Ceolas: The Fiddler's Companion

Result of search for "Robert Campbell":

AFTON WATER. Scottish, Air (6/8 time). D Major. Standard. One part. The air used today for this 1786 pastoral song of Robert Burns is not the one he originally set the song tune, but was substituted by a later editor who thought it more agreeable. The later air was composed in 1850 by Alexander Hume, of Edinburgh, a self-taught musician "who enjoyed an excellent reputation as a chorister and composer of psalms" (Neil, 1991). Burns' original setting was to the melody "The Yellow-Haired Laddie", and presented to Johnston, the editor of the "Scots Musical Museum". Neil (1991) reports that it appears to have been part of a collection of 12 songs the poet first presented to an admirerer named Mrs. Stewart of Stair and Afton, and that the Mary named in the song was probably Mary Campbell (Highland Mary), who was courted by Burns at the time the song was written. Neil (The Scots Fiddle), 1991; Nos. 182 & 183, pg. 237 (old and newer melodys).

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."
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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).
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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:|

CAMPBELLS ARE COMING, THE [1]. AKA and see "The Burnt Old Man," "Campbell's Frolic," "Hob or/A Nob," "I was at a Wedding in Inverara Town," "O Tommy Come Tickle Me" (Pa.), "The Old Man," "An Seanduine." Scottish (originally), American; Jig, March and Air (6/8 time). USA; Arkansas, New York, southwestern Pa. G Major (Ford, Gow, Harding, Kerr, Mitchell, Sweet): F Major (Emmerson). Standard. One part (Ford): AB (Emmerson): AA'B (Gow, Mitchell): ABB (Harding): AABB (Kerr, Sweet). The melody is punctated like a Scotch Measure in jig time--tunes like this are classified by Oswald and others as "Scotch Jigs." Grattan-Flood, typically and without much evidence, claims the tune is Irish. Another claim is that the tune was composed for a song on or about the period of Mary Queen of Scots' imprisonment in Loch Leven Castle. "The Campbells are Coming" was known as a Whig tune and as such was played by the vanguard of the loyalist Scottish troops, many Clan Campbell, as they marched in opposition to the ill-fated Jacobite rebels of 1715 led by the Earl of Mar (knicknamed 'Bobbing John') [Winstock, 1970]. The Robert Wodrow Correspondence records that in 1716 each of three companies of Argyle's Highlanders entered Perth and Dundee led by a piper playing "The Campbells are Coming," "Wilt thou play me fiar play, Highland Laddie," and "Stay and take the breiks with thee."{see also notes for those tunes}. James J. Fuld in The Book of World Famous Music (1966) notes the tune was mentioned in a letter (probably the one by the aforementioned Wodrow) dated 1716, although it was not printed until 1745 when it appeared in a Scottish collection. Despite mention of the existance of a melody by that name early in the 18th century, Glen (1891) finds the first printed version of the melody not to have been until Robert Bremner's 1757 collection Scots Reels (pg. 83), although it also is said to appear in James Oswald's Caledonian Pocket Companion (c. 1750). Another printing with the "Campbell" title appears somewhat later in the 1768 Gillespie Manuscript from Perth. Further to the south in Britain, the title was included in Henry Robson's list of popular Northumbrian songs and tunes, which he published c. 1800.
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The melody is to be found as a country dance called "Hob or Nob" in collections earlier than Bremner. It can be found, for example, in Walsh's Caledonian County Dances (4th book) of c. 1745, in Johnson's Collection of 200 Favourite Country Dances (1748), and other contemporary dance books.
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"The Campbells are Coming" was transplanted to American country dance tradition and appears in repertories of dance fiddlers in New York and Pennsylvania (Harry Daddario, Union County, Pa.). Musicologist/folklorist Vance Randolph recorded the tune for the Library of Congress from Ozark Mountain fiddlers in the early 1940's. Samuel Bayard (1981) also collected the tune from Pennsylvania fiddlers. He notes that the cadences of the 'A' parts are different in modern versions from those in the 18th and 19th century where the tune ended on the major third. He sees the American versions, which end on the tonic, as a "rebellion" against the 'circular' or 'endless' tunes from the British Isles. The cognates of the tune family that "The Campbells Are Coming" belongs to include "The Baldooser," "The Burnt Old Man" and "The Field of Hay," but more importantly Bayard speculates that the popular dance tunes "Miss McLeod's Reel" and "The White Cockade" also derive from the same source. Other writers have also noted the connection with "Miss McLeod's Reel;" Breathnach (1977) and O'Neill (in his introduction to The Dance Music of Ireland) both point out that "The Campbells Are Coming" is the same air as "Miss McLeod" only played in jig time. The Pennsylvania version, altered in the 'B' part, takes its alternate title from the ditty sung to it:
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O Tommy come tickle me, I'll tell you where;
Just under my navel there's a big bunch of hair. (Bayard).
**
Sources for notated versions: Floyd Woodhull, 1976 (New York State) [Bronner]; Amasiah Thomas (Jefferson County, Pa., 1952) [Bayard]; Irvin Yaugher (Fayette County, Pa., 1946) [Bayard]; Hiram White (elderly fiddler from Greene County, Pa., 1930's) [Bayard]; piper Willie Clancy (1918-1973, Miltown Malbay, west Clare) [Mitchell]. Bayard (Dance to the Fiddle), 1981; No. 539A-C, pgs. 478-480. Bronner (Old Time Music Makers of New York State), 1987; No. 15, pg. 78. Emmerson (Rantin' Pipe and Tremblin' String), 1971; No. 81, pg. 160. Ford (Traditional Music in America), 1940; pg. 110. Gow (Complete Repository), Part 1, 1799; pg. 15. Harding's All Round Collection, 1905; No. 189, pg. 60. Jarman (Old Time Fiddlin' Tunes), No. or pg. 17. Johnson (Scots Musical Museum), 1790; No. 299. Kerr (Merry Melodies), Vol. 1; No. 16, pg. 32. Mitchell (Willie Clancy), 1993; No. 90, pg. 80. O'Malley and Atwood (Seventy Good Dances), pg. 11. Sweet (Fifer's Delight), 1964/1981; pg. 18. Tyson (Twenty-Five Old Fashioned Dance Tunes), No. 10. Gennett 6121 (78 RPM), Uncle Steve Hubbard and His Boys, c. 1928. Victor 20537 (78 RPM), Mellie Dunham (appears as last tune of the improbably named "Medley of Reels").

CAMPBELL'S FAREWELL TO REDCASTLE. See "Campbell's Farewell to Red Gap," "Steph's Reel." Scottish, March (2/4 time). A Mixolydian. Standard. AABB' (Gatherer, Martin). The Campbell referred to in the title may by the Captain Robert Campbell of Glenlyon, who led troops in the massacre of Glencoe Pass in 1692. Redcastle is a village on the north side of Beauty Firth approximately 100 miles from Glencoe, whose castle was built in 1179 (it claims to be the oldest inhabited castle in Scotland). The Scots Guards Standard Pipe Settings suggests that "The Sweet Maid of Glendaruel" follow "Campbell's Farewell to Redcastle." Glendaruel is on the way to Tighnabruaich from Glencoe and is nearly as far to the south as Redcastle is to the north. Gatherer (Gatherer's Musical Museum), 1987; pg. 46. Martin (Ceol na Fidhle), Vol. 2, 1988; pg. 1. Ross, William Ross's Collection of Pipe Music (1875).
T:Campbell's Farewell to Redcastle
T:Campbell's Farewell to Red Gap
S:Various books & records
Z:Nigel Gatherer
M:2/4
L:1/8
K:A
E|AA/B/ cc/d/|ea e>d|cA AB/c/|dd/B/ =GE|
AA/B/ cc/d/|ea e>d|cB/A/ =G/A/B/G/|A2 A:|]
=g/f/|ea a=g/f/|ea e>d|cA AB/c/|1 dd/B/ =G g/f/|
ea a=g/f/|ea e>d|cB/A/ =G/A/B/G/|A2 A:|2
dd/B/ =GE|A/B/c/d/ c/d/e/f/|e/f/g/a/ e>d|cB/A/ =G/A/B/G/|A2 A|]

COILSFIELD HOUSE. Scottish, Strathspey ("Slowly") or "Pastoral" Air (4/4 time). G Major. Standard. AAB. The air was composed by Nathaneil Gow (1763-1831), named after Colonel Hugh Montgomery's (1749-1819), Earl of Eglinton's, Ayershire home in the parish of Tarbolton. Neil (1991) explains the name "Coilsfield" apparently derives from the grave of King Coil, reputed to lie somewhere near the mansion house. Coil, or sometimes Coilus or Coel, was a British king in the Roman or post-Roman era who was linked to the Strathclyde area. The property was once known as "Quillisfield" and was so named in the charter of John De Graham, who assigned the property to the monks of Melrose. Around 1640 it was acquired by James Mongomery, 4th son of Alexander, 6th Earl of Eglinton, and remained in the family for 250 years. His descendent Colonel Hugh Montgomery (or Montgomerie) was himself an amateur fiddler and Scottish music enthusiast and also was honored as the dedicatee of Niel Gow's Fourth Collection. The mansion was well-known to the poet Robert Burns when he dwelt at Lochlea, for it was where he went to meet his Highland Mary, Mary Campbell, then residing as a dairymaid at Coilsfield Housse. It is where "Summer first unfaulds her robes," and where "they langest tarry," said he. His romance was short-lived however, for while they were lovers in the Spring, by October, 1786, Mary had died of a fever caught while waiting on a sick boy, her brother. Sources for notated versions: Cape Breton style fiddler Harvey Tolman (Nelson, N.H.) [Little]; Peter Chaisson, Jr. (b. 1942, Bear River, North-East Kings County, Prince Edward Island) [Perlman]. Alburger (Scottish Fiddlers and Their Music), 1983; Ex. 82, pg. 133. Carlin (The Gow Collection), 1986; No. 23. Gow (Collection). Hunter (Fiddle Music of Scotland), 1988; No. 5. Johnson (The Kitchen Musician's No. 10: Airs and Melodies of Scotland's Past), Vol. 10, 1992; pg. 4. Little (Scottish and Cape Breton Music in New Hampshire), 1984; pg. 30. Neil (The Scots Fiddle), 1991; No. 100, pg. 135. Perlman (The Fiddle Music of Prince Edwards Island), 1996; pg. 205. Iona Records IR002, Ossian - "Seal Song" (1981).
T:Coilsfield House
M:4/4
L:1/8
C:Nath. Gow
Z:Transcribed by Toby Rider
R:Slow Air
K:G
(G/2A/2)| BD GB, G,3 (A/2B/2)| c>A BG F<A D>c| c/2B/2A/2G/2 G/2F/2E/2D/2
G2 EC| B,G A,F GG, G,:|!
(B/2c/2)|d>B dB {cd}e2 AB/2c/2| dGFG A/2G/2F/2E/2 DB/2c/2| d>edB (c/2d/2
e) (e/2f/2g)| f/2g/2a/2g/2 f/2d/2e/2f/2 g2 G g/2a/2|!
bgdB (c/2d/2e) AB/2c/2|dGFG A/2G/2F/2E/2 Dc| BGDB, CD/2E/2 A, D/2C/2| B,
G A,F GG, G,||

EW(I)E WI' THE CROOKED HORN, THE/MY [1] ("A' Chaora chrom" or "Ard Mhacha"). AKA and see"Bob with the one Horn," "Carron's Reel," "Crooked Horn Ewe," "Ewe Reel," "The Flowers of Limerick," "The Ram with the Crooked Horn." Scottish, Strathspey; Irish, Highland. G Dorian (Athole, Gow): G Minor (Fraser, Hunter, Kerr): A Minor (Honeyman). Standard. AB (Kerr): AAB (Athole, Fraser, Gow, Hunter): AABB (Honeyman). The title comes an old song, in both Scots and Gaelic. Perhaps the most famous adaptation of the lyrics is by Reverend John Skinner, set to the tune of "Carron's Reel," although some find his set wanting. Fraser further explains: "This set of the Ewe with the Crooked Horn appears to be a standard, formed a century ago, by three neighboring gentlemen in Nairnshire, eminent performers,--Mr. Rose of Kilravock, Mr. Campbell of Budyet, and Mr. Sutherland of Kinsteary. It may not be generally known, that the Ewe thus celebrated is no other than the 'whisky still, with its crooked horn (distilling tube),' which gave more milk than all the sheep in the country." The following words are from an old Scots version appearing in Chambers' Songs of Scotland prior to Burns.
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verse:
Ilka ewe comes hame at even (x3)
Crookit hornie bides awa
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chorus:
Ewie wi the crookit horn
May ye never see the morn
Ilka nicht you steal my corn
Ewie wi the crookit horn
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Ilka ewie has a lambie (x3)
Crookit hornie she has twa
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A the ewes gie milk eneuch (x3)
Crookit horn gies maist of a
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Alburger (1983) retells the persistent tale, probably not true, of Niel Gow and this tune: "One (story) concerns a violin which is supposed to have been given to Neil by a London dealer, when Niel was up with the Duke of Atholl. After some discussion the dealer ('said to have been a Mr. Hill') told Neil 'I shall give it you if you play 'The Ewie wi' the Crooked Horn,' in anything like the style in which I heard it in your own country.' Niel played his best, and the dealer presented the violin, 'a veritable 'Gaspar di Salo in Brescia,' to the understandably sceptical Gow, who 'said to his son, 'Come awa, I'm feared he may rue and take it back.'" Niel Gow's own "Cheap Mutton," published in his "Fourth Collection," is a simple variation on this tune.
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John Glen (1891) thought the earliest printing of the melody was in Robert Ross's 1780 collection (pg. 16), although Bruce Olson finds the melody (under the title "Crooked Horn Ewe") in Rutherford's 24 Country Dances for 1758 (see abc below) and Jack Campin notes it is in the c. 1740 MacFarlane Manuscript in dorian mode under the title "An caora crom." The title also appears in Henry Robson's list of popular Northumbrian song and dance tunes which he published c. 1800. "Ewe/Yowie wi' the crookit horn" is also the name of 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:
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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."
***
Irish versions appear in reel or hornpipe form (see Ewe with the Crooked Horn [3], but in County Donegal it is popularly played as a highland (see version #5). The title appears in a list of tunes in his repertoire brought by Philip Goodman, the last professional and traditional piper in Farney, Louth, to the Feis Ceoil in Belfast in 1898 (Breathnach, 1997). Carlin (The Gow Collection), 1986; No. 55. Fraser (The Airs and Melodies Peculiar to the Highlands of Scotland and the Isles), 1874; No. 19, pg. 7. Honeyman (Strathspey, Reel and Hornpipe Tutor), 1898; pg. 17. Hunter (Fiddle Music of Scotland), 1988; No. 169. Kerr (Merry Melodies), Vol. 3; No. 187, pg. 22. McGlashan (A Collection of Reels), c. 1786; pg. 31 (appears as "Crooked Horn Ewe"). Stewart-Robertson (The Athole Collection), 1884; pg. 191. Culburnie CUL 113D, Alasdair Fraser & Tony MacManus - "Return to Kintail" (1999). Plant Life PLR017, "The Tannahill Weavers" (1979).
X:1
T:Ewie Wi' the Crooked Horn [1]
L:1/8
M:C
R:Strathspey
B:The Athole Collection
K:G Minor
F|D<G G>A F>GA>F|D<G G>A B>G A<a|f>-e d<f c<f A>F|
A<f d>B c<AG:|
G<g g>a f>ga>f|d<g g>a b>ga>^f|d<g g>a f>ga>f|dg/a/ b>ga>^f g2|
f>=f d<f c<f A>F|D<G G>A B>G A<a|b>gf>d c>BA>F|
A<f d>B c<A G||
X:2
T:Crooked Horn Ewe, The
L:1/8
M:C|
S:McGlashan - Reels
K:G Mixolydian
D>GG>A F>GA>F|D>GG>B c>GB>G|c>GB>G A>G F>C|D>GG>B AF G2|
D>GG>A F>G AG/F/|D>GG>A c>AB>G|A/B/c B/c/d c/B/A/G/ FA|DGGA FA G2||
G>gg>a f>g ag/f/|d>gg>a b>ga>g|d>gg>a f>ga>f|d>gg>b a^f g2|f>g d>f c>f A>F|
D>GG>B c>GB>G|f/g/a/g/ f>d c>BA>F|D>GGA FA G2||
X:3
T:The Crooked Horn'd Ewe
S:Rutherford's 24 Country Dances for 1758
Z:Transcribed by Bruce Olson
Q:156
L:1/8
M:C
K:G
DG2B AG "tr"FE/D/|DG2B cABG|ABcB AG "tr"FE/D/|DG2B AG/F/ G2::\
dg2a =fagf|dg2a fa g2|dg2a "tr"b(ag) a(g/f/)|\
d(g/a/) _ba/g/ (f/g/a/f/)g2|=(fefd) c_B "tr"A(G/F/)|\
Gd2c BA G2:|]

FISHER'S HORNPIPE (Crannciuil {Ui} Fishuir). AKA "The Fisher's," "Fisherman's Hornpipe." AKA and see "The Blacksmith's Hornpipe" (Ireland {Joyce}), "China Orange Hornpipe," "Egg Hornpipe," "Fisherman's Lilt," "The First of May," "Kelly's Hornpipe" [3], "Lord Howe's Hornpipe," "O'Dwyer's Hornpipe," "Peckhover Walk Hornpipe," "Roger MacMum" (Irish), "Sailor's Hornpipe," "Wigs on the Green" (Ireland {Roche}). English, Irish, Scottish, Shetlands, Canadian, Old-Time, Texas Style, Bluegrass; Hornpipe, Reel, Breakdown. USA & Canada, widely known. D Major {most modern versions}: G Major {often in the Galax, Va. area, also Bayard's version collected in Prince Edward Island}: A Major (Mississippi fiddler Charles Long): F Major {Burchenal, Cranford, Honeyman, Linscott, Miller & Perron, Miskoe & Paul, Perlman, Raven, Phillips/1995, Welling}. Standard or ADAD. AABB (most versions): AA'BB (Perlman): AA'BB' (Miskoe & Paul). On the subject of the title, several writers have posited various speculations on who the 'Fisher' might have been. Charles Wolfe, among others, believes it was originally a classical composition by German composer Johann Christian Fischer (1733-1800), a friend of Mozart's, which thought Samuel Bayard (1981) concurs, noting the tune goes back to latter 18th century England where it was composed by "J. Fishar" and "published in 1780" (Most of the alternate titles he gives {and which appear above} are "floaters"). Van Cleef and Keller (1980) identify the composer as probably one James A. Fishar, a musical director and ballet master at Covent Garden during the 1770's, and note it is included as "Hornpipe #1" in J. Fishar's (presumably James A. Fishar's) Sixteen Cotillons Sixteen Minuets Twelve Allemands and Twelve Hornpipes (John Rutherford, London, 1778). A few years later the melody appeared in England under the title "Lord Howe's Hornpipe" in Longman and Broderip's 5th Selection of the Most Admired Dances, Reels, Minuets and Cotillions (London, c. 1784). McGlashan printed it about the same time in his Collection of Scots Measures (c. 1780, pg. 34) under the title "Danc'd by Aldridge," a reference to the famous stage dancer and pantomimist Robert Aldridge, a popular performer in the 1760's and 1770's. Although it is known in Europe as a hornpipe, it has also been played as a reel for dancing the Shetland Reel in Scotland's Shetland Islands. Linscott (1939) thinks the melody resembles an "ancient" Irish folk tune known as "Roger MacMum," implying it might have been derived from that source.
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The tune became widely popular in a short span of time. It was already known as "Fisher's Hornpipe" in both England and the newly independent United States when it was written out by the American John Greenwood in his copybook for the German flute of c. 1783. Another 18th century American publication, a 1796 collection entitled An Evening Amusement for German Flute and Violin, was printed in Philadelphia by Carr and contains the hornpipe set in 'D' Major. An American country dance was composed to the tune and first appeared in this country in John Griffith's Collection, a Rhode Island publication of 1788. Both dance and tune became American classics and entered traditional repertory throughout the county. A fiddler with the Moses Cleaveland surveying party (the city of Cleveland, Ohio, is named after him) is recorded as having played "Fisher's" during an impromptu dance on the first evening the party camped on the banks of the Cuyahoga river, as recorded in the diary of a surveyor with the party. It was one of the most widely known fiddle tunes and, along with "Rickett's Hornpipe," the most popular hornpipe played in the Southern Appalachians (although as time went on hornpipes were not generally dropped from the repertoire, certainly as an accompaniment for dancing, but "Fishers" remained in the repertoire as a fiddler's tune which was frequently played when a few musicians would get together for their own enjoyment). The tune retained its popularity, and Jim Kimball states that both "Fishers" and "Ricketts" (along with "Devil's Dream" and "Soldier's Joy") were favorite tunes for the last figure of square dances in western New York state into the early 20th century.
***
Around the Galax, Va., region quite a few fiddlers, like Charlie Higgins and John Rector, play 'Fisher's' in the key of 'G' Major. Tommy Jarrell, of nearby Mt. Airy, N.C., plays the tune in 'D' Major, as did his father, Ben Jarrell, though the tune usually appears in 'F' Major in early collections (the earliest American appearance, John Greenwood's flute MS of 1783, has the tune in 'G,' however). 'F' Major renditions are still common (along with 'D' Major versions) among fiddlers in central and north Missouri-- though relatively rare in the Ozarks region of the state--perhaps because of the because of the influence of the old town orchestras or brass bands (with flat-keyd wind instruments), radio broadcasts from Canadian fiddlers, and local classically trained music professors. Despite the seeming prevalence of the hornpipe set in 'F' major in early publications, Jim Kimball finds that the John Carroll manuscript collection, copied before 1804, gives "Fisher's" in the key of D Major, as does the John Studderd manuscript, c. 1808-1815, and the John Seely manuscript, c. 1819-1830 (Carroll was an Irish-American military musician stationed at Fort Niagara at the time he wrote his manuscript who apparently played both fife and fiddle; Studderd was a native of England prior to emigrating to western New York state in the 1820's; Seely, according to family history, was a fiddler who lived in western New York state for whom "Fishers" was a favorite tune).
***
The title "Fisher's Hornpipe" has been mentioned frequently in periodicals and other printed sources in America over the years. For example, it was recorded as having been one of the catagory tunes at the 1899 Gallatin, Tenn., fiddlers contest; each fiddler would play his version of the tune, with the best rendition winning a prize (C. Wolfe, The Devil's Box, Vol. 14, No. 4, 12/1/80). Similarly, it was listed in the Fayette Northwest Alabamian of 8/29/1929 as one of the tunes likely to be played by local fiddlers at an upcoming convention (Cauthen, 1990). Moving north, another citation stated it had commonly been played for country dances in Orange County, New York, in the 1930's (Lettie Osborn, New York Folklore Quarterly), while Burchenal (1918) printed a dance from New England of the same name to the tune. A Report of the Celebration Held in August 1914 for the 150th Anniversary of the Town of Lancaster (N.H.) gives the title as one of the tunes and dances performed at a cotillion that month. The title appears in a list of Maine fiddler Mellie Dunham's repertoire (Dunham was Henry Ford's champion fiddler in the late 1920's) and Gibbons (1982) notes it has been "a traditional dance melody familiar to fiddlers throughout Canada." Perlman (1996) notes it has status as one of the "good old tunes" played by Prince Edward Island fiddlers. In the South and Midwest the tune was recorded for the Library of Congress from the playing of Ozark Mountain fiddlers in the early 1940's by musicologist/folklorist Vance Randolph, and (by Herbert Halpert) from the playing of Mississippi fiddlers Charles Long and Stephen B. Tucker in 1939. The Arizona fiddler Kenner C. Kartchner related that it, in modern times, it was "played often at (the) Weiser (Idaho) annual (fiddle) contest" (Shumway), to which Louie Attebery (1979) concurs, calling it part of the "standard fare" of many fiddlers at that festival and contest.
***
In the repertiore of Uncle Jimmy Thompson (1848-1931) {Texas, Tenn.}, and Buffalo Valley, Pa. dance fiddler Harry Daddario. See also "Miss Thompson's Reel," which particularly resembles the "Fisher's" in it's second section.
***
Sources for notated versions: Edson Cole (Freedom, N.H.) [Linscott]: Frank George (W.Va.) [Krassen]; Frank Lowery (Prince George, British Columbia) [Gibbons]; Lorin Simmonds (Prince Edward Island, 1944) [Bayard, 1981]; transplanted French-Canadian fiddler Omer Marcoux {1898-1982} (Concord, N.H.), who learned the tune when young in Quebec [Miskoe & Paul]; 6 southwestern Pa. fiddlers and fifers [Bayard, 1981]; Ruthie Dornfeld and Major Franklin (Texas) [Phillips/1995 {two different versions}]; accordion player Johnny O'Leary (Sliabh Luachra region of the Cork-Kerry border), recorded in recital at Na Piobairi Uilleann, February, 1981 [Moylan]; Dennis Pitre (b. 1941, St. Felix, West Prince County, Prince Edward Island) [Perlman]; Winston Fitzgerald (1914-1987, Cape Breton) [Cranford]; set dance music recorded at Na Píobairí Uilleann, in the 1980's [Taylor]. Allan's (Allan's Irish Fiddler), No. 105, pg. 27. Bayard (Dance to the Fiddle), 1981; No. 345, pgs. 332-334 and Appendix No. 3, pg. 573. Brody (Fiddler's Fakebook), 1983; pg. 107. Burchenal (American Country Dances, Vol. 1), 1918; pg. 47. R.P. Christeson (Old Time Fiddlers Repertory, Vol. 1), 1973; pg. 57. Cranford (Fitzgerald), 1997; No. 45, pg. 17. Ford (Traditional American Fiddle Tunes), 1940; pg. 39. Gibbons (As It Comes: Folk Fiddling From Prince George, British Columbia), 1982; No. 6, pgs. 18-19. Honeyman (Strathspey, Reel and Hornpipe Tutor), 1898; pg. 40 (two versions, one in Newcastle and Sand Dance style, on in Sailor's style). Jarman, Old Time Fiddlin' Tunes; No. 20, pg. 67. Johnson & Luken (Twenty-Eight Country Dances as Done at the New Boston Fair), Vol. 8, 1988; pg. 4. Joyce (Old Irish Folk Music and Song), 1909; No. 103. Krassen (Appalachian Fiddle), 1973; pg. 79. Kerr (Merry Melodies), Vol. 1; No. 3, pg. 42. Linscott (Folk Music of Old New England), 1939; pg. 77. Miller & Perron (New England Fiddlers Repertoire), 1983; No. 117. Miskoe & Paul (Omer Marcoux), 1994; pg. 31. Moylan (Johnny O'Leary), 1994; No. 63, pg. 36. O'Neill (1915 ed.), 1987; No. 351, pg. 171. O'Neill (Krassen), 1976; pg. 168. O'Neill (1850), 1903/1979; Nos. 1575 & 1576, pg. 292. O'Neill (1001 Gems), 1907/1986; No. 825, pg. 143. Perlman (The Fiddle Music of Prince Edward Island), 1996; pg. 117. Phillips, 1989 (Fiddlecase Tunebook: Old-Time); pg. 19. Phillips (Traditional American Fiddle Tunes), Vol. 2, 1995; pgs. 1992-193. Raven (English Country Dance Tunes), 1984; pg. 163. Reiner (Anthology of Fiddle Styles), 1977; pg. 26. Roche Collection, Vol. 3, No. 181. Ruth (Pioneer Western Folk Tunes), 1948; No. 23, pg. 10. Spandaro (10 Cents a Dance), 1980; pg. 10. Stewart-Robertson (The Athole Collection), 1884; pg. 297. Sweet (Fifer's Delight), 1964/1981; pg. 42. Taylor (Music for the Sets: Yellow Book), 1995; pg. 14. Welling (Welling's Hartford Tunebook), 1976; pg. 20. Alcazar Dance Series FR 204, "New England Chestnuts" (1981). Breton Books and Records BOC 1HO, Winston "Scotty" Fitzgerald - "Classic Cuts" (reissue of Celtic Records CX 17). Caney Mountain CEP 212 (privately issued extended play album), Lonnie Robertson (Mo.), 1965-66. Claddagh CC5, Denis Murphy & Julia Clifford - "The Star Above the Garter" (appears as "Fisherman's Hornpipe"). County 405, "The Hill-Billies." County 707, Major Franklin- "Texas Fiddle Favorites." County 756, Tommy Jarrell- "Sail Away Ladies" (1986. The only time Tommy's famous fiddling father, Ben Jarrell {who took no active part in his musical education and rarely commented on his son's efforts}, praised his playing in front of him was after hearing the younger fiddler play the tune, remarking "By gawd, that's the best I've ever heard "Fisher's Hornpipe" played"). Elektra EKS 7285, The Dillards with Byron Berline- "Pickin' and Fiddlin.'" F&W Records 4, "The Canterbury Country Orchestra Meets the F&W String Band." Folkways FA 2381, "The Hammered Dulcimer as played by Chet Parker" (1966). Folkways FG 3531, Jean Carignan- "Old Time Fiddle Tunes" (1968). Fretless 101, "The Campbell Family: Champion Fiddlers." Gourd Music 110, Barry Phillips - "The World Turned Upside Down" (1992). North Star NS0038, "The Village Green: Dance Music of Old Sturbridge Village." Rounder 0035, Fuzzy Mountain String Band- "Summer Oaks and Porch" (1973). Rounder 7004, Joe Cormier- "The Dances Down Home" (1977). Smithsonian Folkways SFW CD 40126, Northern Spy - "Choose Your Partners!: Contra Dance & Square Dance Music of New Hampshire" (1999). Topic 12T309, Padraig O'Keeffe, Denis Murphy & Julia Clifford - "Kerry Fiddles" (appears as "Fisherman's Hornpipe").
X:1
T:Fisher's Hornpipe
L:1/8
M:C|
K:F
|:c2|fc Ac Bd cB|Ac Ac Bd cB|Ac Fc Bd Gd|Ac FA G2 (3cde|
fc Ac Bd cB|Ac Fc Bd cB|AB cd ef ge|f2a2f2:|
|:ef|ge ce ge bg|af cf af ba|ge ce ga ba|gf ed c2 Bc|
dB FB dB fd|cA FA cA fc|df ed cB AG|F2A2F2:|
X:2
T:Fishers
L:1/8
M:C|
R:Hornpipe
B:The Athole Colletion
K:D
dc|dAFA GBAG|FAFA GBAG|FDFD GEGE|FDFD E2 dc|dAFA GBAG|
FAFA GBAG|FAdf gedc|d2 d2 d2:||:cd|ecAc ecge|fdAd fdaf|ecAc ecgf|
edcB A3A|BGDG BGdB|AFDF AFdA|BdcB AGFE|D2 D2 D2:|

GLOOMY WINTER('S NOW AWA). AKA and see "Reverend Mr. Patrick Macdonald of Kilmore," "Lord Balgonie's Delight," "Lord Balgonie's Favorite," "Mr. Nairne's Strathspey." Scottish (originally), Canadian; Strathspey and Air. Canada, Cape Breton. A Minor. Standard. AAB. Composition of the melody was claimed by Alexander Campbell (1764-1824) in his Albyn's Anthology (1815), who was supposed to have composed it about 1783 under the title "Strathspey, Rev. Mr. Macdonald of Kilmore." John Glen (1891) notes that there has been considerable discussion on the origin of the tune, which was inserted in Niel Gow's Fourth Collection (1800) under the title "Lord Balgonie's Delight" ('a very old Highland Tune'), and who thus has a rival claim. The antiquarian Stenhouse and Glen each researched the tune, with Stenhouse concluding it was an old one, tracing some resemblance between it and other tunes. In a collection published six years earlier than the Gow collection Glen found the melody under the title "Mr. Nairne's Strathspey" but could find no remarks on the age or antiquity of the melody. He reviewed Campbell's original music sheet and concluded that Campbell should be credited with authorship and that Gow's claim was unsupportable. In fact, the tunes origins may have been older than either source, as "Gloomy Winter" bears resemblance to "The Cordwainers' March," a trade tune of the shoemaker's guild, printed in Aird some thirty years before Gow. Purser (1992) is of the opinion that Campbell should be left with the composition, and sees no particular evidence to award it to the Gows.
***
Lyrics were written by the famous Scots poet Robert Tannahill, who, like Campbell died in tragic circumstances (Tannahill drowned himself while Campbell died in miserable poverty). George Farquhar Graham notes in the Appendix to his Songs of Scotland (1853) that there is a letter he found that proves Tannahill obtained his tune from Gow's volume. In the last decade of the 20th century "Gloomy Winter" was used as the theme for the movie The Piano. Source for notated version: Winston Fitzgerald (1914-1987) [Cranford]. Cranford (Winston Fitzgerald), 1997; No. 213, pg. 85. Kerr (Merry Melodies), Vol. 1; Set 9, No. 1, pg. 7. Winston Fitzgerald - "House Parties and 78's."

HIGH WAY TO EDINBURGH, THE. AKA and see "The (Bonny) Black Eagle," "The Muckin' O' Geordie's Byre," "My Tocher's the Jewel," "Lord Elcho's Favourite." Scottish, Jig. E Minor. Standard. AABB. The tune appears under the above title in James Aird's Selection of Airs and Marches, First Edition. The Scots poet Robert Burns accused Nathaniel Gow of plagerism of the tune when the latter published a similar melody under his own name called "My Tocher's the Jewel" (which Burns maintains is "notoriously taken from the 'Muckin' of Geordie's Byre'"). Burns himself had used the tune for his own poem "My Tocher's the Jewel," which he contributed to James Johnson's Scots Musical Museum. Cazden (et al, 1982) identifies the melody as a variant of a large tune family, much used for songs and airs over the years, which include the Scottish song "Gilderoy," the Irish "Star of the County Down," Chappell's English "We Be Poor, Frozen Out Gardeners" and Cazden's own Catskill Mountain (New York) collected "The Banks of Sweet Dundee." Bayard (1981) notes a resemblance between this tune and "Turkey in the Straw," especially to the second part of the latter, and suggests that in fashioning it the Scots tune may have been borrowed from. John Glen (1891) finds the earliest printing of the tune in Joshua Campbell's 1778 collection (pg. 75). Gatherer (Gatherer's Musical Museum), 1987; pg. 15. Oswald (Caledonian Pocket Companion), Vol. 1, 1757, pg. 100. Wood (Songs of Scotland), 1848-49.

HONORABLE MRS. CAMPBELL OF LOCHNELL. Scottish, Reel. C Major. Standard. AB. Composed by Robert Mackintosh. Glen (The Glen Collection of Scottish Dance Music), Vol. 2, 1895; pg. 17. Hunter (Fiddle Music of Scotland), 1988; No. 187.
T:Honorable Mrs. Campbell (of Lochnell)
L:1/8
M:C|
S:Glen Collection
K:C
G|c2 Gc ECGE|c2 ec dDDB|c2 AF EGCE|FDG,G ECCG|c2 Gc ECGE|
c2 ec dDDB|c2 Ac GcEc|defd ecc||G|ECEG AFAc|ECFE DG,G,F|
ECEG AFAc|BdGf eccG|ECEG AFAc|ECFE DG,G,F|EGFA GBAc|
Bag>f ecc||

JOHNNY/JOHNNIE McGILL/MACGILL. AKA and see "Come Under My Plaidie," "The Black Rogue," "An Rogaire Dubh," "Before I Was Married," "Billy O'Rourke's Jig." Scottish & Irish, Jig: American, March. USA, southwestern Pa. G Major (Bayard, Carlin, Johnson {1992}, Skye): F Major (Alburger, Athole, Gow, Sharp): E Flat Major (Emmerson, Johnson). Standard. AB (Emmerson, Johnson): AAB (Sharp): AABB (Alburger, Athole, Bayard, Carlin, Gow, Johnson, Skye). "A splendid jig tune" says Collinson (1966). It is generally accepted to have been the composition of Ayrshire musician John McGill (c. 1707-1760), from Girvin. Besides being a fiddler, he has also been described (by Robert Riddell of Glenriddell, 1794, with whom his name is said to have been associated) as the town piper, and, elsewhere, a violincello player; what is certain is that he was a dancing master in Girvan in 1752 as there is a MS of country dance and reel instructions for his pupils (Alburger, 1983). The tune was used by Burns for his song "Tibbie Dunbar" ("O, Wilt thou go wi' me, sweet Tibbie Dunbar"), and by Hector Macneil of near Roslin, Midlothian, for "Come Under My Plaidie." John Glen (1891) finds the first appearence of the tune in print in Joshua Campbell's 1778 collection (pg. 31). Bayard (1981) called the tune a "fifer's favorite" as well as a popular song and dance tune in slow and quick versions. The tune is properly catagorized as a Scotch jig, as its phrases are punctuated in the manner of a Scottish Measure (see Emmerson, 1971, pg. 159). The melody is close to the Irish jig "Battering Ram." Source for notated version: Hiram Horner (fifer from Westmoreland and Fayette Counties, Pa., 1944) [Bayard]. Alburger (Scottish Fiddlers and Their Music), 1983; Ex. 88, pgs. 141-142. American Veteran Fifer, 1902 & 1927; No. 98. Bayard (Dance to the Fiddle), 1981; No. 635, pgs. 540-550. Carlin (Master Collection), 1984; No. 168, pg. 98. Cole (1001 Fiddle Tunes), 1940; pg. 71. Emmerson (Rantin' Pipe and Tremblin' String), 1971; No. 83, pg. 160. Gow (Complete Repository), Part 1, 1799; pg. 28. Graham, 1908; pg. 269. Johnson (Scots Musical Museum), Vol. 3, 1787-1803; No. 207. S. Johnson (The Kitchen Musician's No. 10: Airs & Melodies of Scotland's Past), Vol. 10, 1992; pg. 6. McGlashan (Collection of Scots Measures), c. 1780; pg. 33 (appears as "Johnny McGill"). MacDonald (The Skye Collection), 1887; pg. 175. Stewart-Robertson (The Athole Collection), 1884; pg. 141. Fiddletree F2580, John Turner - "Fiddling Rogues and Rascals, Vol. 1" (1981).
T:Johnny MacGill
L:1/8
M:6/8
R:Jig
B:The Athole Collection
K:D Minor
f|cAA AGF|cAA A2f|cAA AGA|FDD D2f|cAA AGF|cAA AGF|
G3 AGA|FDD D2:|
|:c|f3 g3|afd dAF|f3 g3|afd d2 f/g/|afa geg|fde f2d|cAF G2A|FDD D2:|

LADY CHARLOTTE CAMPBELL('S MEDLEY) [1]. AKA - "Lady Charlotte Campbell's New Strathspey." Scottish, Strathspey. B Flat Major. Standard. AAB. Composed by Robert MacIntosh (see note for "Lady Charlotte Campbell's Reel"). Alburger (Scottish Fiddlers and Their Music), 1983; Ex. 45, pg. 68 (appears as "Lady Charlotte Campbell's New Strathspey"). Glen (The Glen Collection of Scottish Dance Music), Vol. 2, 1891; pg. 26. MacDonald (The Skye Collection), 1887; pg. 190. Stewart-Robertson (The Athole Collection"), 1884; pg. 282.
T:Lady Charlotte Campbell's Reel [1]
L:1/8
M:C
R:Strathspey
S:Skye Collection
K:B_
F/E/|D<F F>B E<G Gc/B/|A>cf>e d<bB<f|D<F F>B E<G Gc/B/|(A/B/c) F>e dBB:|
a|b>BA>a g>GF>f|e>c e/d/c/B/ A<c c>a|b>Ba>B g>Bf>B|(A/B/c) (Fe) dBBa|
b>BA>a g>GF>f|e>c e/d/c/B/ Ac cB/A/|G>BF>B E>BD>F|(E/F/G) F>E DB,B,||

LADY CHARLOTTE CAMPBELL('S REEL) [2]. Scottish, Reel. B Flat Major. Standard. AAB. Composed by Robert Mackintosh (d. 1807). Mackintosh or MacIntosh was probably from Niel Gow's village of Inver, but settled in Edinburgh at least by 1773, becoming part of the Music Society group of professionals. He composed classical music, but his lasting legacy was his Scottish fiddle compositions (Alburger, 1983). The melody is a companion reel to his "Lady Charlotte Campbell's Strathspey" [2]. Alburger (Scottish Fiddlers and Their Music), 1983; Ex. 46, pg. 68. Carlin (The Gow Collection), 1986; No. 505. Glen (The Glen Collection of Scottish Dance Music), Vol. 2, 1891; pg. 26. Gow (Complete Repository), Part 2, 1802; pg. 31. Hunter (Fiddle Music of Scotland), 1988; No. 267 (arranged by James Hunter). Kerr (Merry Melodies), Vol. 2; No. 209, pg. 23. MacDonald (The Skye Collection), 1887; pg. 190. Skinner (The Scottish Violinist), pg. 15. Stewart-Robertson (The Athole Collection), 1884; pg. 282.
T:Lady Charlotte Campbell [2]
L:1/8
M:C
R:Reel
B:Glen Collection
K:B_
F|B3f|dBfd|edcB AFcA|B2 bf dBfB|AFec dBB:|
d|f2 (db) g2 (Ee)|c2 (Aa) f2 (Dd)|B2 (Gg) edcB|AFec dBBf|
dBba gfed|cAag fedc|BGgf edcB|AFec dBB||

LADY CHARLOTTE CAMPBELL'S STRATHSPEY [2]. Scottish, Slow Strathspey. B Flat Major. Standard. AAB (Gow, Hunter, Johnson, Skye): AABB' (Kerr). Composition of the tune is credited to Robert 'Red Rob' MacIntosh (b. 1745), who published the tune in 1793 (and who undoubtedly acquired his nickname because of having red hair). The Gows republished the melody in their Repository (Part Second), 1802, under the same title but without crediting MacIntosh. The companion reel is "Lady Charlotte Campbell's Reel." It is one of MacIntosh's more popular melodies among Cape Breton fiddlers. Source for notated version: Winston Fitzgerald (1914-1987, Cape Breton) [Cranford]. Carlin (Gow Collection), 1986; No. 506. Cranford (Winston Fitzgerald), 1997; No. 111, pg. 46. Hunter (Fiddle Music of Scotland), 1988; No. 173. Johnson (The Kitchen Musician's No. 10: Airs & Melodies of Scotland's Past), Vol. 10, 1992; pg. 9. Kerr (Merry Melodies), Vol. 2; No. 208, pg. 23. MacDonald (The Skye Collection), 1887; pg. 190. Stewart-Robertson (The Athole Collection), 1884; pg. 282.
T:Lady Charlotte Campbell
L:1/8
M:C|
R:Reel
B:The Athole Collection
K:B_
F|~B3f dBfd|edcB AFcA|B2 bf dBfB|AFec dBB:|
d|f2 d>b g2 E>e|c2 A>a f2 D>d|B2 G>g e>dc>B|A<cF<e dB~Bf|
dBba gfed|cAag fedc|BGgf edcB|Afec dB~B||

LADY MARY MENZIES REEL. AKA and see "Lucy Campbell," "Miss Louisa Campbell's Delight," "Pudding Maggie." Scottish, Reel. F Major. Standard. AABB. The dance instructions, but not the music, are contained in the Menzies Manuscript, 1749, in the Atholl Collection of the Sandeman Library, Perth. John Glen (1891) finds the earliest appearance of the tune in print in Robert Bremner's 1757 collection (pg. 82). The melody is related to "Lucy Campbell's." Stewart-Robertson (The Athole Collection), 1884; pg. 245.
T:Lady Mary Menzies
L:1/8
M:C|
R:Reel
B:The Athole Collection
K:F
f|cFAF cFfd|cFAF dGGA|cFcA dfag|fdcA fFF:|
|:e|fcce fgag|fdcA gdde|fdcA fgag|fdcA fFF:|

MAGGIE PICKENS/PICKIE/PIGGY. AKA and see "The Lea Rig," "Whistle O'er the Lave O't." Irish, Set Dance (2/4 time, though note in Allen's says "Single Jig Time"), Fling or Highland. Ireland, County Donegal. A Major (Allan's, Sullivan): G Major (Tubridy). Standard. AB (Tubridy): ABB' (Allan's): AABB' (Sullivan). Flood (1906) identifies "Maggie Pickens" as a Donegal pipe-melody popular in the late 17th century. He asserts it was "cribbed" by the Scotch between the years 1715 and 1740 and adapted to a song called "Whistle o'er the lave o't"--"so indelicate that it had to be rewritten by Robert Burns in 1790." Other writers believe the Scottish tune is the original, and "Maggie" is the derivative. Supporting this viewpoint, Caoimhin Mac Aoidh (1994) states that older Donegal players believed it to be of Scottish origin arising from the "Whistle" tune, and he himself doubts the veracity of Flood's assertion for Donegal provenance. Teelin, County Donegal, fiddler Con Cassidy remembers playing "Maggie Pickie" for dances when he was young:
***
...oh, they had their special reels. I once saw two people dance
the 'Maggie Pickie'--the tongs would be laid out on the floor
and opened out a bit. The dancer could go right over it and the
secret was not to touch the tongs at all. It was wonderful how
it could be done.
***
Donegal fiddler Vincent Campbell also remembered the dance, described as a set dance and hornpipe, from house-dances in kitchens when he was young (Blooming Meadows, 1998, pg. 49). In modern times it has been one of the most common highlands played in Ireland (Caoimhin Mac Aoidh). The melody was used by the Irish Volunteers (presumably those in the rebellion of 1798) as a marching tune. A variant is "Lucy Farr's Fling." Allan's Irish Fiddler, No. 114, pg. 29. Sullivan (Session Tunes), Vol. 3; No. 23, pg. 9. Tubridy (Irish Traditional Music, Book Two), 1999; pg. 11. Green Linnet SIF 3010, Kevin Burke - "Promenade"
T:Maggie Pickie
S:Paul O'Shaughnessy
Z:Juergen.Gier@post.rwth-aachen.de
M:C|
L:1/8
K:A
AE~E2 ABc2|BAcA BAFB|AE~E2 ABcB|1Aaec BAcB:|2Aaec (3BeB A2|]\
agfe fec2|dBcA BAF2|agfe feca|ABcA (3BeB A2|\
agfe fec2|dBcA BAFB|AE~E2 ABcB|Aaec BAcB|]
T:Maggie Pickens
B:Allan's Irish Fiddler
R:set dance
N:Single Jig Time (note in book)
M:2/4
L:1/8
K:A
A>F E>F|A>B c2|A>c e>c|B>A F2|A>F E>F|A>B c2|A>c e>c|B2 A2||
f>g a>e|f>e c2|A>c e>c|B>A F2|1f>g a>e|f>e a2|A>c e>c|B2 A2:|
2A>F E>F|A>B c2|A>c e>c|B2 A2||

MONEY MUSK/MONYMUSK. AKA and see "The Countess of Airly (early 18th century)," "Sir Archibald Grant of Monymusk('s Strathspey)." Scottish (originally), English, Irish, Canadian, Old-Time, American; Reel, Strathspey, Highland, Breakdown. USA; New York State, Ohio, Michigan, Arkansas, Missouri, Nebraska, Maine, New Hampshire, Alabama. England; Shropshire, Northumberland. Ireland, Donegal. A Major (Ashman, Brody, Bronner, Christeson, Cole {reel}, Kennedy, Miller & Perron, O'Neill, Phillips, Raven, Sweet): G Major (Athole, Cole {strathspey}, Cuillerier, Ford, Gow, Honeyman, Hunter, Peacock, Phillips). Standard. One part (Burchenal): AB (Cole {strathspey version}, O'Neill/1850 & 1001): AAB (Gow, Hunter): AA'B (O'Neill/Krassen): AABB (Ashman, Brody, Ford, Kennedy, Linscott, Miller & Perron, Peacock, Raven, Sweet): AABB' (Athole, Kerr, Skye): AA'BB' (Cuillerier): ABC (Honeyman): AABBCC (Christeson): ABCCDD (Cole): AABBCCDD (Brody): AA'BB'CC'DD (Phillips/Block): AA'BCAA'BC' (Phillips/Miller). A pipe tune (written within the range of nine notes, with double tonic tonality) and the name of an Aberdeenshire, Scotland, estate. 'Moneymusk' is the English for the Gaelic 'Muine Muisc' meaning a noxious weed or bush. It was composed by Daniel (sometimes Donald) Dow (1732-1783) in 1776 and first appeared in his Thirty Seven New Reels, c. 1780, as "Sir Archibald Grant of Monymusk's Strathspey." Linscott (1939) says it was called "The Countess of Airly" in the early 18th century, and came from the village of Monymusk, in Aberdeenshire, Scotland." Bayard (1981) states that if Dow did "compose" the tune then he certainly had access to earlier models for it, for both "The Ruffian's Rant" and "Roy's Wife of Aldivalloch" are cognate. Alburger (1983) also identifies Daniel Dow (1732-83) as the composer of "Sir Archibald Grant of Monemusk's Reel," but says when the Gows published it in their 1799 Repository, Part First, they altered it rhythmically (by adding more 'Scots snaps' and smoothing out some dotted patterns for variety) and shortened the name to "Monymusk, A Strathspey." Dow was born in Kirkmichael, Perthshire, and became a music teacher in Edinburgh where he taught, among other instruments, the guitar. His compositions were well received in his lifetime and survive today. When he died at the age of 51 in the winter of 1783 he was buried in the Canongate Churchyard; a concert to benefit his widow and children was given shortly after his death in St. Mary's Hall, Niddry's Wynd, where he had often given his own concerts over the years.
***
Cape Breton, Nova Scotia, fiddlers, who retained the old Scottish tradition, play the tune as a strathspey in G Major, as set in older collections. There were some Scottish fiddlers, skilled enough on their instruments to vary the playing of such tunes and venture further afield musically than the usual 'fiddle keys'. When Jamie Duncan tried it, however, he was taken to task by a fiddling tailor:
***
I've keepit dacent company a' my days and I'm nae gaun to change my
ways noo. At this moment Jamie Duncan's playing 'Mony Musk' in
four flats, and I say that the man that wad do that is fit for ony kin' o'
rascality.
***
Caoimhin MacAoidh (1997) has remarked that "Moneymusk" was absorbed into Irish tradition through the Ulster counties, but was played as far south as Clare and Cork. In Donegal (in the north of Ireland) this and other strathspeys were converted into a form called the 'highland,' similar to a strathspey but with a less pronounced rhythm. Donegal fiddlers play the tune in the key of 'A' Major. Fintan Vallely, in his book Blooming Meadows (1998), writes that in Donegal "Moneymusk" was "strikingly converted from a strathspey to the high-rhythm, house-dance variant, The Highland."
***
Paul Gifford reports that Money Musk (called "manimasca") was one of the dances at a nobleman's ball in Moldavia sometime after 1812, and that the music was not unlikely
played by Jewish musicians.
***
In America the tune was published in 1796 by B. Carr in Evening Amusements (Philadelphia), and soon became a staple of the dance circuit. A country dance called "Money Musk," danced in New England, has remained the same for two centuries, though one phrase has been dropped from the tune while the dance measures stayed the same, thus "cramming 32 measures of dance in to 24 measures of music" (Tony Parkes/Steve Woodruff). In some New England dance circles this dance was traditionally danced immediately after the break, and, for example, presumably this was so when it was danced in August, 1914, at the 150th anniversary celebration of the founding of the town of Lancaster, N.H. (where it was listed on a playbill). Peter Yarensky remembers that it used to be the first dance after the break for years at New Hampshire dances, and that "some people would line up for Money Musk before the break even began..." By the 1970's the tune dance was considered a "chestnut" and it is rarely performed today in New England. Ford also prints a version of the contra dance (pg. 214), though without a source reference. Paul Gifford remembers seeing the dance on the card at Lincoln's Inaugural Ball. The melody appears in George P. Knauff's Virginia Reels, volume I (1839) under the title "Killie Krankie," which title was actually the title of the dance "Money Musk" was associated with at the time. The melody was cited as having commonly been played for Orange County, New York, country dances in the 1930's (Lettie Osborn, New York Folklore Quarterly), and it appears in a repertoire list of Mainer Mellie Dunham (an elderly fiddler who was Henry Ford's champion fiddler in the late 1920's). In contrast to New England, in the Southern Appalachians the tune is very rare (Krassen, 1973), though not unknown. It was recorded as one of the tunes played by fiddler Ben Smith, a Georgian in the Twelfth Alabama Infantry in the Civil War (as listed by Robert Emory Park in Sketch of the Twelfth Alabama Infantry, 1906) {Cauthen, 1990}. In the Midwest "Moneymusk" was much more common and the title appears in a list of traditional Ozark Mountain fiddle tunes compiled by musicologist/folklorist Vance Randolph, published in 1954. Missouri fiddlers still play the tune (it was known as a difficult piece and a "big tune" in Mo. fiddle contests up until the 1970's, according to Howard Marshall, though its popularity has waned in recent years). Interestingly, Marshall notes "Moneymusk" is known as an "Irish" tune, a thought perhaps derived from its transmission through Scots-Irish immigrants to the mid-South American highlands, and thence to the Mid-West. Early-recorded American versions include that by Jasper Bisbee (for Edison), who was born in 1843, Col. John Pattee (for Columbia), born in 1844, Henry Ford's Orchestra, and North Carolina fiddler Dad Williams.
***
Sources for notated versions: Bob Walters (Burt County, Nebraska) [Christeson]; Highwoods String Band (N.Y.) and Delaware Water Gap [Brody]; Lewis L. Jillson (Bernardston, Mass.) [Linscott]; Henry Reed (W.Va) [Krassen]; John Baltzell (Ohio, 1923) [Bronner]; Archie Thorpe, c. 1940 (Hornell, N.Y.) [Bronner]; Steffy (Pa., 1949), William Shape (Greene County, Pa., 1944), James Morris (Greene County, Pa., 1944), and Samuel Losch (Juniata County, Pa., 1930's) [Bayard]; Alan Block and Ron West (Vt.) [Phillips]; Rodney Miller (N.H.) [Phillips]; a c. 1837-1840 MS by Shropshire musician John Moore [Ashman]; Joshua Campbell's 1788 Collection [RSCDS]. Adam, 1928; No. 59. Ashman (The Ironbridge Hornpipe), 1991; No. 40a, pg. 14. Bayard (Dance to the Fiddle), 1981; No. 343A-D, pgs. 329-331. Brody (Fiddler's Fakebook), 1983; pg. 194-195 (two versions). Bronner (Old-Time Music Makers of New York State), 1987; No. 5, pgs. 32-33 (includes variations), and No. 18, pg. 87. Burchenal (American Country Dances, Vol. 1), 1918; pg. 55. Cahusac (Pocket Companion...Flute), Vol. 2, c. 1798, pg. 35. Cazden (Dances from Woodland), 1945; pg. 15. Cazden, 1955; pg. 31. R.P. Christeson (Old Time Fiddlers Repertory), Vol. 1, 1973; pg. 15. Cole (1001 Fiddle Tunes), 1940; pg. 31 & pg 128. Cuillerier (Joseph Allard: Cinquante airs traditionnels pour violon), 1992; pg. 11. Emmerson (Rantin' Pipe and Tremblin' String), 1971; No. 63, pg. 153. Ford (Traditional Music in America), 1940; pg. 52. Gow (Complete Repository), Part 1, 1799; pgs. 10-11. Harding Collection (1905, 1932) and Harding Original Collection (1928); No. 44. Honeyman (Strathspey, Reel and Hornpipe Tutor), 1898; pg. 13 (Strathspey). Howe (School for the Violin), 1851; pg. 21. Howe (Diamond School for the Violin), 1861; pg. 41. Hunter (Fiddle Music of Scotland), 1988; No. 84 (two settings). Jarman (Old Time Fiddlin' Tunes), No. or pg. 28. Kennedy (Fiddler's Tunebook), Vol. 2, 1954; pg. 17. Kerr (Merry Melodies), Vol. 2; No. 116, pg. 14. Kimball, Sackett's Harbor. Krassen (Appalachian Fiddle), 1973; pg. 70-71. Linscott (Folk Songs of Old New England), 1939; pg. 98. MacDonald (The Skye Collection), 1887; pg. 12. McGlashan, 1781; pg. 19. Miller & Perron (New England Fiddler's Repertoire), 1983; No. 107. O'Neill (Krassen), 1976; pg. 125. O'Neill (1850), 1903/1979; No., 1361, pg. 254. O'Neill (1001 Gems), 1907/1986; No. 614, pg. 111 ("Irish style"). Peacock (Peacock's Tunes), c. 1805/1980; No. 8, pg. 2. Phillips (Traditional American Fiddle Tunes), Vol. 1, 1994; pg. 155 (two versions). Raven (English Country Dance Tunes), 1984; pg. 171. Robbins, 1933; Nos. 120 and 177. Robinson (Massachusetts Collection of Martial Music), 2nd ed., 1820; pg. 53. Royal Scottish Country Dance Society, Book 11, No. 2. Ruth (Pioneer Western Folk Tunes), 1948; No. 20, pg. 9. Stewart-Robertson (The Athole Collection), 1884; pg. 158. Surenne (Dance Music of Scotland), 1852; pg. 8. Sweet (Fifer's Delight), 1965/1981; pg. 61. Sym, 1930; pg. 5. White's Unique Collection, 1896; No. 54. White's Excelsior Collection, 1907; pg. 27. Adelphi 2004, Delaware Water Gap- "String Band Music." Alcazar Dance Series FR 203, Rodney Miller - "New England Chestnuts" (1980). Celtic CX022 (78 RPM), "Little" Jack MacDonald. CLM 1006, Carl MacKenzie (appears as "Sir Archibald Grant of Mony Musk Strathspey"). Decca 14023 (78 RPM), Alex "Alick" Gillis/The Inverness Serenaders. Edison 51354 (78 RPM), John Baltzell (Ohio), 1923. Edison 51381 (78 RPM), Jasper Bisbee (Michigan), 1923. F & I 001, Fiddlesticks & Ivory - "Ghillies On The Golden Gate." F&W Records 3, "Canterbury Country Dance Orchestra." Folkways RBF 115, Joseph Guilmette - "Masters of French Canadian Music, Vol. 4" (originally recorded 1931). Fretless 118, Marie Rhines- "The Reconcilliation." John Edwards Memorial Foundation JEMF-105, Ron West - "New England Traditional Fiddling" (1978). June Appal 007, Tommy Hunter- "Deep in Tradition" (1976. Learned from a Library of Congress recording). Living Folk LFR-104, Allan Block - "Alive and Well and Fiddling." Missouri State Old Time Fiddlers' Association, Cyril Stinnett - "Plain Old Time Fiddling." Philo 1010, Jean Carignan- "Hommage a Joseph Allard." Rodeo RLP 75, John A MacDonald - "Marches, Strathspeys, Reels and Jigs of the Cape Breton Scot." Rounder 0045, Highwoods String Band- "Dance All Night." RTE Records, Jimmy Lyons - "The Donegal Fiddle." Rounder, Walt Koken - "Finger Lakes Ramble." Smithsonian Folkways SFW CD 40126, Bob McQuillen & Old New England - "Choose Your Partners: Contra Dance & Square Dance Music of New Hampshire" (1999). TAC002, Don Bartlett & The Scotians - "Play Favourites" (as Sir Archibald Grant Of Monymusk). Victor 263527-b (78 RPM), Joseph Allard.
X:1
T:Money Musk
L:1/8
K:G
e|"G"d<GB>G d>Gc>e|"G"d<GB>G "D"A/B/A c>e|
"G"d<GB>G "G/B"B/c/d d>g|"C"e>c"D"A>d "G"B<G G:|!
f|"G"g2d>g B>gd>f|"G"g>d"Am"c>g "G/B"B>g"D"A>f|
"G"g>de>g "G/B"d>gB>g|"C"e>c"D"A>d "G"B<GG>f|!
f|"G"g>dd>g B>gd>f|"G"g>d"Am"c>g "G/B"B>g"D"A>f|
"G/B"g>d"C"e>g "G/B"d>g"Am"c<g|"G/D"B<g"D"A>c "G"B<G G|!
|:g|"G"G/G/G B>G B/dG/ c<e|"G"G/G/G B<g "D"A/A/A c<e|
"G"G/G/G B<G "G/B"B/c/d d<g|{de}"F"=f>c A/B/c "G"B<G G:|!
z/d/|"G"g>d B<g d<gB>d|"G"g>d "Am"c<g "G/B"B<g"D"A>d|
"G"g>d B<g "G/B"d<gB<g|"C"e/f/g "D"A/B/c "G"B<GG>d|!
"G"g>d B<g d<gB>d|"G"g/f/e "G/B"d<g "G"B<g"D"A>d|
"G"g>d "C"e<g "G/B"d<g"Am"c<g|"G/D"B<g"D"A<g "G"B<G G|]
X:2
T:Monymusk
L:1/8
M:C
R:Strathspey
B:The Athole Collection
K:C
e|d<G B>G d>G c<e|d<G B>G (3ABA c>e|d<G B>G B<d d>g|
e>cA>d ~B<GG:|
|:f|g>dB>g d>gB>g|g>dB>g c>gA>f|1 g>de>g d>gB>g|e>cA>d B<GG:|2
g>de>g d<bc<a|B<gA<g B<GG||
X:3
T:Money Musk
M:2/4
L:1/16
Q:122 C:Trad.
S:from Cyril Stinnett
R:Reel
A:Missouri
B:transcribed in OTFR as #18
D:taken from the playing of Cyril Stinnett
Z:B. Shull, trans.; R. P. LaVaque, ABCs
K:A (
e2|:e)Acf ecdf|eAc(A Bc)d(f|e)(Ac)d eag(e|f)dBe cAAe|! eAcf ecdf|eAc(A Bc)d(f|e)(Ac)d eaf(e|f)dBe cAAA|! |Aeae (fg)ae|ceae B(Bc)(B|A)cae (fg)ae|fdBe cAAA|! Aeae (fg)ae|ceae B(Bc)(B|A)cae (fg)ae|fdBe cAAe-|! |a-e)(fa) (ea)ce|aedb caBe|(aef)a (ea)ce|fdBe cAAe|! (ae)(fa) (ea)ce|aedb caBe|(aef)a (ea)ce|fdBe cAAA|! |a2c'(a ba)c'b|(ae)ac' (bc')d'b)|a(ec')a f(ad)(c'|bd')bg a2c'(b-|! -a-e)ac' (ba)c'b|(ae)ac' (bc')(d'b)|a(ec')a f(ad')(c'|bd')bg a2(c'a):|
X:4
T:Moneymusk
M:4/4
L:1/8
O:Probably a version from Teelin, County Donegal.
K:A
af || eAcA e2 (3agf | eAdc BEGB | eAcA e3a | fdBa (3gfe (3agf | eAcAe2(3agf |\
eAcA Bcdf | eccB cdea | fdBc defg || a2ea ceA2 | aAce fBB2 | a2ea ceA2 |\
dcBc defg | a2ea ceA2 | aAce fBBe | (3agf (3gfe (3fed (3cBA | (3fga (3gfe fgaf ||

MISS MARGARET CAMPBELL (OF SADDELL'S). Scottish, Reel. A Major. Standard. AAB. Composed by Robert Mackintosh. Glen (The Glen Collection of Scottish Dance Music), Vol. 2, 1895; pg. 2. Stewart-Robertson (The Athole Collection), 1884; pg. 37.
T:Miss Margaret Campbell (Saddell)
L:1/8
M:C|
B:The Athole Collection
R:Reel
K:A
c|AecA ecae|fdec dBBc|AecA ecae|fdBe cAA:|
e|agae cAec|Bbba bffg|agae cAec|dfed cAAe|
agae cAec|Bbba bffg|afbg afed|ceBe cAA||

MISS MURRAY'S REEL. English, Reel. England, Northumberland. D Major. Standard. AAB. May be the "Miss Murrays" reel to which directions for danceing were written down in 1752 by John McGill, dancing master in Girvan, for his students. John Glen (1891) finds two Scottish reels in print by this title; one in Robert Bremner's 1757 collection (pg. 11) and one in Joshua Campbell's 1778 collection (pg. 30). Hall & Stafford (Charlton Memorial Tune Book), 1974; pg. 35. Raven (English Country Dance Tunes), 1984; pg. 181.

MISS SOPHIA CAMPBELL('S OF SADDELL'S). AKA and see "Mrs. McGee." Scottish, Jig. G Minor (Glen): G Major/Mixolydian (Cranford). Standard. AAB (Glen): AABB' (Cranford). Composed by Robert 'Red Rob' Mackintosh and first printed in his 1796 collection of tunes. Originally a minor-key tune, a Cape Breton 'double-tonic' version in G has been circulating since the 1950's when it was recorded (under the title "Mrs. McGee") by fiddler Angus Chisholm (Cranford). The melody remains one of the more popular of MacIntosh's compositions on Cape Breton. Source for notated version: fiddler Brenda Stubbert (b. 1959, Point Aconi, Cape Breton, Nova Scotia) learned the tune from fiddler Arthur Muise (Cheticamp, Cape Breton) [Cranford]. Cranford (Brenda Stubbert's), 1994; No. 126, pg. 44. Glen (The Glen Collection of Scottish Music), Vol. 2, 1895; pg. 37.
T:Miss Sophia Campbell
L:1/8
M:6/8
S:Glen Collection
K:G Minor
B/c/|d3 (g^fg)|dBG Bcd|c3 (f=ef)|cAF ABc|d3b3|ag^f g=fe|dcB AG^F|G3 G2:|
B/c/|d3 dBG|dBG Bcd|c3 cAF|cAF ABc|d3 dBG|dBG gfe|dcB AG^F|GGG G2 B/c/|
D3 dBG|dBG Bcd|c3 cAF|cAF ABc|d3 bag|ag^f g=fe|dcB AG^F|G3 G2||

MISS ADMIRAL GORDON'S REEL/STRATHSPEY. AKA and see "Glasgow Flourish," "Of a' the airts the wind can blaw." Scottish, Slow Strathspey ("Slow when not danced"). A Major. Standard. AB (most versions): ABCD (McGlashan). One of the first composed and most famous tunes (c. 1775) by Scots fiddler William Marshall (1748-1833) in honor of Margaret Gordon, daughter and only surviving child of Admiral William Gordon (d. 1769), Carmelite House, Banff; four other children died before adulthood. Margaret survived to marry Mr. Forbes-Seton of Aberdeen, and their daughter married Lord James Hay. Moyra Cowie (1999) points out that Banff was a social hub for the well-to-do of North East Scotland in the 18th century, many of whom retained town-houses there and who spent the season socializing. Cowie believes Marshall would have met many through his position as the 4th Duke of Gordon's Steward of the Household. The Admiral's Carmelite house, which he built, survives today and has been converted into a small hotel.
***
"Miss Admiral Gordon" was first published in Marshall's Strathspey Reels (1781, pg. 3). As was not uncommon, it was republished afterwards by Joshua Campbell, although unattributed and renamed "Glasgow Flourish" after that city's motto (Alburger, 1983). Niel Gow wrote a tune called "Major Graham (of Inchbrakie)," which has a similar motif, and there have been accusations by some (e.g. John Glen) of plagerism; it appears derivative in any case (as is the Gows' "Sir John Whitefoord's Strathspey," both published in their 1784 First Collection). Its popularity is due in part to the fact that Robert Burns wrote one of his best songs to it which begins: "Of a' the airts the wind can blaw." Burns' manuscript notes for the Scots Musical Museum contain the following -- "I have been told by somebody who had it from Marshall himself, that he took the idea of his three most celebrated pieces, 'The Marquis of Huntley's Reel,' 'His Farewell,' and 'Miss Admiral Gordon's Reel' from the old air, 'The German Lairdie'" (Emmerson, 1971). William Stenhouse maintains that Marshall fashioned the tune from the old melody of "The Lowlands of Holland" (by adding a second part), but John Glen (1891 & 1895) disputes this, saying that Stenhouse was in error and that "The Lowlands of Holland," especially as published by James Oswald in the Caledonian Pocket Companion, bears no resemblance. Nor does Glen credit Johnson (Scots Musical Museum) or Urbani (2nd Volume, 1794) who also published "The Lowlands of Holland" with originating "Miss Adimiral" for they were both published after Marshall published his tune. Burns wrote his lyric in honor of his bride-to-be, Jean Armour, while he was at Ellisland awaiting her arrival from Mauchline in Ayrshire, where he had first met her.
***
O a' the airts the wind can blaw,
I dearly lo'e the west
For there the bonnie lassie lives,
The lass that I lo'e best.
Tho' wild woods grow an' rivers tow,
Wi' mony a hill between,
Baith day and nicht, my fancy's flicht,
Is ever wi' my Jean.
***
The melody has been used for other songs, including a Canadian folksong, "The Scarborough Settlers' Lament" and a Scottish song "The Scottish Settlers' Lament" (see Stan Rogers' album "For the Family" and the Tannahill Weavers' album "Land of Light,", respectively.
***
Source for notated version: Marshall's Strathspey Reels, 1781; pg. 3 [Johnson]. Alburger (Scottish Fiddlers and Their Music), 1983; Ex. 64, pgs. 104-105. Emmerson (Rantin' Pipe and Tremblin' String), 1971; No. 61, pg. 150. Gow (Complete Repository), Part 1, 1799; pg. 5. Hunter (Fiddle Music of Scotland), 1988; No. 147. Johnson (Scottish Fiddle Music in the 18th Century), 1984; No. 80, pg. 227. Marshall, Fiddlecase Edition, 1978; 1781 Collection, pg. 3. Marshall, Fiddlecase Edition, 1978; 1822 Collection, pg. 16. McGlashan (A Collection of Reels), c. 1786; pg. 4. Neil (The Scots Fiddle), 1991; No. 62, pg. 86.
T:Miss Admiral Gordon's Reel
L:1/8
M:C|
S:McGlashan - Reels
K:A
E|A/A/A A<A A>E A<f|e<c B>A F2 F2|A/A/A A<A A>E A<f|
e>f a<c (e2 e>)f|e>f a<c e<cB<A|Bc d/c/B/A/ F2 F2|A/A/A A<A AE A<f|
e<c B>c A2 A||E|C>E A<E F<EA<E|c>e d/c/B/A/ F2 FE|C>E A<E F<EA<E|
c>d e/f/g/a/ (e2 e>)g|a>g f<e f<e d<c|B>c d/c/B/A/ F2 F2|A/A/A A<A A>E A<f|
e<c B>c A2 A||E|A/A/A A/A/A A<E A<f|f/e/d/c/ d/c/B/A/ F2 F2|
A/A/A A/A/A AE A<f|e>f a<c e2 e>f|e>fa>b e<cB<A|B/A/B/c/ d/c/B/A/ F2F2|
A/A/A A/A/A A<E A<f|e<c B>c A2A||E|C/E/D/E/ A/E/D/E/ F/E/D/E/ A/E/D/E/|
c/B/c/e/ d/c/B/A/ F2 F>E|C/E/D/E/ A/E/D/E/ F/E/D/E/ A/E/D/E/|
c/B/c/d/ e/f/g/a/ e2 df/g/|a<gf<e fed<c|B>c d/c/B/A/ F2F2|A/A/A A/A/A A>E A<f|
e<cBc A2 AE|C/E/D/E/ A/E/D/E/ F/E/D/E/ A/E/D/E/|c/B/c/e/ d/c/B/A/ F2 FE|
C/E/D/E/ A/E/D/E/ F/E/D/E/ A/E/D/E/|c/B/c/d/ e/f/g/a/ e2 e>g|
(3agf (3gfe (3fed (3edc|(3dcB (3cBA F2 F2|A/A/A A<A AE a<f|e<cB<c A2A2||

MISS BETTY CAMPBELL. Scottish. John Glen (1891) finds the earliest appearance of the tune in print in Neil Stewart's 1761 collection (pg. 62) and Robert M'Intosh's 1783 collection (pg. 34).

MISS CAMPBELL OF MONZIE [3]. Scottish, Jig. B Flat Major. Standard. AAB. The melody was composed by Robert Mackintosh. Glen (The Glen Collection of Scottish Dance Music), Vol. 2, 1895; pg. 29.
T:Miss Campbell of Monzie [3]
L:1/8
M:6/8
S:Glen Collection
K:B_
F|(D/E/F)F F2B|(E/F/G)G G2B|(A/B/c)c c2e|dfb fdB|(D/E/F)F F2B|(E/F/G)G G2B|
A>Bc FGA|B3 B2:|
B|d>ef fdB|egb bge|d>ef fdB|A>Bc cAF|d>ef fdB|egb bge|def edc|B3 B2e|
d>ef fdB|egb bge|def fdB|ABc cAF|GAB ABc|Bcd efg|fed cBA|B3 B2||

MISS CAMPBELL OF SADDELL [1]. Scottish, Slow Air (4/4 time) or Strathspey. D Major (Gatherer): B Flat Major (Hunter). Standard. AAB. Composed by Robert Macintosh. Gatherer (Gatherer's Musical Museum), 1987; pg. 25. Glen (The Glen Collection of Scottish Dance Music), Vol. 2, 1895; pg. 26. Hunter (Fiddle Music of Scotland), 1988; No. 57.
T:Miss Campbell of Saddell's
L:1/8
M:C
S:Glen Collection
K:B_
B<d d>c BA B2|Ge/d/ c>B A<F F>c|d>e d<c B>A B<F|G<E C>F DB,B,:|
B/c/|d<Bg<e cd/e/ f2|B<G e/d/c/B/ A<F F>B|G<Ec<E FG/A/ B2|
EF/G/ F>E DB,B,B/c/|d<Bg<e c<Af<d|B<G c>B A<F F>B|G<Eg<e fAB<F|
G<E C>F D<B,B,||

MISS CAMPBELL OF SADDELL [2]. Scottish, Reel. D Minor. Standard. AB. Composed by Robert Macintosh. Glen (The Glen Collection of Scottish Dance Music), Vol. 2, 1895; pg. 40.
T:Miss Campbell of Saddell [2]
L:1/8
M:C|
S:Glen Collection
K:D Minor
A|FDdD F(AAc)|ECcG E(GGA)|FDfd e^cdA|BGA^c d/d/d (dA)|FDdD F(AAc)|
ECcG E(GGE)|FDGE AFBG|Ad^ce d/d/d d||a|bgaf gefd|egcg ecgc|bgaf gefd|
^ceAa f(dda)|bgaf gefd|egcg ecge|dfeg fagb|agfe fdd||

MISS CAMPBELL'S [1]. Scottish, Reel. F Major. Standard. AB. Composed by Robert MacIntosh. MacDonald (The Skye Collection), 1887; pg. 140. Shanachie 114001, "The Early Recordings of Angus Chisholm" (Cape Breton).
T:Miss Campbell's [1]
L:1/8
M:C
S:MacDonald - Skye Collection
K:F
f|cFAF DF CF|B,FA,F GG,G,f|cFAF DFCF|B,G, BG AFFf|cFAF DFCF|
B,FA,F GG,G,B|Acf_e dBgf|ecbg aff||g|(a/g/f/e/) fc fcAF|BdcA BGGg|
(a/g/f/e/) fc Acfc|dBbg affg|afef dfcf|BfAf gGGB|AcFA BdGB|cegb aff||

MRS. CAMPBELL OF LOCHNELL. Scottish, Reel. C Major. Standard. AA'BB'. Composed by Robert MacIntosh. MacDonald (The Skye Collection), 1887; pg. 107. Stewart-Robertson (The Athole Collection), 1884; pg. 73.
T:Mrs. Campbell of Lochnell
L:1/8
M:C|
B:The Skye Collection
K:C
G|c2 Gc ECGE|c2 ec dDDB|1 c2 AF EGCE|FDG,G ECC:|2 c2 Ac GcEc|
defd ecc||
|:G|ECEG AFAc|ECFE DG,G,F|1 ECEG AFAc|BdGf ecc:|2 EGFA G_BAc|
Bagf ecc||

MRS. GAREN OF TROUP [1]. AKA and see "Lady Garners Troop," "Lady Gardner's Reel." Scottish, Strathspey. F Major. Standard. AB (Kerr): AAB (Athole, Glen, Gow, Hunter): AABB' (Skye). One of the most famous compositions by Robert Petrie (1767-1830) a native of Kirkmichael, Perthshire, a town which also nurtured Donald (sometimes Daniel) Dow. Collinson (1966) calls it a "splendid strathspey (which) has found its way into the permanent repertory". Emmerson (1971) notes that Petrie had a reputation as a profligate and an excellent fiddler, "a not uncommon combination", yet he won either a silver bow at an Edinburgh competition or a cup at an Aberdeen festival in 1822, depending on which story is told. He was employed at Troup House as a gardener. The tune has some currency among Cape Breton fiddlers. Campbell, New and Favorite Country Dances, 14th book, pg. 9. Cole (1001 Fiddle Tunes), 1940; pg. 6 (appears as "Lady Gardner's Reel"). Glen (Glen Collection of Scottish Music), Vol. II, 1895; pg. 24. Gow (Complete Repository), Part 1, 1799; pg. 31. Hunter (Fiddle Music of Scotland), 1988; No. 165 (arranged by James Hunter). Huntington (William Litten's), 1977; pg. 15 (appears as "Lady Garners Troop"). Kerr (Merry Melodies), Vol. 2; No. 185, pg. 21. MacDonald (The Skye Collection), 1887; pg. 147. Stewart-Robertson (The Athole Collection), 1884; pg. 205. Culburnie COL 102, Alasdair Fraser & Jody Stecher - "The Driven Bow" (1988).
T:Mrs. Garden of Troup
L:1/8
M:C
C:Robert Petrie
R:Strathspey
B:The Athole Collection
K:F Major
C|~F>G F<d c<F d>F|E<C C>F E/F/G/E/ C>E|~F>G F<d c<F A>f|
c>f a/g/f/e/ ~f2f:|
c|f>ca>c b>ca>c|A>f b/a/g/f/ e<g ~g>a|~f>ca>c b>ca>c|b/a/g/f/ e/f/g/ ~f2 f>c|
~f>ca>c b>ca>c|A>f b/a/g/f/ e<g gf/e/|d>B d<f c>A c<f|c>f a/g/f/e/ ~f2f||
Last time: |c>f a/g/f/e/ g/f/e/d/ d/B/A/G/|F8||

MRS. MENZIES OF CULDARE(S). Scottish, Slow Strathspey. B Flat Major. Standard. AAB. Composer credit given variously to Niel Gow {1727-1807, in Gow, Perlman}, A. Duff {in Hunter} or Robert Petrie (b. 1767, Kirkmichael, Perthshire) {in Skye}. It was first printed in Gow's First Repository (1784) followed by appearences in Joshua Campbell's 1788 collection and Archibald Duff's First Collection (1794). Sources for notated versions: Kenny Chaisson (b. c. 1947, Bear River, North-East Kings County, Prince Edward Island; now resident of Rollo Bay) [Perlman]; Winston Fitzgerald (1914-1987, Cape Breton) [Cranford]. Carlin (The Gow Collection), 1986; No. 187. Cranford (Winston Fitzgerald), 1997; No. 102, pg. 43. Gow (First Repository), 1784. Gow (Collection). Gow (Beauties of Niel Gow). Hunter (The Fiddle Music of Scotland), 1988; No. 177. MacDonald (The Skye Collection), 1887; pg. 137. Perlman (The Fiddle Music of Prince Edward Island), 1996; pg. 199. Stewart-Robertson (The Athole Collection), 1884; pg. 295. Breton Books and Records BOC 1HO, Winston "Scotty" Fitzgerald - "Classic Cuts" (reissue of Celtic Records CX 44).
T:Mrs. Menzies of Culdares
L:1/8
M:C
R:Strathspey
B:The Athole Collection
K:B_
dc|~BF G/F/E/D/ B>FB>d|BF/B/ G/F/E/D/ C2 Cd/c/|~BF G/F/E/D/ ~F>GB>g|
fdc>d B2B:|
g/a/|b>fg>b f>dBd|c>Bd>B G2 Gg/a/|b>fgb f>dB>d|c>Bc>d B2 Bg/a/|
b>fgb f>dB>d|c>Bd>B G2 G>B|F>GB>c B>c Bb/g/|f<d c>d ~B2B||

PUDDING MAGGIE. Scottish, Strathspey. D Major. John Glen (1891) finds the earliest appearance of this tune in print in Robert Bremner's 1757 collection (pg. 50). Paul Cranford notes the similarity of this tune with the strathspeys "Lady Mary Menzies" and "Lucy Campbell."

RUFFIAN'S RANT. AKA and see "Ben Nevis," "Coig na Scanlan," "Down on yon Bank," "I'm Owre Young to Marry Yet," "The Kilt is My Delight," "Lady Francis Wemys' Reel," "Old Virginia," "Roy's Wife (of Aldivalloch)." Scottish, English; Strathspey or Rant. England, Northumberland. D Major. Standard. AABB (Hall & Stafford): AABBCCD (Gow): AABBCCDD (Huntington):AABBCCDEEFF (McGlashan). Composed by Robert Bremner (c. 1713-89), who published the first collections of specifically Scottish dance music between 1757-1761. John Glen (1891) traced the tune back to 1742, and says it first was printed by Bremner in his 1757 collection. Bremner, A Collection of Scots Reels, pg. 43. Campbell, 12th Book of New and Favorite Country Dances, pg. 1. Gow (Complete Repository), Part 1, 1799; pg. 33. Hall & Stafford (Charlton Memorial Tune Book), 1974; pg. 10. Huntington (William Litten's), 1977; pg. 9. Johnson (The Scots Musical Museum), 1787-1803, Vol. 2, No. 156. McGlashan (Collection of Strathspey Reels), c. 1780/81; pg. 22. Preston, A Collection of Scots Reels and Country Dances, pg. 43.
T:Ruffian's Rant, The
L:1/8
M:C
S:McGlashan - Strathspey Reels
K:D
B|A<F F>E F>E F<B|A>F F>D E>DEB|A<F F>D d>ef>e|d>BA>F E>D E:|
|:B|A<F d>A B>Ad>B|A<F d>A B>AB>d|G<F F>D d>ef>d|B>dA>F E<D E:|
|:b|a<f f>e f>e f<b|a<f f>d e>d e<b|a<f f>e d>gf>e|d>B d/B/A/F/ E>D E:|
||B|A<Fd<F A<Fd<F|A<Fd<F BABd|A<F E>D d>ef>e|f/e/d/B/ d/B/A/F/ E>DEB|
A/F/E/F/ d/F/E/F/ A/F/E/F/ d/F/E/F/|A/F/E/F/ d/F/E/F/ B>A A<d|AFE>D Defd|
EBdF E>DEB||
|:A<F F>E F>E F<d|A<F F>DE>D EB|A<F F>A d>ef>e|F<F F>A E<DE:|
|:B|A<F d>A d>Ad>B|A<F d>A B>ABd|A<F F>D d>efd|B>dA>F E>DE:|

SOLDIER'S JOY [1] (Lutgair An Sigeadoir/t-Saigdiura). AKA and see "French Four" [3], "I Am My Mamma's Darlin' Child," "John White," "The King's Head," "The King's Hornpipe," "(I) Love Somebody," "Payday in the Army," "Rock the Cradle Lucy." Old-Time, Bluegrass, American, Canadian, English, Irish, Scottish; Breakdown, Scottish Measure, Hornpipe, Reel, Country Dance and Morris Dance Tune. D Major (almost all versions): G Major (Bacon, Bayard-Simmons). Standard or ADAE. AB (Athole, Bayard-Simmons, Shaw): AABB (most versions): ABCDE (Cooke {Ex. 54}). One of, if not the most popular fiddle tune in history, widely disseminated in North America and Europe in nearly every tradition; as Bronner (1987) perhaps understatedly remarks, it has enjoyed a "vigarous" life. There is quite a bit of speculation on just what the name 'soldier's joy' refers to. Proffered thoughts seem to gravitate toward money and drugs. In support of the latter is the 1920's vintage Georgia band the Skillet Lickers, who sang to the melody:
***
Well twenty-five cents for the morphene,
and fifteen cents for the beer.
Twenty-five cents for the old morphene
now carry me away from here.
***
Bayard (1981) dates it to "at least" the latter part of the 18th century, citing a version that has become standard in Aird's 1778 collection (Vol. 1, No. 109_) and Skillern's 1780 collection (pg. 21). John Glen (1891) and Francis Collinson (1966) maintain the first appearence in print of this tune is in Joshua Campbell's 1778 A Collection of the Newest and Best Reels and Minuets with improvements. It has been attributed to Campbell himself but Collinson notes it is hardly likely as it is a well known folk dance tune in other countries of Europe. There is also a dance by the same name which is "one of the earliest dances recorded in England, but no date of origin has been established. It is still done in Girton Village as part of a festival dance. The tune is also well known in Ireland" (Linscott, 1939). The melody was used in North-West England morris dance tradition for a polka step, and also is to be found in the Cotswold morris tradition where it appears as "The Morris Reel," collected from the village of Headington, Oxfordshire. The Scots national poet Robert Burns set some verses to the tune which were published in his Merry Muses of Caledonia. In the first song of Burns' cantata, The Jolly Beggars, by the soldier, is to the tune of "Soldier's Joy." Early versions of "Soldier's Joy" can be traced to a Scottish source as far back as 1781; variants can be found in Scandanavia, the French Alps, and Newfoundland (Linda Burman-Hall, "Southern American Folk Fiddle Styles," Ethnomusicology, Vol. 19, #1, Jan. 1975).
***
In America the melody is ubiquitous. It was cited as having commonly been played for country dances in Orange County, New York, in the 1930's (Lettie Osborn, New York Folklore Quarterly), and Bronner (1987) confirms it was a popular piece at New York square dances in the early 20th century. The title appears in a repertoire list of Norway, Maine, fiddler Mellie Dunham (the elderly Dunahm {b. 1853} was Henry Ford's champion fiddler in the late 1920's). Musicologist Charles Wolfe (1982) says it was popular with Kentucky fiddlers. The tune was recorded for the Library of Congress by musicologist/folklorist Vance Randolph, from the playing of Ozark Mountain fiddlers in the early 1940's, and, for the same institution by Herbert Halpert in 1939 from the playing of Mississippi fiddlers John Hatcher, W.E. Claunch and Stephen B. Tucker. It was also recorded by legendary Galax fiddler Emmett Lundy, and is listed as one of the tunes played at a fiddlers' convention at the Pike County Fairgrounds, Alabama (as recorded in the Troy Herald of July 6, 1926) {Cauthen, 1990}. Arizona fiddler Kenner C. Kartchner said: "Every fiddler plays this. Some not so good" (Shumway). Burchenal prints a New England contra dance of the same name with the tune. Tommy Jarrell, the influential fiddler from Mt. Airy, North Carolina, told Peter Anick in 1982 that it was a tune he learned in the early 1920's when he first began learning the fiddle, at which time it was known as "I Love Somebody" in his region. Soon after it was known in Mt. Airy as "Soldier's Joy" and, after World War II, as "Payday in the Army." Another North Carolina fiddler, African-American Joe Thompson, played the tune in CFGD tuning. Gerald Milnes (1999, pg. 12) remarks that tune origins were of significant value to West Virginia musicians who often tried to trace tunes to original sources. It was the first tune learned by Randolph County, W.Va., fiddler Woody Simmons (b. 1911). Braxton County fiddler Melvin Wine (1909-1999), says Milnes, used family lore to attribute the tune to his great-grandfather, Smithy Wine, of Civil War era. Smithy, it seems, had been detained by the Confederates in Richmond under charges of aiding Union soldiers. Although imprisoned, his captors found out he was a fiddler and made him play for a dance, and Smithy later associated the tune with this incident, calling it "Soldier's Joy." For further information see Bayard's (1944) extensive note on this tune and tune family under "The King's Head." During a Senate campaign in the 1960's the piece was played to crowds by Albert Gore Sr., the fiddling father of the Vice President during the Clinton administration (Wolfe, 1997).
***
In England, 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 novelist Thomas Hardy, himself an accordionist and fiddler, mentions the tune in his Far From the Madding Crowd:
***
'Then,' said the fiddler, 'I'll venture to name that the right
and proper thing is 'The Soldier's Joy' - there being a
gallant soldier married into the farm - hey, my sonnies,
and gentlemen all?' So the dance begins. As to the merits
of 'The Soldier's Joy', there cannot be, and never were,
two options. It has been observed in the musical circles
of Weatherbury and its vacinity that this melody, at the
end of three-quarters of an hour of thunderous footing,
still possesses more stimulative properties for the heel
and toe than the majority of other dances at their first opening.
***
At the turn into the 20th century the melody was in the repertoire of fiddler William Tilbury (who lived at Pitch Place, midway between Churt and Thursley, Surrey), the last of a family of village fiddlers who had learned his repertoire from an uncle, Fiddler Hammond (died c. 1870), who had taught him to play and who had been the village musician before him. The author of English Folk-Song and Dance concludes that "Soldier's Joy" was enjoyed in the tradition of this southwest Surry village about 1870, and was one of a number of country dances which survived well into the second half of the 19th century (pg. 144).
***
Some of the lyrics which have been sung to the tune are:
***
Chicken in the bread tray scratchin' out dough,
Granny will your dog bite? No, child, no.
Ladies to the center and gents to the bar,
Hold on you don't go too far.
***
Grasshopper sittin on a sweet potato vine, (x3)
Along come a chicken and says she's mine.
***
I'm a-gonna get a drink, don't you wanna go? (x3)
Hold on Soldier's Joy.
***
Twenty-five cents for the malteen,
Fifteen cents for the beer;
Twenty-five cents for the malteen,
I'm gonna take me away from here.
***
Love somebody, yes I do, (x3)
Love somebody but I won't say who.
***
Refrain
Dance all night, fiddle all day,
That's a Soldier's Joy. (Kuntz)
***
In Newfoundland, it is sometimes known as "John White" and sung accompanied by the fiddle or accordion:
***
Did you see, did you see, did you see John White?
Did you see, did you see, did you see John White?
Did you see, did you see, did you see John White?
He's gone around the harbour for to stay all night.
He's gone around the harbour for to get a dozen beer.
He's gone around the harbour and he won't be coming here.
He's gone around the harbour for to get a cup of tea.
If you sees him will you tell him that I wants he?
***
Sources for notated versions: John Carson and The Skillet Lickers (North Georgia) [Kuntz]; J.S. Price (Pottawatomie County, Oklahoma) [Thede]; Ben Smith (Dixon, Missouri) [Christeson]; Willie Woodward (Bristol, N.H.) [Linscott]: Floyd Woodhull (1976), Woodhull's Old Tyme Masters (1941), Pop Weir (c. 1960) {three versions from central New York State} [Bronner]; Bobbie Jamieson (Cullivoe, Yell, Shetland) [Cooke]; George Sutherland (Bressay/Vidlin, Shetland) [Cooke]; Lorin Simmons (Prince Edward Island, Canada, 1930's), James Marr (elderly fiddler from Missouri, 1949), twenty southwestern Pa. fifers and fiddlers [Bayard]; Richard Greene with Bill Monroe and the Blue Grass Boys [Phillips]; a c. 1837-1840 MS by Shropshire musician John Moore [Ashman]; Elliot Wright (b. 1935, Flat River, Queens County, Prince Edward Island) [Perlman]; fiddler Dawson Girdwood (Perth, Ottawa Valley, Ontario) [Begin].
Adam, 1928; No. 2. Ashman (The Ironbridge Hornpipe), 1991; No. 86b, pg. 35. Bacon (The Morris Ring), 1974; pg. 197. Bayard (Dance to the Fiddle), 1981; Appendix No. 1A-B, pgs. 571-572, and No. 332A-S, pgs. 303-310. Begin (Fiddle Music from the Ottawa Valley: Dawson Girdwood), 1985; No. 47, pg. 56. Brody (Fiddler's Fakebook), 1983; pg. 262. R.P. Bronner (Old-Time Music Makers of New York State), 1987; No. 12, pgs. 71-72 and No. 25, pg. 110. Burchenal (American Country Dances, Vol. 1), 1918; pg. 6. Carlin (English Concertina), 1977; pgs. 40-411. Cazden (Dances from Woodland), 1945; pg. 19. Christeson (Old Time Fiddlers' Repertory, Vol. 2), 1984; pg. 61. Cole (1001 Fiddle Tunes), 1940; pg. 24. Cooke (The Fiddle Tradition of the Shetland Isles), 1986; Ex. 54, pg. 112 and Ex. 55, pg. 113. DeVille, 1905; No. 76. Ford (Traditional Music in America), 1940; pg. 49. Harding Collection (1915) and Harding's Original Collection (1928), No. 20. Honeyman (Strathspey, Reel and Hornpipe Tutor), 1898; pg. 9. Howe (School for the Violin), 1851; pg. 37. Howe (Diamond School for the Violin), pg. 41. Jarman (Old Time Fiddlin' Tunes), No. or pg. 23. Kaufman (Beginning Old Time Fiddle), 1977; pg. 40. Karpeles & Schofield (A Selection of 100 English Folk Dance Airs), 1951; pg. 7. Kennedy (Fiddler's Tune Book), Vol. 1, 1951; No. 4, pg. 2. Kerr (Merry Melodies), Vol. 1; Set 1, No. 6, pg. 3. Krassen (Appalachian Fiddle), 1973; pg. 15 and 45 (latter includes a 'A' part variation by Charlie Higgins {Galax, Va}). Kuntz (Ragged but Right), 1987; pg. 295-296 (two versions). Lerwick (Kilted Fiddler), 1985; pg. 21. Linscott (Folk Songs of Old New England), 1939; pg. 110-111. Lowinger (Bluegrass Fiddle), 1974; pg. 22. McGlashan (Collection of Scots Measures), c. 1780; pg. 32. MacDonald (The Skye Collection), 1887; pg. 38. O'Neill (Krassen), 1976; pg. 183. O'Neill (1850), 1903/1979; No. 1642, pg. 305. O'Neill (1001 Gems), 1907/1986; No. 868, pg. 150. Perlman (The Fiddle Music of Prince Edward Island), 1996; pg. 71. Phillips (Fiddlecase Tunebook), 1989{A}; pg. 38. Phillips (Traditional American Fiddle Tunes), Vol. 1, 1994; pg. 227 (two versions). Raven (English Country Dance Tunes), 1984; pg. 166 (appears as "King's Head"). Reiner (Anthology of Fiddle Styles), 1979; pg. 37 (includes several variations). Robbins, No. 56. Roche Collection, 1982, Vol. 2; No. 216, pg. 12 (appears as a hornpipe). Ruth (Pioneer Western Folk Tunes), 1948; No. 7, pg. 4 (an alternate title is given as "King's Head"). Shaw (Cowboy Dances), 1943; pg. 383. Stewart-Robertson (The Athole Collection), 1884; pg. 150. Sweet (Fifer's Delight), 1964; No. or pg. 43. Sym, 1930; pg. 13. Thede (The Fiddle Book), 1967; pg. 118. Trim (Thomas Hardy), 1990; No. 43. Wade (Mally's North West Morris Book), 1988; pg. 17. White's Excelsior Collection, 1907; pg. 72. Bluebird 5658-B (78 RPM), Gid Tanner and His Skillet Lickers (North Ga.) {1934}. Caney Mountain Records CEP 210 (extended play LP, privately issued), Lonnie Robertson (Mo.), c. 1965-66. Columbia 191-D (78 RPM), Samantha Bumgarner {recorded as "I Am My Momma's Darlin' Child"). Columbia 15538 (78 RPM), Gid Tanner and His Skillet Lickers. County 405, "The Hillbillies." County 506, The Skillet Lickers- "Old-Time Tunes. County 514, Gid Tanner's Skillet Lickers- "Hell Broke Loo"se in Georgia" (Originally recorded in 1934). County 756, Tommy Jarrell- "Sail Away Ladies." Edison 52370 (78 RPM), 1928, John Baltzell (appears as "Soldier's Joy Hornpipe") {Baltzell was a native of Mt. Vernon, Ohio, as was minstrel Dan Emmett (d. 1904). Emmett returned to the town in 1888, poor, but later taught Baltzell to play the fiddle}. Flying Fish 102, New Lost City Ramblers - "20 Years/Concert Performances" (1978). Folk Legacy Records FSA-17, Hobart Smith - "America's Greatest Folk Instrumentalist." Folkways FA 2381, "The Hammered Dulcimer as played by Chet Parker" (1966). Folkways FA 2492, New Lost City Ramblers - "String Band Instrumentals" (1964. Learned from Hobart Smith). Fretless 132, "Ron West: Vermont Fiddler." June Appal 007, Tommy Hunter - "Deep in Tradition" (1976. Learned from his grandfather, fiddler James W. Hunter, Madison County, N.C.). Library of Congress (2738-B-2), 1939, recording by Herbert Halpert of the Houston Bald Knob String Band (Franklin County, Va.). Mississippi Department of Archives and History AH-002, Stephen B. Tucker - "Great Big Yam Potatoes: Anglo-American Fiddle Music from Mississippi" (1985). Morning Star 45003, Taylor's Kentucky Boys - "Wink the Other Eye: Old Time Fiddle Band Music from Kentucky" (1980. Originally recorded in 1927). Revonah RS-924, "The West Orrtanna String Band" (1976). Rounder 0070, The Kentucky Colonels- "1965-1967." Rounder 0073, The White Brothers- "Live in Sweden." Rounder 1003, Fiddlin' John Carson- "The Old Hen Cackled and the Rooster's Goin' to Crow." Tradition TLP 1007, Lacey Phillips - "Instrumental Music of the Southern Appalachians," 1956. United Artists 9801, "Will the Circle Be Unbroken." Voyager VRCD 344, Howard Marshall & John Williams - "Fiddling Missouri" (1999). Bob Smith's Ideal Band - "Ideal Music" (1977). "Fiddlers Three Plus Two." "The Caledonian Companion" (1975).
X:1
T:Soldiers' Joy [1]
L:1/8
M:C|
R:Country Dances
B:The Athole Collection
K:D
dB|AFDF AFDF|A2d2d2cB|AFDF AFDF|G2E2E2FG|AFDF AFDF|
A2d2d2fg|afdf gece|d2D2D2||
ag|fdfg a2gf|ecef g2ag|fdfg a2 gf|edcB A2ag|fdfg a2gf|ecef g2fg|
afdf gece|d2D2D2||
X:2
T:Soldier's Joy
L:1/8
M:C|
S:Kuntz - Ragged but Right
N:From the playing of Fiddlin' John Carson
K:D
(3dcB|A2 FF D2 FF|A2 BA d2 dB|ABAG FGFD|E2 E4 (#G|
A2) FF DEFD|A2 BA d3 (e|f2) ff efec|d2 d4 (3dcB|A2 FF D2 FF|
ABAF dBAF|ABAG FGFD|E2 E4 (^G|A2) FE DEFD|A2 BA d3e|
f2 ff efdc|d2 d4||
|:A2|d2 f2 abaf|e2 ef g2 ge|d2 df abaf|edcB A3A|
d2f2 abaf|edef g2 ge|fafd egec|d2 d4:|

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||

WILLY McKENZIE'S. AKA and see "Greetings to the Beatons of Mabou," "Highlander's Rant," "Mabou Reel," "MacLaine of Loch Buie," "Wildcat Reel." Canadian, Reel. Canada, Cape Breton. A Mixolydian. Standard. AAB. Barry Shears finds that "Willy McKenzie," as played by Donald Angus Beaton, is a mixture of two pipe reels: "Willy McKenzie's Reel" from Robert MacKinnon's Collection of Pipe Music (c. 1890's) and "MacLaine of Loch Buie's Reel" from Ross's Collection of Pipe Music (1885). Source for notated version: Donald Angus Beaton (Cape Breton) [Dunlay & Greenberg]. Dunlay & Greenberg (Traditional Celtic Violin Music of Cape Breton), 1996; pg. 52. Celtic SCX 57, Donald and Theresa MacLellan (Appears as "Wildcat Reel/MacLaine of Lochbuie's"). DAB4-1985, Donald Angus Beaton - "A Musical Legacy" (1985. Appears as "Mabou Reel"). Rounder 7003, John Campbell - (Appears as "Traditional Reel" on side two). RLP 107, Joe MacLean - "And his Old Time Scottish Fiddle" (c. 1967. Appears as 1st reel after "Ca' the Stirks"). STEPH 1-94, Stephanie Wills - "Tradition Continued" (1994. Appears as "MacLean of Lochbouie" but is Donald Angus Beaton's setting of "Willy McKenzie").

Ceolas > Tunes > Fiddler's Companion

The Fiddler's Companion

Ceolas > Tunes > Fiddler's Companion