BUTTERED PEAS(E) [1]. AKA and see "Highland Wedding" [1], "Jack's Be The Daddy On't," "Reel of Stumpie," "No Man's Jig." English; Air, Reel or Country Dance Tune. England, Northumberland. G Major. Standard. AABB. The tune can be found in James Ralph's Fashionable Lady (1730), and subsequently appeared in English ballad operas of the early 1730's such as John Gay's Achilles (1733, whose version of the words appear below), The Boarding School (1732), The Decoy (1733) and The Whim (1734). It became popular enough to have been transported to the Continent in the 18th century, where, for example it could be heard in Italy as "Piselli al Burro." Angus Mackay arranged the tune for the Highland pipes and called it "The Highland Wedding". See Bayard's note for the Pennsylvania collected "The Drunken Sailor," of which this tune forms the second strain. It is arranged as a duet by W.J. Stafford in Hall & Stafford's Charlton Memorial Tune Book.
***
Should the Beast of the noblest race
Act the Brute of the lowest class;
Tell me which do you think most base,
Or the Lion or the Ass?
***
Hall & Stafford (Charlton Memorial Tune Book), 1974; pg. 53. Peacock's Tunes, c. 1805/1980; No. 41, pg. 18. Raven (English Country Dane Tunes), 1984; pg. 142. Scott (English Song Book), 1926; pg. 12. Maggie's Music MMCD216, Hesperus - "Early American Roots" (1997).
CHRISTMAS DAY IDA MORNIN' [1]. AKA and see "Da Day Dawn." Shetland, Air (12/8 or 6/8 time). D Major. Standard. AABB. A listening tune from the Shetland Island of Unst. Patrick Shuldham-Shaw collected the tune from John Stickle of Unst, whose ancestor Friedemann Stickle was famous as a fiddler in the eighteenth and early 19th century. Although some think Stickle composed it, Pat Shuldham-Shaw though it might have been older. Friedemann was paid to play this tune every year on Christmas morning in the hall of his laird, the Laird of Muness {or Buness}." The late Sheltland fiddler, collector and teacher Tom Anderson stated that Feidemann had composed the tune on the road from his croft at Burrafirth to Buness and also remembered that Stickle was called 'Stumpie' because he walked with a limp. It is possible that the tune's rhythm reflects the rhythm of Stickle's walk. Anderson also maintained the words "Christmas Day ida Mournin'" can be heard at the end of the tune. Source for notated version: Tom Anderson (Shetland) via Boys of the Lough [Brody]. Brody (Fiddler's Fakebook), 1983; pg. 68. Williamson (English, Welsh, Scottish and Irish Fiddle Tunes), 1976; pg. 55. Familiar Records 59, Pyewackett - "This Crazy Paradise" (1986). Kicking Mule 205, Delaware Water Gap- "From the Rivers of Babylon to the Land of Jazz." Rounder 3006, Boys of the Lough- "Second Album" (1974).
T:Christmas Day Ida Mornin'
L:1/8
M:6/8
K:D Major
f2 d f3 | e2 d c2 A | B2 G d2 c | B2 G G3 | e2 f g2 f | e2 d c2 B |
A2 A ABc | d3 d3 :||: e3 (4edef | g3 B3 | A3 A A3 A | B3 c d3 B |
e3 (4edef | g3 B3 | A3 e d3 B | +E3A3+ +E3A3+ :||
DRUNKEN SAILOR, THE [2]. AKA and see "Brigade March or Old Number Four," "Old Three-Part Two-Four," "The General." American, March (2/4 time). USA, southwestern Pa. G Major. Standard. AABBCC. The alternate titles stem from its martial uses, "Old Number Four" being its position in a series for performances and "The General" being any tune formerly used to call soldiers to camp duties. Bayard (1981) notes that at the outbreak of the Civil War the demand for fifers outstripped the ability of the Army to train musicians in the approved military calls, so fifers substituted tunes they already knew from home for various soldierly functions; he found that almost every traditional fifer he met played this tune. The 'A' part is the "Drunken Sailor" of version #1, but the 'B' part originated in the early 1700's (as it appears in several ballad operas from the 1739's) and is known variously as "Butter'd Pease," "The Reel of Stumpie" ("Stumpie"), and "No Man's Jig." Source for notated versions: Bayard (1981) gives versions from 6 different southwestern Pennsylvania fifers or fife manuscripts. Bayard (Dance to the Fiddle), 1981; No. 224A-F, pgs. 181-183.
HIGHLAND WEDDING [1]. AKA and see "Butter'd Peas," "Jack's Be The Daddy On't," "Stumpie." Scottish, March (2/4 time). A Major. Standard. AABBCCDDEEFF'. Adapted and arranged by Angus Mackay of Raasay. Mackay's father, John MacKay of Raasay, had been among the last of the pupils at the famous ancient piping college of the MacCrimmons at Boreraig. The younger Mackay wrote, while still in his early twenties, a book called A Collection of Ancient Piobaireachd, or Highland Pipe Music; a piper's bible for many decades after its appearance in 1838. Great Highland bagpiper Hamish Moore believes "Highland Wedding" was derived from the famous strathspey "Stumpie," which originally appeared as "Butter'd Peas." Cowal, Book 5, Glendaruel, Gordon Highlanders, Book 1. Martin (Ceol na Fidhle), Vol. 1, 1991; pg. 31.
HIGHLAND WEDDING [2]. AKA and see "Hit me gently with your tassles", "Young Rory," "Stumpie." Scottish, March (2/2 time).
JACK'S BE THE DADDY ON'T. AKA and see "Butter'd Peas," "Stumpie," "Highland Wedding" (pipe versions). English, Reel. England, Northumberland. G Major. Standard. AABB. Hunter (Fiddle Music of Scotland), 1979; No. 150 (appears as "Stumpie"). Kerr (Merry Melodies), Vol. 1; pg. 6 (appears as "Stumpie"). Mooney, 1982; pg. 3. Northumberland Pipers' Tune Book, Vol. 1, 1970; pg. 26. Peacock's Tunes (c. 1800), 1980; No. 41. MacDonald (The Skye Collection), 1887; Pg. 4 (appears as "Stumpie"). Seattle (William Vickers), 1987, Part 2; No. 202.
LADY BETTY WEMYSS. Scottish, Reel. C Major. Standrd. AAB. John Glen (1891) finds the earliest appearence of this tune in print in Robert Bremner's 1757 collection (pg. 21). James C. Dick (1903), in The Songs of Robert Burns, states that melodic material from "Lady Betty Wemmyss" and the strathspey "Stumpie" cover the "same subject." Glen (The Glen Collection of Scottish Dance Music), Vol. 1, 1891; pg. 11.
T:Lady Betty Memyss
L:1/8
M:C
S:Glen Collection
K:C
EG c2 EG c2|(d/c/B/A/) cE D/D/D D2|EG c2 EG c2|(d/c/B/A/) cE C/C/C C2:|
g|egcg ecge|fag>e d/d/d dg|egcg ecge|fdge c/c/c cg|egcg ecge|fag>e d/d/d dg|
egde cdAc|GEcE C/C/C C||
NO MAN'S JIG. AKA and see "Butter'd Pease," "The Reel of Stumpie." English, Sword Dance or Reel. England; Northumberland and the town of Sleights. G Major (Karpeles, Raven): D Major (Vickers). Standard. AABB. Related to "Nobody's Jig." It has been traditionally the tune for the last figure in the sword dance from the area of Sleights, England. Karpeles & Schofield (A Selection of 100 English Folk Dance Airs), 1951; pg. 29. Raven (English Country Dance Tunes), 1984; pg. 73. Seattle (William Vickers), 1987, Part 3; No. 570.
T:No Man's Jig
L:1/8
M:4/4
K:G
B2d2d2 cB|c2e2 e4|B2d2d2cB|c2A2A4|B2d2d2cB|c2e2e2c2|B4A4|G8:|
|:g2f2e2d2|efg2 d4|g2f2e2d2|ef g2 a4|g2f2e2d2|ef g2d2c2|B4A4|G8:|
REEL OF STUMPIE. AKA and see "Stumpie," "No Man's Jig," Butter'd Pease."
REEL O'/OF TULLOCH, THE ("Ridhle Thulichun" or "Ruighle Thulaichean"). Scottish; Reel and Strathspey. A Major/A Mixolydian. Standard. AB (Athole): AAB (Hunter, Neil, Skinner, Skye): AABB (Emmerson, Kerr): AABB' (Gow): ABCDEFGHIJKLMNO (Johnson). The tune was originally a very popular 17th century bagpipe piece, probably by an unknown composer (although in MacGregor's collection it is confidently stated that the tune was composed by John Dubh Gear, a MacGregor of Glen Lyon). MacDonald once remarked that this reel was composed at Tulloch in Aberdeenshire, and this assertion has survived in tradition. Legend has it, reports Nigel Gatherer, that the reel was improvised on the spot by a MacGregor who had just emerged victorious from a fight with a Robertson for the hand of the Laird o' Tulloch's daughter. Its earliest appearence is in David Young's 1734 Duke of Perth Manuscript (AKA the Drummond Castle Manuscript, where it appears with 160 bars of variations) and it was later reprinted in his 1740 MacFarlane Manuscript (Volume 2, No. 115). Purser (1992) states that it was adapted for the violin "with superb rhythmic pointing and synchopations, mostly composed by David Young in 1740." The piece subsequently appears in Robert Bremner's 1757 collection, the Gillespie Manuscript of Perth (1768), and Davie's 1829 Caledonain Repository (with some pizzicato variations). Johnson (1984) is of the opinion that Young probably composed the three finest sections of the version given in the former's 1984 volume (parts 'F', 'L', and 'O'). This important melody, which at one time was known as 'Righ na' m Port,' or 'King of Airs', has retained its popularity through the ages and is still part of the pipe repertory today.
***
"The Reel of Tulloch" has for several centuries been used in Scotland for a specific dance for males which is always performed to the tune, and it has been quite dominent at Highland dances for several centuries. Instructions for the popular dance, but not the melody, appear in the Menzies Manuscript (contained in the Atholl Collection of the Sandeman Library, Perth), 1749, which carries the alternate title "The Mighty Pretty Valley." J. Scott Skinner, the celebrated violinist who was also dancing master, routinely taught the dance to his students throughout the latter 19th century. Another "Reel of Tulloch" (Ruidhleadh Thulachain), for two mixed couples, was composed around 1800, and appears in dance literature in 1844 (in The Ballroom Annual), though it was mentioned in accounts of dances from the year 1819 onward. Flett & Flett conclude the dance was originally a 'society' dance which was developed at the Breadalbane Balls. It was a particular favorite of Queen Victoria, states Hunter (1979), who first witnessed its performance at a ball at Taywouth Castle given by the Marquis of Breadalbane (the dancers on the occasion were the Marquis of Abercorn, the Hon. Fox Maule, Cluny Macpherson and Davidson of Tulloch). In most parts of Scotland the dance was performed to the tune "The Reel of Tulloch" but in Roxburghshire and Berwickshire, where the dance was often known as "The Hullachan Jig," a double jig such as "The Irish Washerwoman" was played. For an extensive discussion of the dance and its origins see Flett & Flett (Traditional Dancing in Scotland), 1964, pgs. 132-155.
***
"The 'Reel of Tulloch' should be played first as a Strathspey and then as a Reel followed by 'Stumpie' and 'The Deil Among the Tailors,' a welcome combination to enthusiastic dancers" notes MacDonald in his Skye Collection. Paul Stewart Cranford (1995) remarks that versions of this reel vary in late 20th century Cape Breton, from a simple reel setting to J. Scott Skinner's elaborate strathspey variations. Emmerson (1971) finds that the tune on close examination reveals itself to be a rant. Sources for notated versions: Bremner's Scots Tunes, pg. 4 (Bremner clearly meant that parts were only to be repeated once, stated Johnson) [Johnson]; fiddler Mike MacDougall (Ingonish, Cape Breton, 1928-1982), whose style was greatly influences by the highland pipes [Cranford]. Cranford (Jerry Holland's), 1995; No. 3, pg. 2. Emmerson (Rantin' Pipe and Tremblin' String), 1971; No. 42, pg. 136. Gow (Complete Collection), Part 1, 1799; pg. 25. Hunter (Fiddle Music of Scotland), 1988; No. 250. Johnson (Scottish Fiddle Music in the 18th Century), 1984; No. 30, pgs. 82-83. Kerr (Merry Melodies), Vol. 1; Set 5, No. 4, pg. 5. MacDonald (The Skye Collection), 1887; pg. 3. Neil (The Scots Fiddle), 1991; No. 132, pg. 171. Purser (Scotland's Music), 1992; Ex. 2, pg. 174. Skinner (The Scottish Violinist, with seven variations by the author), pg. 24-25. Skinner (Harp and Claymore), 1904. Stewart-Robertson (The Athole Collection), 1884; pg. 6. Cranford Publications CP-R2, "Jerry Holland Solo" (1988). Green Linnet GLDC 1108, The Tannahill Weavers - "Cullen Bay." "The Caledonian Companion" (1975).
T:Reel of Tulloch
L:1/8
M:C|
S:Reel
B:The Athole Collection
K:A
a/f/|e2 a>c e>cA>a|e2 A>c d>B=G>f|e2 A>c e>Ac>A|B>E c/d/e d>B=G>f|
e2 e>c ecAa|e2 e>c dB=Gf|e2 e>a e>Ac>A|Bece d>B=G>B|]
c>A c/d/e cAAB|c>A c/d/e dB=GB|cA c/d/e cAcA|BEBe dB=GB|
cA c/d/e cAAB|cA c/d/e dB=GB|cA c/d/e c2 c>e|Bece d>B=G>f|]
ROSSES HIGHLAND, THE. A County Donegal adaptation of the Scottish reel "Stumpie," from the band Altan.
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 b<B B>d|c>e a2 a/g/f/e/ a2|c>eB>d c<AA:|
|:d|c>e e>d/c/ d>f f>e/d/|c>e e>d/c/ f<B B>d|1 c>e e>d/c/ d>f f>ed|c>eB>d c<AA:|2
c>e a2 b/a/g/f/ a2|c>aB>d c<AA||