cranford (1995). Cape Breton settings of "My Ain Kind Dearie," such as played by Joe MacLean, Dan Hughie MacEachern and others, were rendered in multiple parts (six to eight) in 'raised-bass' tuning (AEAE), according to Paul Stewart Cranford (1995), who thought the variations likely evolved from ones similiar to those given in Charles MacLean's 1774 publication A Collection of Favourite Scots Tunes with Variations for the Violin. Irish versions of the melody can be found under the titles "Have you seen or have you heard," "Sweet Innisfallen and Lover's "Widow Machree." Sources for notated versions: fiddler Mike MacDougall (1928-1982, Ingonish, Cape Breton) via Jerry Holland (Inverness, Cape Breton) [Cranford]; Paul MacDonald (b. 1974, Charlottetown, Queens County, Prince Edward Island) [Perlman]. Cranford (Jerry Holland's), 1995; No. 172, pg. 49 (slow march setting). Graham, 1908; pg. 176. Johnson (Scots Musical Museum), 1787-1803, Vol. 1, No. 49. Peacock (Peacock's Tunes), c. 1805/1980; No. 10, pg. 3. Perlman (The Fiddle Music of Prince Edward Island), 1996; pg. 206 (appears as "Me Ain Kind Dearie"). Walsh (Compleat Country Dancing Master), 1731, Vol. 1, pg. 64.

NEW BIGGING. Scottish, Country Dance Tune (6/8 time). The melody appears in the Drummond Castle Manuscript (in the possessin of the Earl of Ancaster at Drummond Castle), inscribed "A Collection of Country Dances written for the use of his Grace the Duke of Perth by Dav. Young, 1734."

OLD AGE AND YOUNG. Scottish, Country Dance Tune (3/2 time). Directions for the dance to this tune were written down in 1752 by John McGill, dancing master in Girvan, for his students. The melody, in old hornpipe time, appears in the Drummond Castle Manuscript (in the possession of the Earl of Ancaster at Drummond Castle), inscribed "A Collection of Country Dances written for the use of his Grace the Duke of Perth by Dav. Young, 1734."

O'ER BOGIE (WI' MY LOVE). Scottish, English; Reel. England, Northumberland. C Major. Standard. AB (Kerr, Little): AAB (Gow). The melody appears in the Drummond Castle Manuscript (in the possession of the Earl of Ancaster at Drummond Castle), inscribed "A Colleciton of Country Dances written for the use of his Grace the Duke of Perth by Dav. Young, 1734," and is also contained in Robert Bremner's 1757 collection (pg. 90) and Neil Stewart's 1761 collection (pg. 16). The Bogie is a tributary of the River Deveron, which it joins near Huntly in Aberdeenshire, and the surrounding area is called Strathbogie (also the setting for the song "Bogie's Bonnie Belle"). Scots poet Allan Ramsay wrote famous lyrics which he set to the melody and which appear in his Tea Table Miscellany (1724) {the tune appears in Music for Allan Ramsey's Collection, 1728}. They tell of an elopement, with "O'er Bogie" referring to the leaving of the area for marriage and the world beyond. Ramsey's chorus goes:
***
I will awa' wi' my love,
I will awa' wi' her,
Tho' a' my kin had sworn and said
I'll o'er Bogie wi' her.
***
As with many Scottish songs, the title appears in Henry Robson's list of popular Northumbrian song and dance tunes ("The Northern Minstrel's Budget"), which he published c. 1800. The melody is also known throughout the Shetlands as "Ower Bogie." Carlin (Gow Collection), 1986; No. 473. Gow (Complete Repository), Part 2, 1802; pg. 21. Kerr (Merry Melodies), Vol. 2; No. 83, pg. 11. Little (Scottish and Cape Breton Fiddle Music in New Hampshire), 1984; pg. 3. MacDonald (Athole Collection), 1884.Green Linnet SIF-1094, Capercaillie - "Sidewaulk" (1989).
T:O'er Bogie
L:1/8
M:C|
R:Reel
B:The Athole Collection
K:C
A|c2cA cGGA|cdcA G2Gc|Addc dega|gedc A2GA|c2cA cGGA|
cdcA GAcG|Addc dega|gedc A2GA||c2ge c2ge|cdcA GAcG|
Addc dega|gedc A2GA|cgeg cgeg|cdcA GAcG|Addc dega|gedc A2G||

PEASE STRAE/STRAW. AKA and see "Bathget Bogs," "Clean Pease Straw," "Pea Straw" (U.S.). Scottish, English, American; Reel or Country Dance Tune. England, Northumberland. D Mixolydian or D Major (Johnson). Standard. AAB (Athole, Johnson, Skye): AABB' (Seattle/Vickers). A popular dance tune in the British Isles and America throughout the 18th century and into the 19th. Instructions for a country dance to the melody can be found in the Scottish Holmain Manuscript, c. 1710-50, where it is alternately titled "Bathget Boys," and the tune itself is contained twice in the Gillespie Manuscript of Perth (1768). Johnson (1988) also prints a contra dance of the same name with the melody. Flett and Flett (1964) record that the same Scottish dance went by different names according to which tune was played to accompany it in a particular locale; thus the dance also was called "Duke of Perth" and "Brown's Reel" in East Fife, Perthshire and Angus, and "Keep the Country, Bonny Lassie" in the upper parts of Ettrick. The title Pease Strae for the series of steps was used in the area around Lanarkshire, Ayrshire, Arran and Galloway, and was taught by all the local dancing masters. An English version was printed c. 1740 in the imprint MWA, 200 Country Dances (pg. 79), and the title appears in Henry Robson's list of popular Northumbrian song and dance tunes ("The Northern Minstrel's Budget"), which he published c. 1800. The melody was recorded as one of the tunes danced to at a 1752 "turtle frolic" at Goats Island, near Newport Rhode Island (a turtle frolic was a special event which occured when a West Indies turtles, towed astern from the Caribbean, arrived in port). Later, the piece appeared in print in America in A Collection of Contra Dances, printed in Walpole, New Hampshire, in 1799. Charlton Memorial Tune Book, 1956; pg. 21. Gow (Complete Repository), Part 3, 1806; pg. 36. Johnson (Twenty-Eight Country Dances as Done at the New Boston Fair), Vol. 8, 1988; pg. 7. Kerr (Merry Melodies), Vol. 1; pg. 10 (appears as "Clean Pea Strae"). MacDonald (The Skye Collection), 1887; pg. 72. Mooney, pg. 25. Morrison (Twenty-Four Early American Country Dances, Cotillions & Reels, for the Year 1976), 1976; pg. 35. Seattle (William Vickers), 1987, Part 2; No. 203. Stewart-Robertson (The Athole Collection), 1884; pg. 86. North Star NS0038, "The Village Green: Dance Music of Old Sturbridge Village."
T:Pease Strae
L:1/8
M:C|
R:Reel
B:The Athole Collection
K:D
A|defd gefd|eA A/A/A c2 c>e|defd gefd|egfe d2d:|
f|afdf afdf|eA A/A/A c2 c>f|afdf afdf|egfe d2 d>f|
afdf afdf|eA A/A/A c2 c>f|afge fdec|Agfe d2d||

RAM'S HORNS. Scottish, Country Dance Tune (4/4 time). The melody appears in the Drummond Castle Manuscript (in the possession of the Earl of Ancaster at Drummond Castle), inscribed "A Collection of Country Dances written for the use of his Grace the Duke of Perth by Dav. Young, 1734". It also appears in Robert Bremner's 1757 collection (pg. 30).

RANTING HIGHLANDER/HIGHLANDMAN, THE. AKA and see "White Cockade," "Highland Laddie," "Fiddler's Morris," "The Duke of Buccleugh's Tune." Scottish, Reel. A Mixolydian. Standard. AABB'. The tune appears as "A Ranting Highland Man" in the Drummond Castle Manuscript (in the possession of the Earl of Ancaster at Drummond Castle), inscribed "A Collection of Country Dances written for the use of his Grace the Duke of Perth by Dav. Young, 1734." It also can be found contained in James Aird's 1782 collection (pg. 1), and in the Gillespie Manuscript of Perth (1768). The tune was later retitled "The White Cockade" and has enjoyed considerable fame under that title. Gow (Complete Repository), Part 1, 1799; pg. 23. Kerr (Merry Melodies), Vol. 2; No. 42, pg. 7.
T:Ranting Highlandman, The
L:1/8
M:C|
S:Gow - 1st Repository
K:A
e|A/A/A ed c>dec|(d/=c/B/A/) =GB gBBa|A/A/A ed c>dec|dBgB aAA:|
g|(a/g/f/e/) fd c>dec|(d/=c/B/A/) =GB =gBBg|(a/g/f/e/) fd c>dec|dBgB aAAg|
(a/g/f/e/) f>d c>dec|(d/=c/B/A/) =GB gBBg|af=ge fdec|Bagb aAA||

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|]

ROB SHORE IN HARVEST. Scottish, Country Dance Tune (3/2 time). The melody, written in the old hornpipe metre, appears in the Drummond Castle Manuscript (in the possession of the Earl of Ancaster at Drummond Castle), inscribed "A Collection of Country Dances written for the use of his Grace the Duke of Perth by Dav. Young, 1734."

SIR ALEX MACDONALD'S REEL. AKA and see "The Braes of Marr," "Johnny/Love Will You Marry Me?" "Lord MacDonald's Strathspey," "Strath Spray's Rant." Scottish, Reel. Appears in David Young's Duke of Perth MS (also known as the Drummond Castle MS), 1734. Glen (1891) finds it in Bremner's 1757 collection, part 3 (pg. 22).

SLEEPY MAGGY/MAGGIE (Mairgreadin Codluigteac/Codaltac). AKA and see "All the go," "Drowsy Maggie," "Jenny's Chickens," "Malcolm's Wedding," "Sleeping Moggy." Scottish (originally), Irish, English; Reel. B Minor. Standard. AB (O'Neill/1850 & 1001): AAB (Gow, Hunter, Skye): AABB (Athole, Kerr/Vol. 3): AABBCC (Kennedy, Kerr/Vol. 4, Raven, Williamson): AABBAACC' (Cranford/Fitzgerald): AABBCCDD (Cole). The earliest record of the tune is in David Young's Duke of Perth Manuscript (also known as the Drummond Castle MS), from 1734, predating John Glen's (1891) earliest finding of the printing in Robert Bremner's 1757 collection (pg. 48). It also appears in Oswald's Caledonian Pocket Companion, bk. 10, c. 1760. The tune is sometimes mistakenly called "Drowsy Maggie," due to the similarity of titles, however, "Drowsy Maggie" is usually the name for a different tune, popular in Irish tradition. Further confusing the issue, "Sleepy Maggie" is found in Ireland under its original title, as well as in the variants "Lough Isle Castle," "Seán sa Cheo" and "Tullaghan Lassies." Paul Cranford (1997) remarks there is a strathspey setting of the tune in Capt. Simon Fraser's unpublished works called "Malcolm's Wedding." Cape Breton fiddlers Johnny Wilmot, The Five MacDOnalds and Ashley MacIsaac have recorded the melody. See also the song "O Are Ye Sleepin', Maggie" (words credited to Robert Tannahill). Sources for notated versions: Winston Fitzgerald (1914-1987, Cape Breton) [Cranford]; fiddler Peter Turbit [Feldman & O'Doherty]. Cole (1001 Fiddle Tunes), 1940; pg. 19. Cranford (Winston Fitzgerald), 1997; No. 113, pg. 46. Feldman & O'Doherty (The Northern Fiddler), 1979; pg. 240. Gow (Complete Repository), Part 1, 1799; pg. 38. Hunter (Fiddle Music of Scotland), 1988; No. 220 (arranged by James Hunter). Kennedy (Fiddler's Tune Book), Vol. 2, 1951; pg. 20 (appears as "Sleeping Moggy"). Kerr (Merry Melodies), Vol. 3; No. 34, pg. 6. Kerr (Merry Melodies), Vol. 4; No. 164, pg. 19. MacDonald (The Skye Collection), 1887; pg 62. O'Neill (Krassen), 1976; pg. 135. O'Neill (1850), 1903/1979; No. 1424, pg. 264. O'Neill (1001 Gems), 1907/1986; No. 661, pg. 118. Raven (English Country Dance Tunes), 1984; pg. 161 (appears as "Sleeping Moggy"). Stewart-Robertson (The Athole Colleciton), 1884; pg. 130. Williamson (English, Welsh, Scottish and Irish Fiddle Tunes), 1976; pg. 62. Breton Books and Records BOC 1HO, Winston "Scotty" Fitzgerald - "Classic Cuts" (reissue of Celtic Records CX 17). Celestial Entertainment CECS001, Brenda Stubbert (Cape Breton) - "In Jig Time!" (1995). Celtic CXS 17, Winston "Scotty" Fitzgerald - "Canada's Outstanding Scottish Fiddler." Culburnie COL 113D, Aladair Fraser & Tony McManus - "Return to Kintail" (1999). Green Linnet SIF 3037, Silly Wizard - "Golden, Golden" (1985). Shanachie Shan-79017, John & Phil Cunningham - "Against the Storm" (1980).
X:1
T:Sleepy Maggy
L:1/8
M:C|
R:Reel
B:The Athole Collection
K:B Minor
g|:f2Bb fBde|f2Ba eAce|f2Bb fBde|f^gaf eAce:|
|:fBdB fBde|fBdB eAce|fBdB fBde|f^gaf eAce:|
Conclusion:
fBbB aBgB|f^gaf eAce|
X:2
T:Sleepy Maggy
L:1/8
M:C|
S:McGlashan - Reels (pg. 35)
K:D
e|f2 de fBde|f2 df eAce|f2 de fBde|f^gaf eAce|f2 Bb fBde|f2 Bb eAce|
f2 Bb fBde|f/e/f/^g/ af eA c||e|fBdB fBde|fBdB eAce|fBdB fBde|
f^gaf eAce|fB d/B/A/B/ fBde|fB d/B/A/B/ eAce|fB d/B/A/B/ fBde|
f/e/f/^g/ af eA c||e|f2 Bb Bfde|f2 db aAce|f2 Bb Bfde|fbaf eAce|
f2 Bb bbde|f2 Bb bbde|f2 Bb bbde|f/e/f/^g/ f/g/a/f/ eA c||e|fBbB fBde|
fBbB aAce|fBbB fBde|fbaf eAce|fBbB fBde|fBbB aAce|gBbB aB^gB|
fB^gB aAce||

STEWART'S RANT(, THE). Scottish, Rant. A Major. Standard. AB. Rather that an eight-bar phrase this tune has a four-bar rant phrase repeated. The tune is commonly used for the country dance "General Stewart's Reel." The tune is included in the second part of the Drummond Castle Manuscript (in the possession of the Earl of Ancaster at Drummond Castle), 1734, inscribed "A Collection of the best Highland Reels written by David Young, W.M. & Accomptant." The MS is also known as "The Duke of Perth's Manuscript." Emmerson (Rantin' Pipe and Tremblin' String), 1971; No. 38, pgs. 133-134. Gow (Complete Repository), Part 3, 1817; pg. 24. Hardie (Caledonian Companion), 1986; pg. 29. Kerr (Merry Melodies), Vol. 1; Set 21, No. 2, pg. 15. MacDonald (The Skye Collection), 1887; pg. 3. McGlashan (A Collection of Reels), c. 1786; pg. 20. Stewart-Robertson (The Athole Collection), 1884; pg. 17.
T:Stewart's Rant, The
L:1/8
M:C|
S:Reel
B:The Athole Collection
K:A
e|c/d/e f/g/a e2 ce|dBfB bBfB| c/d/e f/g/a e2 ce|dBge a2 Ae| c/d/e f/g/a e2 ce|
dBfB bBfB|cefa efce|defg a2A||e|c>A A/A/A cAcA|B>E E/E/E BEBd|
cA A/A/A cAcA|BE E/E/E e2 Ae|cAeA fAeA|GEBE GABd|cAeA AaeA|
defg a2A||

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."
**
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:
**
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:
**
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 bd|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/ fd|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||

THIS IS NO MY AIN HOUSE. AKA and see "Colonel David Stewart of Garth's Reel." Scottish, Shetland; Reel or ("Very Slow" {Gow}) Strathspey. Shetland, Whalsay. D Major (Athole, Emmerson, Kerr): C Major (Dick, Emmerson, Thomson). Standard. AAB. Bonnie Prince Charlie danced to this tune at the house of Lude, near Blair, before the battle of Prestonpans, 1745 {he won that one} (Marshall monogram, 1845 Collection, and Winstock 1970). Country dance directions were recovered to the tune from the Holmain Manuscript from Dumfries-shire (c. 1710-1750). The earliest record of the tune, which appears to be a set of "De'il Stick the Minister," is from David Young's Duke of Perth Manuscript (AKA the Drummond Castle Manuscript) of 1734 (where it is listed as a country dance), and Thomson's Orpheus Caledonius, 1733. Gow published it twice, the second time in Sixth Collection, 1822, under the title "Colonel David Stewart of Garth's Reel," and it appears in James Aird's 1782 collection. It is now played as a strathspey in Scotland. Related tunes include "This is not my ain Lassie" and "Sean Trews/Triubhas." / Cooke (1986) prints the following text to this dance tune, collected in the Shetland Islands:
***
This is no me ain hoose
I ken by the tickin o it
Bread and butter were my door's cheeks
And pancakes were the tickin o it.
***
Aird (Selection), Vol. 2, 1782; No. 176. Alburger (Scottish Fiddlers and Their Music), 1983; Ex. 28, pgs. 49-50. Carlin (The Gow Collection), 1986; No. 225. Dick, No. 96. Emmerson (Rantin' Pipe and Tremblin' String), 1971; Nos. 12-13, pg. 131. Gow, First Collection, 1784. Kerr (Merry Melodies), Vol. 1; Set 13, No. 2, pg. 9. MacDonald (The Skye Collection), 1887; pg. 63. Stewart-Robertson (The Athole Collection), 1884; pg. 105. Thomson, Orpheus Caledonius, 1733; No. 32.
T:This is No' My Ain House
L:1/8
M:C|
R:Reel
B:The Athole Collection
K:D
A|FAAa f2 ed|B/c/d AF BEEG|FA Da f2 ed|B/c/d AG FDD:|
A|FAAd B/c/d AF|GBAF BEEG|F(AA)d B/c/d AF|GBAG FDDG|
FAAd B/c/d AF|GBAF BEEG|FADa gfed|B/c/d AG FDD||

TIBBY/TIBBIE FOWLER/FOULLER O'/IN THE GLEN [1]. AKA and see "Dunrobin Castle." Scottish, English; Strathspey or Country Dance Tune (4/4 time). England, Northumberland. D Minor/F Major. Standard. AB. The tune appears in one of the earliest Scottish fiddler's MS repertory books, c. 1705, in the private collection of Frances Collinson (1966). It also is included in the Drummond Castle Manuscript (in the possession of the Earl of Ancaster at Drummond Castle), inscribed "A Collection of Country Dances written for the use of his Grace the Duke of Perth by Dav. Young, 1734," and somewhat later in Alexander McGlashan's 1780 collection (pg. 3). The title appears in Henry Robson's list of popular Northumbrian song and dance tunes ("The Northern Minstrel's Budget"), which he published c. 1800. "Tibby Fowler" is also a Scottish song whose singing was mentioned by Alexander Jaffray in his scketch of the assembly at Aberdeen in 1777 in Recollection of Kingswells. Jaffray gives an accounty of the various assemblys or country dances and recalls them as convivial affairs:
***
After the dance, followed a supper, where cheerfulness and good humour
prevailed. Those who could sing entertained the company, which remained
to a late, or rather early hour...I particularly noticed Mrs. Grant of Caron, a
very pleasant sensible woman. Her two songs were "Yowie wi the crookit
horn," and "Tibby Fowler in the Glen."
***
Glen (The Glen Collection of Scottish Music), Vol. 1, 1891; pg. 18. McGlashan (Collection of Strathspey Reels), c. 1781; pg. 3.
T:Tibby Fouller O' the Glen
L:1/8
M:C|
S:McGlashan - Collection of Strathspey Reels
K:D Minor
A|D/D/D D2 F>G A>F|G<GG<G A>GA>G|D/D/D D>DF>G A>c|
d<f d>c A>G G<A|D/D/D D/D/D F>GA>F|G<G B<G c>G B<G|
D/D/D D/D/D F>G A>c|d<f c>A A>G G||e|f<dc<A f>ga>f|g<gg<g b<g a>g|
f<dd<f A>GG>e|f<d c>A f>g a<f|g/g/g g/g/g b<g a>g|f<dc<A f>ga>g|
d<fc<f A>G G||

TULLOCHGORUM/TULACH GORM (The Blue-Green Hill). AKA - "The Corn Bunting," "The Blue Hill," "The Green Hill." Scottish, English; Rant or Strathspey. England, Northumberland. G Mixolydian (Alburger, Athole, Cole, Emmerson, Gow, Hardie, Honeyman, Hunter, Kerr, Skinner): G Major (Peacock). Standard: F Mixolydian (Johnson). One part (Hunter): AB (Carlin/Gow, Cole, Hardie, Johnson/Emmerson, Skinner): AAB (Athole, Emmerson, Honeyman, Kerr): AA'B (Carlin - Master): AABB (Alburger): AABBCCDD (Peacock). The title means "Blue-Green Hill" in Gaelic, and port-a-beul words have been set to "Tulach Gorm." The tune and song appear to be quite old; music historian Francis Collinson finds that a tune in the Rowallan lute manuscript (c. 1612-1628) called "Ouir the Deck Davy" has a "distinct resemblance" to "Tullochgorum." The earliest record of this tune appears in David Young's Duke of Perth MS (AKA the Drummond Castle MS) of 1734; it is also found in the Gillespie Manuscript of Perth (1768), and John Glen (1891) finds it in Robert Bremner's 1757 collection (2nd part, pg. 16); these early versions show little of the later strathspey rhythm, at least as noted, and appear as rants. Tullochgorm is also the name of a Scottish dance of twelve steps, and was one of several taught by Cape Breton fiddler Donald "the Tailor" Beaton of South West Margaree (who was an itinerant tailor). The title appears in Henry Robson's list of popular Northumbrian song and dance tunes ("The Northern Minstrel's Budget"), which he published c. 1800. "Tullochgorum" was one of the tunes Niel Gow played for Robert Burns in October, 1787, when Burns visited the fiddler at his home in Dunkeld (see also "Loch Erroch-side," "Lament for Abercairney"). In fact, it is one of the most famous tunes in the repertoire, and must be mastered by every serious strathspey player, according to Hunter (1979); Niel Gow and J. Scott Skinner "built their reputations on the performance of it." Skinner wrote a set of six famous variations on the tune, though those printed in the McGlashan Collection may be the earliest. Words were set to it by the Rev. John Skinner (1721-1807), pastor of the Episcopal Chapel at Langside near Peterhead, which begin:
**
There needsna be sae great a phrase,
Wi' dringing dull Italian lays,
I wadna' gi'e our ain Strathspeys,
For half a hundred score o' 'em.
They're douff and dowie at the best
Douff and dowie, douff and dowie,
They're douff and dowie at the best
Wi' a' the variorum:
They're douff and dowie at the best,
Their allegros and a' the rest,
They canna please a Highland taste,
Compar'd wi' Tullochgorum. (The Songs of Scotland, 1887)
**
Hunter (1979) remarks that Rev. Skinner came to the defense of Scottish folk music at a time when fashion ran to the Italian musical influence among the middle and upper classes of Scotland. Robert Burns ("Amang the trees") and Robert Fergusson (1750-1774), in "Daft Days" (in Scotland the 'daft days' are the Christmas-New Years holiday period), also joined his fight. "Daft Days" includes the following excerpt:
**
Fiddlers! your pins in temper fix
And roset weel your fiddlesticks;
But banish vile Italian tricks
Frae out your quorum;
Nor fortes wi' pianos mix----
Gie's Tullochgorum.
**
Source for notated version: Mary MacDonald, who learned her setting from fiddler Sarah (Mrs. John Angus) MacArthur of Mabou Coal Mines, Cape Breton [Dunlay & Greenberg]. Alburger (Scottish Fiddlers and Their Music), 1983; Ex. 15, pg. 36. Carlin (Master Collection), 1984; No. 137, pg. 84. Carlin (The Gow Collection), 1986; No. 226. Cole (1001 Fiddle Tunes), 1940; pg. 3. Dunlay & Greenberg (Traditional Celtic Violin Music of Cape Breton), 1966; pg. 89. Emmerson (Rantin' Pipe and Tremblin' String), 1971; No. 58, pg. 149. Hardie (Caledonian Companion), 1992; pg. 109. Honeyman (Strathspey, Reel and Hornpipe Tutor), 1898; pg. 31. Hunter (Fiddle Music of Scotland), 1988; No. 86. Johnson (Scots Musical Museum), 1790; No. 289. Kerr (Merry Melodies), Vol. 1; Set 15, No. 1, pg. 10. McGlashan (Collection of Strathspey Reels), Vol. 3, 1786; pg. 4. MacDonald (The Skye Collection), 1887; pg. 87. Peacock (Peacock's Tunes), c. 1805/1980; No. 38, pg. 17. Skinner (The Scottish Violinist, with six variations), pg. 26-27 {also appears in his collection Harp and Claymore}. Stewart-Robertson (The Athole Collection), 1884; pg. 158. Celtic CX 24, Alexander MacLean - "Piano Stylings of the Cape Breton Scott." CLM 1000, Carl MacKenzie - "Tullochgorum" (1979). Topic 12TS280, J. Scott Skinner (originally recorded in 1905). Topic 12TS354, Mary MacDonald - "Cape Breton Scottish Fiddle" (1978). NQD-5447, Doug MacPhee - "Cape Breton Master of the Keyboard."
T:Tullochgorum
L:1/8
M:C
R:Strathspey
B:The Athole Collection
K:G
d/c/|:B<Gd<G c<=F A>c|B<Gd<G B>c d<g|B<Gd<G c<=F A>c|
B<Gd<G A/B/c BA:|
G>gd>g =f<=F A2|G>gd>g B>gd>g|G>gd>g =f<=F A2|
G>gd>B ~c2 BA|G>gd>g =f<=F A2|G>gd>e !=f<c f>g|
A/g/f/e/ =fd c<=FA<a|g>d g/a/b e>gd>g||
T:Tulloch Goirm
L:1/8
M:C
S:McGlashan - Strathspey Reels
K:C
G>gd>e f>cA>F|G>gd>g B>gd>g|B>gd>e f>cA>F|G>gd>g B>GA>G|
G>gd>e f>cA>F|G>gd>e f>cf>a|g>efd cFAf|gdgb g2 de||
|:B>Gd>G c>Fc>A|B>Gd>G e>Gd>(g|g)>Gd>G c>Fc>A|B>Gd>G B2 AG:|
|:G>g a/g/f/e/ f>c d/c/B/A/|G>gd>g B>gd>g|G>g a/g/f/e/ f>c d/c/B/A/|
G>gd>g B>GA>G|G>g a/g/f/e/ f>c d/c/B/A/|B>g a/g/f/e/ f>cf>a|gefd cFA^f|
g>dg>b g2 de:|
|:BG B/c/d/B/ cF A/B/c/A/|BGGA B/A/B/c/ dg|BG B/c/d/B/ cF A/B/c/A/|1
BGGc B2 AG:|2 GDDC B2 A,G,||
G>gd>e f>c f2|e>gd>g B>gd>g|B>gd>e f>c f2|e>gd>g B2 AG|Ggdg fc f2|
G>gd>e f>cf>a|gefd cFAf|gded B/d/d e2||
|:B,>GD>G, C>B,A,>C|B,>GD>G, E>G,D>G|G>G,D>G, C>B,A,>C|
B,>GD>G, D2 C>B,:|

UNFORTUNATE JOCK. Scottish, Country Dance Tune (6/8 time). The melody appears in the Drummond Castle Manuscript (in the possession of the Earl of Ancaster at Drummond Castle), inscribed "A Collection of Country Dances for the use of his Grace the Duke of Perth by Dav. Young, 1734;" it also appears in the 1768 Gillespie Manuscript of Perth.

UP AND WAUR THEM A', WILLIE [1]. AKA- "Up and Worst them all Willy." AKA and see "Nae Good Luck Aboot the Hoose," "Washing Day," "Mind What You Do." Scottish, Reel and Strathspey: English, Shetland; Reel. England, Northumberland. A Major (Athole, Gow): G Major (Kerr). Standard. AB (Gow, Cole): AABB (Athole, Kerr, Vickers): AABB' (Kerr). Popular in both 6/8 and 4/4 time from the early 18th to the early 19th century (especially in Scotland), the tune was based on a chord progression originally created in the 18th century in Italy, called passamezzo moderno. This Whig tune was the choice of William Augustus, the Duke of Cumberland and victor at Culloden (1745), when he partnered at a dance the Jacobite Lady Anne Mackintosh, who had been brought to London during the rebellion. She went him one better by immediately inviting him to dance to her choice of tune, "The Old Stuart's Back Again" (Winstock, 1970). Surviving directions to the country dance to this tune were written down in 1752 by John McGill, a dancing master in Girvan, for his students. The tune appears in the Drummond Castle Manuscript (in the possession of the Earl of Ancaster at Drummond Castle), inscribed "A Collection of Country Dances written for the use of his Grace the Duke of Perth by Dav. Young, 1734;" it also can be found in Robert Bremner's 1757 collection, and in the McLean Collection published by James Johnson in Edinburgh in 1772. Title appears (as "Up Willie, War Them A'") in Henry Robson's list of popular Northumbrian song and dance tunes ("The Northern Minstrel's Budget"), which he published c. 1800. Carlin (The Gow Collection), 1986; No. 416. Cole (1001 Fiddle Tunes), 1940; pg. 125. Gow (Complete Collection), Part 3, 1806; pg. 26. Kerr (Merry Melodies), Vol. 3; Nos. 53 & 54, pg. 8 (strathspey and reel versions). Mooney, Vol. 2; pg. 22. Northumbrian Piper's Tune Book, 1970; pg. 40. Stewart-Robertson (The Athole Collection), 1884; pg. 20. Seattle (William Vickers), 1987, Part 3; No. 445.
T:Up and Waur Them A' Willie
L:1/8
M:C|
R:Reel
B:The Athole Collection
K:A
a|A/A/A cA d2df|A/A/A cA B2 Bc|A/A/A cA defa|edcB A2A:|
|:g|afec defg|afec B2Bg|afec defa|edcB A2A:|

WATTIE LA(I)NG. AKA and see "The Lifting of the Linnen." Scottish, Reel. A Major. Standard. AABBCCDD. The tune appeas in the Drummond Castle Manuscript (in the possession of the Earl of Ancaster at Drummond Castle), inscribed "A Collection of Country Dances written for the use of his Grace the Duke of Perth by Dav. Young, 1734." Carlin (The Gow Collection), 1986; No. 316.

WE'RE ALL FORSAKEN FOR WANT OF SILVER. Scottish, Country Dance Tune (9/8 time). The melody appears in the Drummond Castle Manuscript (in the possession of the Earl of Ancaster at Drummond Castle), inscribed "A Collection of Country Dances written for the use of his Grace the Duke of Perth by Dav. Young, 1734."

WHIP HER AND GIRD HER. Scottish, Irish; Country Dance Tune or Jig. G Major. Standard. AABBCCD. The melody appears in the Drummond Castle Manuscript (in the possessin of the Earl of Ancaster at Drummond Castle), inscribed "A Collection of Country Dances written for the use of his Grace the Duke of Perth by Dav. Young, 1734." Joyce (Old Irish Folk Music and Songs), 1909; No. 722, pg. 360.

WIFE OF MY OWN, A. Scottish, Country Dance Tune (9/8 time). The melody appears in the Drummond Castle Manuscript (in the possession of the Earl of Ancaster at Drummond Castle), inscribed "A Collection of Country Dances written for the use of his Grace the Duke of Perth by Dav. Young, 1734."

WIND ON THE HEATH. Scottish, Pastoral Air (6/8 time). D Major. Standard. AAB. Composed by Alec Sim of Birnam, Perthshire, who for many years was the conductor of the Aberdeen Strathspey and Reel Society. The tune is based on David Young's melody "Hey to Cowpar/Couper," published in his 1734 Duke of Perth's MS. Hardie (Caledonian Companion), 1986; pg. 20.

YE'LL AYE BE WELCOME BACK AGAIN. AKA and see "Duncan Davidson," "Gentle Ann," "Handy Andy's Highland Fling," "Maggy's Weame Is Fu I Trow," "Welcome Here Again." Scottish, Reel. D Major. John Glen (1891) thinks that "Ye'll Aye Be Welcome Back Again" is the older title that precedes the closely related tune "Duncan Davidson," the latter of which he states was composed by Robert Burns. Further, he believes the ancestral tune to both is "Strick Upon a Strogin" in the Leyden Manuscript of 1692 (Samuel Bayard, in reviewing Glen's assertion, admits Glen may be right, but that he has no compelling reason for his line of thought). The melody appears in the Drummond Castle Manuscript (in the possession of the Earl of Ancaster at Drummond Castle), inscribed "A Collection of Country dances written for the use of his Grace the Duke of Perth by Dav. Young, 1734," and is contained in both Robert Bremner's 1757 collection and the Gillespie Manuscript of Perth (1768). James Aird printed it as "Gentle Ann" in his Selection of Scotch, English, Irish and Foreign Airs, Vol. 1 (1782, pg. 11), and Samuel, Ann and Peter Thompson give it as "Bayham Abbey" in their Twenty Four Couple Dances for the Year 1793. Elizabeth Sanders Van Rensselaer in her 1782 manuscript (volume II) calls it "He is Long a Coming," John Greenwood has it as "Welcome Here Again" in his 1785 manuscript (pg. 56), and it is titled simply "British March" in David McLaughlin Brown's Commonplace Book of 1787. Aird (Selections), 1782, Vol. 1, No. 30 (appears as "Gentle Ann"). Cole (1001 Fiddle Tunes), 1940; pg. 3. Oswald (Caledonian Pocket Companion), 1780?, Vol. 2, pg. 187. Walsh (Caledonian Country Dances), 1737, Vol. 2, pg. 45.

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:|

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The Fiddler's Companion

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