ARTHUR'S SEAT [2]. Scottish, Reel. E Major. Standard. AABBCCDD. Composed by William Marshall (1748-1833), first published in his 1781 Collection. Susan Cowie, in her book The Life and Times of William Marshall (1999), writes that Marshall, in his position of House Steward for Gordon Castle, accompanied the Duke of Gordon and his family on their frequent trips to Edinburgh. It was the Duke's custom to climb Arthur's Seat on the first of May with his old friend, Professor Andrew Duncan, a habit they continued into Duncan's eightieth year. Marshall, Fiddlecase Edition, 1978; pg. 2 of 1781 Collection and pg. 38 of 1822 Collection.
T:Arthur's Seat [2]
L:1/8
M:C|
S:Marshall - 1822 Collection
K:E
EGBe gfeg|fgag f/f/f f2|EGBe gfed|ecBG E/E/E E2:|
|:cBeB cBAG|AcBG F/F/F F2|cBeB cBAG|AcBG E/E/E E:|
|:egBg faBa|g>abg f/f/f f2|egBg faBa|g>abg e/e/e e2:|
|:edcB cBAG|AcBG F/F/F F2|edcB cBAG|A>c B<G E/E/E E2:|
BOG OF GIGHT, THE. Scottish; Strathspey. A Major. Standard. AB (Gow, Honeyman, Kerr, McGlashan, Skye): AA'BB' (Athole). One of the first tunes composed by Scottish fiddler William Marshall (1748-1833), Steward for the Duke of Gordon, who became an enthusiastic patron of Marshall's musical work. The Bog of Gight is a morass in the parish of Bellie in Banffshire, in the middle of which stood for strategic reasons the former stronghold of the Gordons and where Gordon Castle now stands. The castle was built on the Bog in 1479 by George Gordon, the 2nd Earl of Huntly, who was sometimes referred to as "The Gudeman of the Bog." Later the Duke of Gordon was known as the "Cock of the North." "Cairney Burn," a famous song by the poet Lady Nairne, was written to the melody. Carlin (The Gow Collection), 1986; No. 484. Gow (Complete Repository), Part 2, 1802; pg. 24. Honeyman (Strathspey, Reel and Hornpipe Tutor), 1898; pg. 19. Kerr (Merry Melodies), Vol. 2; No. 11, pg. 4. MacDonald (The Skye Collection), 1887; pg. 31. McGlashan (A Collection of Reels), c. 1786; pg. 28. Stewart-Robertson (The Athole Collection), 1884; pg. 16.
T:Bog o' Gight, The
L:1/8
M:C
S:Strathspey
B:The Athole Collection
K:A
e>fe>c A>c A<E|F>EF>A B/B/B B>c|1 e>fe>c A>c A<E|F>AE>C A,/A,/A, A2:|2
c<e f>e d>cB>A|G>AB>c A/A/A A2||
a>b a<e a>ba<e|f>ef>a b/b/b b2|1 a/b a<e f<ac<a|B>A B<c A/A/A A2:|2
a>e f<a e>f c<e|B>AB>c A/A/A A2||
BRIDGE OF SPEY, THE. AKA - "The Boat of Bog." Scottish, Strathspey ("Slow when not danced"). D Major. Standard. AAB. Composed by William Marshall (1748-1833). The stone four-arched bridge across the river Spey at Fochabers was completed in 1804 and took three years to erect. Its cornerstone was laid by the Marquis of Huntly, the son of Marshall's employer the 4th Duke of Gordon, with great public ceremony. Marshall, Fiddlecase Edition, 1978; 1822 Collection, pg. 33. McGlashan (A Collection of Reels), c. 1786; pg. 13 (appears as "The Boat of Bog").
T:Bridge of Spey
T:Boat of Bog
L:1/8
M:C|
S:McGlashan - Reels
K:D
A,<D D>A, C<D D>B|A<F E>D B,/B,/B, B,2|A,<D D>A, C<D D>B|
A<F E>F D/D/D D2:|
||g|f>de>c d>AB>d|A<F E>D B,/B,/B, B,>g|f>de>c d>A B<d|A<F E>F D/D/D Dg|
f>de>c dA B/c/d/4c/4B/|A<F E>D B,/B,/B, B,2|A,<D D>A, C<D D>B|
A<F E>F D/D/D D2||
BRODIE HOUSE. Scottish, Reel. F Major. Standard. AABB. Marshall attributes the tune to the Duke of Gordon (Alexander, the 4th Duke) in his Kinrara collection (1800). The beginnings of Brodie House, Moray, also called Brodie Castle, date from around 1560 and were probably initiated by Alexander Brodie of Brodie. Like many fortified structures it has undergone several modifications through the centuries. It was partially burned and razed by the Royalist army in 1645, but remodelled in 1730 by the 19th Brodie of Brodie. Although the building has been part of the Scottish National Trust since the 1970's (due to the expense of running it) and thus open to the public, the 25th Brodie of Brodie still guides some of the tours.
***
BUCK OF THE CABRACH, THE [1]. AKA and see "The Road to Berwick." Scottish, Reel. D Major. Standard. AAB. Composed by William Marshall (1748-1833). The original title appears to have been "The Road to Berwick." The Buck of the Cabrach is the name of a 2,368 foot peak in the Cabrach range with commanding views to Strathdon and Ben Rinnes. It is located on lands once owned by the 4th Duke of Gordon, for whom Marshall became Factor in 1794 with responsibility for the mountainous Cabrach region; perhaps a dubious honor for the region is notorious for the severity of its winters. Moyra Cowie (The Life and Times of William Marshall, 1999) says the name Cabrach comes from the same Gaelic root as does caber, or tree. Interestingly, the area around the mountain is now nearly treeless, she records, although at one time there was a great royal forest there that was the hunting preserve of Alexander III. The story goes that after his victory over Haco, King of the Norwegians, Alexander celebrated by going hunting in the forest, and his wife, furious that he did not return to her, ordered it burned. Marshall, Fiddlecase Edition, 1978; 1822 Collection, pg. 36. Stewart-Robertson (The Athole Collection), 1884; pg. 126.
T:Buck of the Cabrach, The
L:1/8
M:C|
R:Reel
B:The Athole Collection
K:D
A|F<DAF BGAF|DAdf e2 EA|F<DAF BGAF|Adce d2D:|
g|fg/a/ fd bgaf|fg/a/ fd b2eg|fg/a/ fd bgag|fdec d2Dg|fg/a/ fd bgaf|
fg/a/ fd b2eg|fdge afbg|fdec d2D||
CAPTAIN CHARLES GORDON, R.N.--HUNTLY. Scottish, Strathspey. A Major. Standard. AB. Composed by William Marshall (1748-1833). Marshall was a high-placed servent, a Steward, for the Gordon family, who also became enthusiastic patrons of his music. Charles was born in 1798, the illegitimate son of George Gordon, the Marquis of Huntly, and Ann Thomson, before the Marquis was wedded to Elizabeth Brodie. Despite the illegitmacy Charles remained close to his father who became the 5th Duke of Gordon and lived at Huntly. Charles later married Elizabeth MacPherson, daughter of the Duke's factor at the Farm of Gibston (Moyra Cowie, The Life and Times of William Marshall, 1999). See also the companion title "Mrs. Captain Charles Gordon-Huntly." Marshall, Fiddlecase Edition, 1978; 1845 Collection, pg. 30.
T:Capt. Charles Gordon, R.N.-Huntly
L:1/8
M:C
S:Marshall - 1845 Collection
K:A
E|A<A A>A G>B G>E|A>A AA (c>e) (c>A|(3def (3edc ~B2 (GE)|
(F /G/A/)F/ (G/A/B/)G/ A2A2||
(3cea (3edc ~B2 (GE)|(3cea (3eaG (3Afe (3c>BA|~(3d>ef (3edc ~B2 (GE)|
(F/G/A/)F/ (G/A/B/)G/ A2A2|(3cea (3ecA ~B2 (G>E)|(3cea (3ecG (3Afe (3c>BA|
(3d>ef (3eac B2 (GE)|(F/G/A/)F/ (G/A/B/)G/ A2A2||
CASEY'S PIG. AKA and see "Boston O'Connor," "The Duke of Gordon's Birthday." Irish, Highland. Ireland, County Donegal. A popular and well-known highland in County Donegal. It originally was the Scottish strathspey "The Duke of Gordon's Birthday," reworked as a highland. Columbia 33520-F (78 RPM), (Nova Scotia fiddler) Colin Boyd (1932).
X:1
T:Casey's Pig
S:Paul O'Shaughnessy \& Paul McGrattan
D:Within a Mile of Dublin
R:Highland
Z:Juergen.Gier@post.rwth-aachen.de
L:1/8
M:4/4
K:G
G2GD EDGB|(3cBA gB A2AB|GAGD EDGD|(3EFG DC B,G, G,D::\
gabg d2df|gabg e2ef|(3gab (3efg dgBG|AGAB G2G2:
X:2
T:Casey's Pig
S:Colin Boyd, Columbia 33520-F, 1932
R:Highland
Z:Philippe Varlet
L:1/8
M:4/4
K:G
DGGD EDGB|dBgB A2AB|DGGD EDGD|(3EFG DB, G,2G,B,:||
gabg d2df|gabg e2ef|gbeg dgBG|1 AGAB G2Gf:|2 AGAB G2GE||
CAULD KAIL IN ABERDEEN [1]. Scottish, Strathspey and Song Air. D Major. Standard. AABB. The words to the song were written by the Duke of Gordon, the same Duke who was the patron and source of encouragement to William Marshall (1748-1833), strathspey composer. Carlin (Gow Collection), 1986; No. 21. Gow (Complete Repository), Part 3, 1806; pg. 13.
T:Cauld Kail in Aberdeen
L:1/8
M:2/4
S:Gow - 3rd Repository
K:D
D|(FA) d>B|{B}AF E>D|(FA) d>B|(A2 D>)G|(FA) {Bc}d>B|(B/A/) (G/F/) E>D|
F>A (B/c/d/B/)|(A2D):|
|:A|d>efd|{fg}g>f (ec)|~d>e fd|{f}(e2 A) z/A/|d>e fd|ge {d}cd/B/|A>F (B/c/d/)B/|
(A2D):|
COCK O' THE NORTH [1]. AKA and see "Auntie Mary" {Irish}, "Joan's Placket (Is Torn)" {English}, "Jumping John/Joan," "We Must All Wait Till My Lady Comes Hone." Scottish, English, Canadian; Jig, 6/8 March, and Morris Dance Tune. Canada; Cape Breton, Prince Edward Island. A Major (Hunter, Johnson, Kennedy, Miller & Perron, Perlman, Raven): G Major (Bayard, Bullen, Kerr, Sweet, Wade). Standard. AB (Bullen): AAB (Bayard, Hunter): AABB (Johnson, Kennedy, Miller & Perron, Raven, Sweet, Wade): AA'BB' (Kerr, Perlman). The 'Cock o' the North' was an honorary title of the (fifth and last) Duke of Gordon, who held sway over the northern part of the Scottish Highlands (from a note in a monograph on William Mashall printed in his 1845 Collection). Chappell alleges the earliest reference to the tune (under the title "Joan's Placket") is in an entry in Pepys' diary for June 1667. Bayard (1981) and Kidson (1915) both trace the tune to the 17th century, where they find the titles for this tune were "Jumping John/Joan" and "Joan's Placket (Is Torn)." It was published by Oswald (Vol. 10) c. 1758, by Feuillet in Recueil de Contredanses (1706) in Paris, and by Playford in the 1674 and 1686 editions (and all subsequent editions) of his Dancing Master, each time under the title "Jumping Joan." In fact, a Shetland reel version of the tune from the island of Whalsay collected in modern times still goes by the name "Jumping John" (Cooke, 1986).
***
The dance and ballad air was assumed into martial repertory, and it has been recorded that the melody helped win Gordon Highlander Piper George Findlater the Victoria Cross in 1897. It seems that while leading the charge storming Dargai Heights with other pipers, he was shot through both legs; "undaunted, he propped himself against a boulder, and continued to play" the stirring air to encourage the successful action (Winstock, 1970; pg. 212). Kidson (1915) relates another military story of its earlier use in the seige of Lucknow during the Indian Mutiny of 1857. The British were initially hard pressed and were for some time beseiged in various locations in the city by native Indians. Signals had been regularly sent between the forces defending parts of the beseiged town, and those under attack in the Residency quarters. A drummer boy named Ross, after the signalling was over, climbed to the high dome from which signals were sent and despite harrassing fire from the Sepoys he sounded "Cock o' the North" in defiance, rallying the English with his bravery (though being a drummer, exactly how he 'sounded' the tune remains a mystery, ed.)
***
In England, Andrew Bullen (Country Dance and Song, May 1987, Vol. 17, pg. 11). suggests there is some evidence to think that "Cock of the North" was the tune traditionally used in the famous horn dance of Abbots Bromley, Staffordshire (currently performed in most Christmas Revels pagents). "This standard version," he states, "taken from Pruw Boswell's 'Morris Dancing of the Lancashire Plain', is used in the Wigan St. John's Dance." Wade records that the tune is still used for a single step dance in the North-West Morris tradition.
***
Perlman (1996) notes that this tune was remembered by many Prince Edward Island fiddlers as the very first tune they tried to play.
***
Miscellaneous notes: The tune was used by the Scots poet Robert Burns for his song "Her Daddie Forbad and Her Minnie Forbad." In America, it was given to Bayard that there was an obscene New England song to the tune called "Chase Me, Charlie," but he did not hear it. It has been asserted that a trumpet version of the tune was played at the execution of Mary Queen of Scots in 1587, but this cannot be substantiated and it is not credited. It is not, as has been proposed by Johnson-Stenhouse, the progenitor of "Lillibulero." Sara Lee Johnson (1986-87) says the tune is often heard at the Old Michegan Fiddler's Association gatherings. Sources for notated versions: Hiram Horner (fifer from Fayette and Westmoreland Counties, Pa., 1960) [Bayard]; Elliot Wright (b. 1925, Flat River, Queens County, Prince Edward Island; now resident of North River) [Perlman]. Bayard (Dance to the Fiddle), 1981; No. 580, pg. 513. Bullen, Country Dance and Song, May 1987, Vol. 17, pg. 11. Hunter (Fiddle Music of Scotland), 1988; No. 299. Jarman (Old Time Fiddlin' Tunes); No. or pg. 19. Jarman, 1951; pg. 66. Johnson (The Kitchen Musician's No. 7: Michigan Tunes), Vol. 7, 1986-87; pg. 6. Kennedy (Fiddlers Tune Book), Vol. 2, 1954; pg. 36. Kerr (Merry Melodies), Vol. 2; No. 311, pg. 34. McDonald (Gesto), 1895; pg. 135. Miller & Perron (New England Fiddler's Repertoire), 1983; No. 43. Page, Heritage Dances of Early America; No. or pg. 41. Perlman (The Fiddle Music of Prince Edward Island), 1996; pg. 141. Raven (English Country Dance Tunes), 1984; pg. 105. Ross, 1934, Army Manuel of Bagpipe Tunes; Book 1, pg. 10. Sweet (Fifer's Delight), 1964/1981; pg. 21. Wade (Mally's North West Morris Book), 1988; pg. 14.-
T:Cock o' the North
L:1/8
M:6/8
K:A
cdc cBA|cde f2e|cdc cBA|B3 e2d|cdc cBA|Ace B=GB|A3 A3:|
|:a2e f2e|a2e f2e|cdc cBA|BcB B2e|a2e f2e|a2e f2e|cAc B=GB|A3 A3:|
COCK OF THE NORTH [3]. Irish, Slide.
T:Cock o' the North
D:Jackie Daly, "Many's a Wild Night", track 13(b)
M:12/8
N:From the album notes by Ma/ire O'Keeffe:
N:[T]he last two slides are versions of the well known
N:"Cock o'the North". This is a common Scottish piping
N:tune which can be found in 6/8 time in James Hunter's
N:"The Fiddle music of Scotland" No. 299, where we are
N:told that the Cock o' the North was an honorary title
N:for the Duke of Gordon. The second tune came from
N:the playing of Maurice O'Keeffe of Kishkeam who
N:attributed this version to the playing of Johnny Billy,
N:a far-out relation of Tom Billy's who was renowned
N:for the sweetness of his playing. According to
N:Maurice, Johnny Bill was a shy man and was never
N:recorded.
L:1/8
R:slide
K:A
"A" c3 "Bm" dcd "A" e3-e2 e | efe cBA "E" B3 BAB |
"A" c3 "D" dcd "A" e3-e2 e |1 efe "E" c2 B "A" A3 A2 B :||
2 "E" efe c2 "A" B A3-A2 e ||
||: "D" a2 e "A"c2 e "D" a2 "A" e c2 e | efe cBA "E" B3 B2 e |
"D" a2 e "A" c2 e "D" a2 e "A" c2 e |
1 efe "E" c2 B "A" A3 A2 e :|| 2 "E" efe c2 B "A" A3 A3 ||
***
A Bm A / | / / E / | A D A / |1 / E A / :|| 2 E / A / ||
||: D A D A | / / E / | D A D A | 1 / E A / :|| 2 E / A / ||
DUCHESS OF BEDFORD'S STRATHSPEY, THE. Scottish, Strathspey. B Flat Major. Standard. AB. "Slow when not danced." Composed by William Marshall (1748-1833), who worked for the Duke of Gordon as Steward of the Household; the Duke was an enthusiastic supporter of Marshall's music. Hunter (1979) identifies the duchess as Georgiana, fifth and youngest daughter of Alexander (1743-1827), the 4th Duke of Gordon, who wed the John Russell, the Duke of Beford in June, 1803. He was a widower with three sons and much older than his second wife. The Duke's first wife also had been named Georgiana, and the second of that name was much resented by her stepchildren. Ormond described her as "a large and exhuberent character, doted on by her husband." Their wedding festivities lasted an entire week, and one night the couple danced until six o'clock in the morning.
***
Despite the numerous dwellings owned by the Duke, Georgianna and her husband loved the Highlands and built two hunting huts (bothies) there so they could hunt and fish. One of the huts was also employed by the Duchess for her reputed passionate affair with the famous artist Edwin Landseer. The Duke was a friend and patron of Landseer's, who drew and painted Georgiana numerous times, and although Russell must have known about the depths of their affection for one another he remained tolerant and overlooked his wife's many lapses. The Duchess and Landseer, according to contemporary gossip, had a daughter together, who was given the Russell name (see note for "Lady Rachel Russell"). The intimate friendship between the artist and the Duchess continued from the 1820's to the Duchess's death in 1853, at Nice. Hunter (The Fiddle Music of Scotland), 1988; No. 50. MacDonald (The Skye Collection), 1887; pg. 163. Marshall, Fiddlecase Edition, 1978; 1822 Collection, pg. 5.
T:Dutchess of Bedford's Strathspey, The
L:1/8
M:C
S:Marshall - 1822 Collection
K:B_
B,<B B>c B2 FB|d<c c>d e2 Fe|dfgf edcB|A>B ~c>d c/B/A/G/ FE|
D<B ~B>c B2 FB|c<c c>d e2Fe|dfgf edcB|F>B A/B/c/A/ B2 B||e|
D/e/f/g/ ff b2 fa|b/a/g/f/ g/f/e/d/ e/d/c/B/ c>d|c/d/e/f/ g>f e/d/c/B/|
ABc>d c/B/A/G/ F>E|DBFB FcAc|FdBd Egeg|d/f/g/a/ b>f g/f/e/d/ e/d/c/B/|
F>B A/B/c/A/ B2 B||
DUCHESS OF GORDON [1]. Scottish, Strathspey. G Minor. Standard. AB (Gow): AAB (Athole). John Glen (1891) finds tunes by this title in Riddell's collection (pg. 17) and Angus Cumming's 1780 collection (pg. 4). Perhaps the most famous Duchess of Gordon was the celebrated Jane Maxwell who, along with her sister Eglintoun Maxwell, were brought up by their mother in somewhat parsimonious circumstances in Edinburgh, though their financial constraints apparently did little to quell two spirited girls. One story goes that the sisters rode on the backs of the swine which a nearlby innkeeper allowed to forage in the street. In later life she captivated the Duke of Gordon and was at the heart of social activity in Scotland, particularly the northern elite. She was a leader of fashion, hostess to William Pitt the younger, and particularly loved her entertainments. Elizabeth Grant of Rothiemurchus called her a beautiful and very cultivated woman, though Sir Walter Scott thought that her "sole claim to wit rested upon her brazen impudence and disregard to the feelings of all who were near her."
***
In the late 18th century the Duke and Duchess of Gordon were patrons of the great Scottish fiddler Niel Gow, and Gow would frequently be called upon to entertain at balls, dinners and gatherings. Once when the Duchess called for him she had occasion to raise a passing complaint about feeling giddy with a swimming feeling in her head. Gow, who remained unawed by the gentry, replied with typical wit: "Faith, I ken somethin' o' that mysel', your Grace, when I have been fou the night before, ye wad think that a bike o' bees were bizzin' in my bonnet the next mornin'!"
***
Moyra Cowie (1999) relates the story that the 4th Duchess of Gordon, Jane, raised a regiment of Gordon Highlanders for her son George in 1797. It was perhaps a measure of her 'impudence', or else inspired determination, that she held the Kings Shilling (the bonus money for enlisting) between her teeth, thus offering a kiss to any man who dared approach and prize the money from her. Cowie says: "Many a strong willed man, who may not have enlisted under normal circumstances could not resist this beautiful women mounted on horse back with the regimental bonnet bedecked with red plumes jauntily perched on her head." This circumstance inspired Charles Murray (who evidently agreed with Walter Scott's opinion of the Duchess) to write in Hamewith:
***
BYDAND
***
There's a yellow thread in the Gordon plaid,
But it binds nae love to me,
And the ivy leaf has brought dool and grief,
Where there never but love should be.
***
For my lad would list, when a duchess kis't,
He forgot a' the vows he made,
And turned and took but ae lang last look
When the 'Cock O' North' was played.
***
O her een were bright, an' her teeth were white,
As the siller they held between;
But the lips that he pree'd were they half as sweet
As he vowed that mine were yestereen.
***
A puir country lass 'mang the dewy grass
May hae whiles hae to kilt up her goon;
But a lody hie sae to shew her knee,
And to dance in a borough toon!
***
If I were the Duke, I was nae muir look
Wi' love on my high born dame;
At kilt or plaid I wad hang my heid,
And think aye on my lady's shame.
***
By my leefu' lane I sit morn and e'en,
Prayin' aye for him back to me,
For noo he's awa', I forgie him a',
Save the kiss he was 'losted wi'.
***
In later life Jane and her husband Alexander became estranged because of his affair with Jean Christie, the daughter of the housekeeper at Gordon Castle. Proud Jane had a home built for herself, Kinrara, into which she moved, and the Duke eventually took Jean as his second wife. Jane died in the Pultney Hotel, Picadilly, London on the 10th of April, 1812, attended by her children and close companion and granddaughter Lady Jane Montague, and was buried at Kinrara.
***
The Duchess of Gordon is a Scottish country dance which was, at the mid-20th century, one of the 15 or so either wholly or in part in strathspey tempo (Flett, 1964); it was one of the more uncommon dances in a program. Carlin (The Gow Collection), 1986; No. 40. Stewart-Robertson (The Athole Collection), 1884; pg. 202.
T:Duchess of Gordon, The
L:1/8
M:C
R:Strathspey
B:The Athole Collection
K:G Minor
A|G/G/G d2 d>=cA>g|G/G/G G2 A>GF>A|G/G/G d2 d>=cd>g|
f<d c>A G2G:|
^f|g<ab<a g<d d>=e|f>gf>c A<F F>^f|g>a b<a g<d d>g|f>dc>A G2 G>f|
g>ab>a g<d d>=e|f>gf>c A>GF>f|g>ab>a g<f a>g|f>dc>A G2G||
DUCHESS OF GORDON, THE [4]. AKA and see "Linlithgow Loch." Scottish, Slow Air or Waltz. B Flat major. Standard. AB. Composed by William Marshall (1748-1833) in honor of the wife of his employer, the Duke of Gordon, for whom Marshall worked as Steward of the Household. Marshall, Fiddlecase Edition, 1978; 1845 Collection, pg. 18.
T:Duchess of Gordon, The [4]
L:1/8
M:3/4
S:Marshall - 1845 Collection
K:B_
FG/A/|B2B2B2|d3e f2|c>d (3fed (3dcB|A2G2 FG/A/|B2B2B2|d3e f2|
e>b agf>e|g2f2 fg/a/|b2f2d2|g2e2 c^c|d>f ed c>B|A2G2 FG/A/|B2B,2D2|
f3 g/e/ d2|F>f d2 d/>c/B/>c/|c2B2||d>e|f2d2b2|f2d2b2|gfed cB|A2G2 FG/A/|
B2F2B2|d3e f2|=e>b agfe|g2f2 d>e|f2 (3fdf b2|g2 (3geg b2|c>d e>d (3dcB|
A2G2 FG/A/|B2B,2D2|f3 g/e/ d2|F>e d2 d/>c/B/>c/|c2B2||
DUCHESS OF GORDON'S REEL [6]. Scottish, Strathspey. D Major. Standard. AB. Not the same tune as "Duchess of Gordon" [2]. This strathspey was composed by William Marshall (1748-1833) in honor of the wife of his employer, the Duke of Gordon, for whom Marshall worked as Steward of the Household. The Duchess, born Jane Maxwell (1748-1812), was known as the 'Flower of Galloway' for her beauty and wit when she married Duke Alexander Gordon in 1767. A supporter of William Pitt the Younger, Jane often played hostess for him both in London and Scotland. Marshall, it is said, also admired Pitt (Cowie, The Life and Times of William Marshall, 1999). Marshall, Fiddlecase Edition, 1978; 1781 Collection, pg. 11.
T:Dutchess of Gordon's Reel (sic)
L:1/8
M:C
S:Marshall - 1781 Collection
K:D
F|D>F E<A F<DA<F|D>F D<F [A,2E2] E<F|D>F D<A F<DA<F|d>e f<d (F2 F<)A|
D>F D<A F<DA<F|D>F D<F [A,2E2] E<F|D>F D<A F<DA<F|d>e f<d F3||A|
d>e f<d e<Bd<A|B>c d<f (e2 e<)f|d>e f<d e<B d<A|G<BF<A (E2 E<)e|
d>e f<d e<Bd<A|B>c d<f (e2 e<)f|d>e f<d e<Bd<A|G<BF<A E3||
DUCHESS OF MANCHESTER('S STRATHSPEY). AKA and see "Lady Georgina Gordon('s Strathspey)." Scottish, Strathspey. F Major. Standard. AABBCCDDD. The tune appeared in Gow's Repository, Part Third, 1806, but was first published as "Lady Georgina Gordon's Strathspey" in Marshall's First Collection (1781). Gow's title is odd, since it was Susan and not Georgianna Gordon who married William Montegue, the 5th Duke of Manchester to become Duchess (in October, 1793). Susan was described as a 'wayward girl' who later ran off with one of the footmen. She left her husband ten years later, with her conduct being described as "most notoriously bad" (Moyra Cowie, The Life and Times of William Marshall, 1999). Carlin (The Gow Collection), 1986; No. 425. Gow (Complete Repository), Part 3, 1806; pg. 30.
T:Duchess of Manchester's Strathspey, The
L:1/8
M:C
S:Gow - 3rd Repository
K:F
C|F<F F>F A>FAc|d<f c>A {A}G2 G>A|F<F F>F A>FAc|d>f c>A F2F:|
|:c|f>g ag a/g/f/d/ cf|d<f c>A {A}G2 G>c|f>g ag a/g/f/d/ cf|d>f c>A {A}F2F:|
|:A|CF A,F C>F Bd|c<A F>A {A}G2 G>A|CF A,F C>F Bd|c<A f<A F2F:|
c|f>g {fg|a>g a/g/f/d/ cf|~c>d ~f>a g2 g>a|f>g {fg}a>g a/g/f/d/ c>f|d<f c>A {A}F2 F>c|
f>g {fg}a>g a/g/f/d/ c>f|c>d fa g2 g f/g/|a>f (a/g/)f/e/ f>c d<f|~c>B A>G F2F||
DUCHESS OF MANCHESTER'S FAREWELL TO THE HIGHLANDS OF SCOTLAND, THE. AKA - "Honest Men and Bonnie Lasses" (Gow's title). Scottish, "Pastoral--March" (4/4 time). B Flat Major. Standard. AAB. Thought to be one of the most celebrated and best compositions of William Marshall (1748-1833) according to both Collinson (1966) and Emmerson (1971); it appeared in his First Collection (1781). Niel Gow republished the tune in 1809 in his Fifth Collection under the title "Honest Men and Bonnie Lasses," without author credit. The Duchess of Manchester was Lady Susan, third daughter of the 4th Duke (1743-1827) and Duchess of Gordon, who departed the family estate in 1793 to marry William Montague, 5th Duke of Manchester, inspiring Marshall's tune. Hunter (Fiddle Music of Scotland), 1988; No. 46. Marshall, Fiddlecase Edition, 1978; 1822 Collection, pg. 4.
T:Dutchess of Manchester's Farewell to the Highlands of Scotland.
L:1/8
M:C
K:B_
d/c/|B>cBB, DFFd/c/|B/A/B/c/ BB, ~C2 Cd/c/|B>cBB, D<F f>g|f<d c>d ~B2B:|
d/c/|B/c/d/e/ f/d/b/d/ B/c/d/e/ f/d/b/d/|B/c/d/e/ f/d/b/d/ c2 c/d/|B/c/d/e/ f/d/b/d/ B/c/d/e/ f>g|
f<d c>d ~B2 Bd/c/|B/c/d/e/ f/d/b/d/ B/c/d/e/ f/d/b/d/|eg/e/ df/d/ ~c2 cd|F>^EF>G F>GB>g|
f<d c>d [B,2F2B2] B||
DUCHESS OF RICHMOND, THE [1]. Scottish, Reel. B Flat Major. Standard. AB. Composed by William Marshall (1748-1833) in honor of Charlotte, daughter of Alexander (1743-1827), the 4th Duke of Gordon and Marshall's employer (Marshall was Steward of the Household). Lady Charlotte married Charles Lennox in September of 1789, who later became the 4th Duke of Richmond and Lennox. Their son fell heir to the Gordon estates as the 5th Duke of Gordon had no issue. Marshall, Fiddlecase Edition, 1978; 1845 Collection, pg. 18-19.
T:Duchess of Richmond, The [1]
L:1/8
M:C
S:Marshall - 1845 Collection
K:B_
f|edcA BF ~B2|dfga bfdB|e2 d=B cG ~c2|cdef gedc|Bc/d/ BFBF B2|
Bcde fbdB|Egfe dfdB|FBAc B2B||f|bBaB gBfB|dfga bfdB|cf=ef dfef|
dbag f=edc|d<B c/B/A/B/ F<B c/B/A/B/|GBFB EBDB|Egfe dfdB|
FBAc B2B||
DUKE GORDON. AKA and see "Lord Gordon," "Tiarna Gordon," "Duke of Gordon's Favourite," "Duke of Gordon's Rant," "The Waterloo Reel," "The Rocks of Antiluce," "The Pride of Kildare," "My Heart with Love is Breaking," "The Scotch Rose," "The Scotch Patriot's Reel," "The Rakes of Drumlish."
DUKE OF GORDON [1]. Scottish, Strathspey. D Major. Standard. AAB. Neil (1991) notes that the Gordon family was one of the most powerful in Scotland, probably descended from the Gourdons who came to Britain with William the Conqueror. Most of the Scottish Gordons descend from one Sir Adam de Gordon who was given the lordship of Strathbogie in Aberdeenshire by Robert the Bruce. Adam's descendent George (4th Marquis of Huntly) attained the title of Duke in 1684, which expired in 1836 upon the death of the childless 5th and last Duke of Gordon. Niel remarks the powerful Gordons often stood alone in disputes with the crown, and, under the Earl of Huntly, lieutenant of Scotland, obtained land forfeited by others. As a result the Gordons were frequently engaged in clan disputes with such as the Mackintoshes, Camerons, Murrays and Forbeses. Composed by Niel Gow. Carlin (The Gow Collection), 1986; No. 44. Green Linnet GLCD 1187, Cherish the Ladies - "One and All: the Best of Cherish the Ladies" (1998).
DUKE OF GORDON [2]. AKA and see "Duke of Gordon's Birthday."
DUKE OF GORDON AND HIS VOLUNTEERS, THE. Scottish. Glen (1891) finds the earliest appearence of this tune in print in Joshua Campbell's 1778 collection (pg. 50).
DUKE OF GORDON'S BIRTHDAY, THE. AKA and see "Boston O'Connor," "Casey's Pig." Scottish, Canadian; Strathspey. Canada; Cape Breton, Prince Edward Island. G Major. Standard. AB (Dunlay & Greenberg): AAB (Hunter, Marshall): AA'B (Athole): AABB (Kerr, Skye): AABB' (Gow, Perlman). One of the first tunes composed by the great Scottish fiddler and composer William Marshall (1748-1833). The Duke of Gordon was Alexander (1743-1827), 4th Duke of Gordon, who was Marshall's employer (Marshall was his Steward) and an important patron of his music.
***
Alexander, The 4th Duke of Gordon
***
It was first published in Marshall's First Collection of 1781, and later appeared in a Gow's Repository (First Part) in 1799. Paul Stewart Cranford (1995) remarks that some of Marshall's tunes have been in oral tradition so long in Cape Breton, Nova Scotia, that local sets have evolved; this is one such tune and numerous Cape Breton versions exist, sometimes distanced from Marshall's original. Dunlay and Greenberg (1996) note that "The Duke of Gordon's Birthday" is often used as a stepdance strathspey on Cape Breton, and Perlman (1996) records that it is the most widely played strathspey on Prince Edward Island (though the tune is distanced from its original form). Gaelic port-a-beul words have become attached to the tune, called "A' Chaora Ruadh" (The Red Sheep), and a verse by Cape Breton storyteller Joe Neil MacNeil can be found in the booklet accompanying Topic 12TS354. In County Donegal, Ireland, the tune is played as a highland where it is well-known under the title "Casey's Pig." Sources for notated versions: Douglas Lawrence of Buckie, a student of Hector MacAndrew's (Scotland) [Hunter]; Margaret (Chisholm) MacDonald (Cape Breton) [Dunlay & Greenberg]; Peter Chaisson, Jr. (b. 1942, Bear River, North-East Kings County, Prince Edward Island) [Perlman]. Dunlay & Greenberg (Traditional Celtic Violin Music of Cape Breton), 1996; pg. 91. Gow (Complete Repository), Part 1, 1799; pg. 12. Hunter (Fiddle Music of Scotland), 1988; No. 73. Kerr (Merry Melodies), Vol. 1; Set 2., No. 3, pg. 4 (appears as "Duke of Gordon"). MacDonald (The Skye Collection), 1887; pg. 99. Marshall, Fiddlecase Edition, 1978; 1822 Collection, pg. 38. McGlashan (A Collection of Reels), Vol. 3, c. 1786; pg. 2. Perlman (The Fiddle Music of Prince Edward Island), 1996; pg. 187. Stewart-Robertson (The Athole Collection), 1884; pg. 163. ACC-49398, Brenda Stubbert - "House Sessions" (1992). Appears as "Duke of Gordon Strathspey"). CAT-WMR004, Wendy MacIssac - "The 'Reel' Thing" (1994). Celtic CX 22, Donald and Theresa MacLellan - "The MacLellan Trio" (appears as "Duke of Gordon's"). Celtic CX 052, Donald MacLellan (c. 1950's). DAB4-1985, Donald Angus Beaton - "A Musical Legacy" (1985). Marimac 6501, Eddy Arsenault - "The Old Time Fiddlers of Prince Edward Island" (1993). Marquis ERA 181, David Greenberg - "Bach Meets Cape Breton" (1996). Paddledoo Music PAD 105, Buddy MacMaster - "Scottish Fiddle Rally, Concert Highlights 1985-1995" (1996). Rodeo Banff RBS 1066, Dan Joe MacInnis - "The Cape Breton Fiddle of...(1962. Appears as "Duke of Gordon"). Rodeo RLP 75, John A MacDonald - "Marches, Strathspeys, Reels & Jigs of the Cape Breton Scot." Rounder 7003, John Campbell - "Cape Breton Violin Music" (1976. Appears as "The Duke of Gordon"). Topic 12TS354, Alex Francis MacKay - "The Music of Cape Breton, Vol. 2, Cape Breton Scottish Fiddle" (1978).
T:Duke of Gordon's Birthday, The
L:1/8
M:C
R:Strathspey
B:The Athole Collection
K:G
B|G>DG>B G>D G<B|d>Bd>B A/A/A A>B|G>DG>B G>DG>B|1
d>cB>A G/G/G G:|2 D>CB,>A, G,/G,/G, G||
|:d|g>ab>g d/d/d d2|g>ab>g e/e/e e>f|g<be<g d<gB<g|A>GA>B G/G/G G:|
|:D|G>DG>D G>DG>B|d>Bg>B A/A/A AB/A/|G>EG>B G>D E/E/E|
D>CB,>A, G,/G,/G, G,||
DUKE OF GORDON'S FAVOURITE, THE. Scottish, Slow Air (6/8 time). B Flat Major. Standard. AABB. The air was composed by Robert Mackintosh. Neil (1991) notes that the Gordon family was one of the most powerful in Scotland, probably descended from the Gourdons who came to Britain with William the Conqueror. Most of the Scottish Gordons descend from one Sir Adam de Gordon who was given the lordship of Strathbogie in Aberdeenshire by Robert the Bruce. Adam's descendent George (4th Marquis of Huntly) attained the title of Duke in 1684, which expired in 1836 upon the death of the childless 5th and last Duke of Gordon. Niel remarks the powerful Gordons often stood alone in disputes with the crown, and, under the Earl of Huntly, lieutenant of Scotland, obtained land forfeited by others. As a result the Gordons were frequently engaged in clan disputes with such as the Mackintoshes, Camerons, Murrays and Forbeses. Neil (The Scots Fiddle), 1991; No. 102, pg. 138.
DUKE OF GORDON'S RANT, THE. AKA and see "Duke of Gordon's Favourite," "Lord Gordon," etc. Scottish, Strathspey. John Glen (1891) finds the earliest appearance of this tune in print in Alexander McGlashan's 1786 collection. Alan Jabbour finds this tune printed in America by George P. Knauff as "Scotts Favorite" in Virginia Reels, volume III (Baltimore, 1839). See also the Irish version "Lord Gordon." McGlashan (Collection of Strathspey Reels), 1786, Vol. 3; pg. 7.
T:Duke of Gordon's Rant
L:1/8
M:C|
S:McGlashan - Strathspey Reels
K:D
B|A>DF>D A>DDB|A>DF>D A3d|B>EG>E B>EE>c|d>efd (B2 B)c|
d>ef>a e>fd>B|A>FD>F A>Bd>e|f>de>B d>BAF|E/E/E F>A B2B||
f/g/|a>df>d addf/g/|a>dfd a3f|b>eg>e b>eef|gfed B3c|d>ef>a e>fd>B|
A>FD>F A>Bd>e|f>de>B d>BA>F|E/E/E F>A (B2 B)||
f/g/|a>dfd addf/g/|a>dfd a3f|b>eg>e b>eeb|a>fe>d (B2 B)c|
d>ef>a e>fd>B|A>FD>F A>Bd>e|f>ae>f d>BAF|E/E/E F>A (B2B)||
DUKE OF GORDON'S REEL [1]. See "Duke of Gordon's Strathspey."
DUKE OF GORDON'S REEL [2]. Scottish, Reel. G Major. Standard. AABB. Huntington (William Litten's), 1977; pg. 13.
DUKE OF GORDON'S STRATHSPEY. AKA - "The Duke of Gordon's Reel." Scottish, Strathspey. D Major. Standard. AAB. Composed by William Marshall (1748-1833). The multitalented Marshall worked for the Alexander (1743-1827), 4th Duke of Gordon as Steward of the household and dedicated this tune to him. The Duke also was an enthusiastic patron of Marshall's music and of Scottish traditional music in general. He played the fiddle, according to the Gordon historian Bulloch, and occasionally played tunes with his Steward. Marshall, Fiddlecase Edition, 1978; 1822 Collection, pg. 31; and 1781 Collection, pg. 12 (appears as "Duke of Gordon's Reel").
T:Duke of Gordon's Strathspey
L:1/8
M:C
S:Marshall - 1822 Collection
K:D
B/c/|d>DF>D ADFD|B>DF>D E/E/E EB/c/|d>DF>D ADFD|d>fe>f d/d/d d:|
f/g/|a>f d<f AdFD|GBFA E/E/E Eg|a/g/f/e/ d>f A<dF>D|G>BA>c d/d/d df/g/|
a>f d<f A>dF>A|G>BF>A E>F G<E|D>FE>G F>AG>B|A>FG>E D/D/D D||
DUKE OF YORK'S MARCH, THE. English, March (4/4 time). England; Yorkshire, Shropshire. D Major. Standard. AABB (Ashman): AABBCCDD (Merryweather & Seattle). Gordon Ashman (1991) maintains that the melody was composed in 1805, soon after the Duke of York became Colonel of the Grenadier Guards, and notes it is still in use today as a regimental slow-march. James Merryweather (1988, 1994), however, researched the melody and found it was composed by John Gamidge in 1789, to be played by the York Waits. Another tune called "The Duke of York's March" was cited by Linscott as having been a popular British army march of the American Revolutionary War period. This is perhaps the "Duke of York" in Samuel Holyoke's Instrumental Assistant (pgs. 50-51), Printed in Exeter, New Hampshire in 1800 (although the original for this was Playford in 1665). Sources for notated versions: a c. 1837-1840 MS by Shropshire musician John Moore [Ashman]; an MS collection by fiddler Lawrence Leadley, 1827-1897 (Helperby, Yorkshire) [Merryweather & Seattle]. Ashman (The Ironbridge Hornpipe), 1991; No. 17, pg. 3. Merryweather & Seattle (The Fiddler of Helperby), 1994; No. 105, pg. 59.
FOCHABER'S RANT, THE. Scottish, Reel. G Mixolydian. Standard. AAB. Composed by William Marshall (1748-1833), whose birthplace was Fochabers in its original site in Banffshire. Fochabers is a small town in the Moray parish of Bellie, six miles from the mouth of the river Spey. It was created a burgh of Barony in 1598 and originally stood somewhat closer to the walls of Gordon Castle, however, due to improvements to the castle the whole village was removed to its present site on the River Spey in 1776. As an exercise of planned conservation, many of the buildings have remained much as they were when built 200 years ago. The design of the village was the work of John Baxter, commissioned by the fourth Duke of Gordon, and features a rectangular street plan and a square whose south side is an example of Georgian architecture. A ferry was the only means of crossing the river (unless one cared to wade across) until the Fochabers Old Bridge was opened in 1804. This structure survived until 1829 when, during a massive flood surge, the pier on the west bank collapsed and wasn't reopened for three years, and then with a wooden arch spanning the gap. This lasted for the next twenty-two years but the old bridge was eventually replaced by a three-rib arch fashioned from cast iron, the great Victorian architectural material. Marshall, employed as the Duke of Gordon's Steward at Gordon Castle, would have been very familiar with Fochabers at the time of its latter 18th century removal and re-creation, and perhaps this tune is a celebration of the event. Marshall, Fiddlecase Edition, 1978; 1822 Collection, pg. 41.
T:Fochaber's Rant, The
L:1/8
M:C|
S:Marshall - 1822 Collection
K:G
G2 bg afgd|g2 bgaf g2|g2 bgafge|=fdcf AFcA:|
(Bc/d/) (BG) ecdc|(Bc/d/) (BG) gB d2|(Bc/d/) BG ecdB|cA=FA fA c2|
(Bc/d/) (BG) ecdc|(Bc/d/) (BG) gB d2|(Bc/d/) BG ecdB|cA=FA fA c2||
FOREST OF GA-ICK/GAICK, THE. Scottish, Strathspey. D Minor. Standard. AB. Composed by William Marshall (1748-1833). The Forest of Ga-ick was a deer forest near Glen Feshie, owned by the Duke of Gordon for his hunting pleasure. The Duke, for whom Marshall worked as Steward of the Household, was an excellent shot, as was Marshall himself (Moyra Cowie, The Life and Times of William Marshall, 1999). The deer were protected and well-fed on the lush vegatation of the tract and reportedly grew to enormous size. Marshall, Fiddlecase Edition, 1978; 1822 Collection, pg. 52. Stewart-Robertson (The Athole Collection), 1884; pg. 240.
T:Forest of Gaick, The
L:1/8
M:C
R:Strathspey
B:The Athole Collection
K:D Minor
E|D<(d d)>^c d2 d>e|c>d e<d c<C C>E|D<(d d)>^c d2 d>e|c<A c>E D2 D>E|
D<(d d)>^c d2 d>e|c>de>f g>ec>e|f>ag>e f>de>c|d<A c>E D2D||
e|f<d d>e c>d e<a|f<d d>e f<df<a|f<d d>e c>d e<g|a<f g>e d2 d>e|f<d d>e c>d e<a|f<d d>e f<d e>=B|c>dc>G E>CE>G|A>FG>E D2D||
GEORGE'S SQUARE. Scottish, Reel. F Major. Standard. AABB. The melody was composed by William Marshall and appears fist in his 1781 collection (pg. 2). Marshall, Steward of the Household to the Duke of Gordon, dabled in mathematics, clockmaking and surveying, in addition to his talents as a fiddler. George Square, Edinburgh, was laid out by the planner James Brown in 1763/64, and has been ever since been one of the most prestigious areas of the city. Marshall, Fiddlecase Edition, 1978; 1781 Collection, pg. 2.
T:George's Square
L:1/8
M:C|
S:Marshall - 1781 Collection
K:F
(f|cF)cA cFfd|cFcA dGG(f|c)FcA fgag|dfcA G2:|
|:(e|f)gag fFF(A|f)gaf bgga|fgaf gefc|dfcA G3:|
GILLAN THE DROVER ("Giolla na Drover" or "Gillan an Drover"). AKA and see "The Drover Lads," "Gillanadrouar," "Gille Na Drobhair," et al. Irish, English, Scottish; March (6/8 time) or Highland Jig. England, Northumberland. F Major (O'Neill): G Major (Peacock). Standard. AABBCCDD (Kerr): AABB'CCDDEEFFGGHHII (O'Neill, Peacock). The tune with the Englished title (a corruption of the Gaelic "Giolla na Drover" {sometimes "Gillan an Drover"} meaning "The Drover Lads") is claimed by both Irish and Scots. O'Neill styles it an "ancient Irish March," and thought it was (in 1915) "considerably over a century old." O'Neill's dating is confimed by Northumbrian sources for the tune is printed in Peacock's Tunes (c. 1805) and the title appears in Henry Robson's list of popular Northumbrian song and dance tunes, which he published c. 1800. Peacock notes that it should be played at a slow tempo. The tune seems to Bayard (1981) to be related to the marching air "Domhnall na Greine" (Daniel of the Sun).
***
Despite the popular image of long range cattle drives as an American 'wild west' phenomenon, such drives were common in Britain in the 18th century, often originating in Scotland and routing through Carlisle and the west, or by the valleys of North Tyne and Coquet in the east through to Northumberland. There was a great cattle market at Falkirk (called the Falkirk Tryst) in Scotland. Drovers' places of call can be traced by the names of still-existing inns, such as the Cat and Bagpipe in East Harlsey in Yorkshire, the Drovers' Inns at Boroughbridge and Wetherby, Drovers' Rest in Cumberland, Drovers' Call between Gainsborough and Lincoln, and two Highland Laddie's-one in Nottingham and one near Norwich, at St. Faiths (Collinson, 1975). So important was Scottish beef to England that Highland drovers were allowed to keep their arms (for defense of themselves and their herds from the depredations of the notorious Scottish cattle theives) following Culloden and the Disarming Act of 1747.
***
Beef, however, was not the only Scottish export to head south at the hands of drovers. Many farms in the Highlands had whisky stills, and a field of barley shimmering in the wind surely meant a whisky still was nearby. In 1797 there were some 200 stills in operation in the parish of Glenlivet, and the 4th Duke of Gordon, for one, felt that the making of whiskey was a divine right of his tenants, although he was finally pressured by London to at least tax the trade. Drove routes were used by the inhabitants of Glenlivet to convey the liquor south, and many a sturdy well-laden Highland garron could be seen on the Braes of Livet winding their way up to the water shed of the Ladder hills down through Glen Nochty, Strathdon and on the the lowlands and borders (Moyra Cowie, 1999).
***
Campbell (Albyn's Anthology), 1816, Vol. 1; No. 12, pg. 100. Kerr (Merry Melodies), Vol. 3; No. 272, pg. 30. MacDonald (The Skye Collection), 1887; pg. 176. McGoun's (Repository of Scots and Irish Airs), c. 1800. O'Neill (1915 ed.), 1987; No. 104, pgs. 58-59. Peacock (Peacock's Tunes), c.1805/1980; No. 29, pg. 12. Front Hall FHR-08, Alastair Anderson - "Traditional Tunes" (1976. From the playing of Colin Ross). Green Linnet SIF 1047, John Cunningham - "Fair Warning" (1983).
G(H)ILLIE CALLUM (The Lad Malcolm). AKA and see "Keellum Kallum (taa fein)," "Sword Dance," "Tail Toddle." Scottish, Strathspey. A Mixolydian. Standard. AAB. The earliest record of the tune is in David Young's 1734 Drummond Castle Manuscript (in the possession of the Earl of Ancaster at Drummond Castle; sometimes called the Duke of Perth MS because of the inscription); Glen (1891) finds it also in Bremner's 2nd collection (pg. 108) under the title "Keelum Kallum taa fein." "Gillie Callum" retained its popularity into the next century, and J.S. Skinner, who was a dancing master as well as a celebrated violinist, taught the dance at such places as Elgin and Balmoral (where among other dances he had four children dance Gillie Callum "in a masterly style, such as has not been witnessed in this locality before") {Aberdeen Free Press}. In fact, Skinner included the tune later in his collection The Scottish Violinist, under the title "Sword Dance." Several sources note that this is the tune generally played as a Strathspey and Reel for the Highland Sword Dance, and the melody is today familiar in association with a Highland sword dance in which great care is taken not to displace the crossed swords during the exercise. There are puirt-a-beul words to the tune which begin:
***
Gille Callum da pheighinn, (Gille Callum two pennies,
Gille Callum da pheighinn, Gille Callum two pennies,
Da pheighinn, da pheighinn, Two pennies, two pennies,
Gille Callum bonn-a-sia! Gille Callum 'coin of six'.)
***
The Gille Calum was performed not only by men, but (at least on some occassions) by women. Elizabeth Grant of Rothiemurchus wrote of the festivities at Kinrara, the home of the Duchess of Gordon, Jane Maxwell:
***
We are often over at Kinrara, the Duchess having perpetual dances, either in
the drawing room or the servants hall and my father returning these entertainments
in the same style. A few candles lighted up bare walls, at short warnings fiddles
and whisky punch were always at hand and then gentles and simples reeled
away in company till the ladies thought the scene becoming more boisterous
that they liked remaining in; nothing more however, a highlander never forgets his
place, never loses his native inborn politeness, never presumes upon on favour.
***
She follows this passage with a description of the beautiful dancing of Lady Jane Montague, who not only danced the Gille Calum but Sean Triudhas as well.
***
Carlin (The Gow Collection), 1986; No. 66 (with variations) {appears as "Gillie Callam Da Pheithein"}. Gow (Complete Repository), Part 4, 1817; pg. 35. Honeyman (Strathspey, Reel and Hornpipe Tutor), 1898; pg. 20 (appears as "Ghillie Callum"). Hunter (Fiddle Music of Scotland), 1988; No. 124. Kerr (Merry Melodies), Vol. 1; Set 5, No. 3, pg. 5. MacDonald (The Skye Collection), 1887; pg. 14. McGlashan (A Collection of Reels), c. 1786; pg. 26. Stewart-Robertson (The Athole Collection), 1884; pg. 9 (appears as "Gille Calium"). Celtic CX45, Wilfred Gillis - "Arisaig Airs."
T:Gille Callum
L:1/8
M:C|
S:McGlashan - Reels (pg. 26)
N:"The Original Sett" (sic)
K:A Mixolydian
A<A c>e d2 BG|A<A c>e d2 c>A|E<E G>B d2 B>G|A<A c>e dB e2|A<A c>e d2 B>G|
A<A ce d2 c>A|BEBe d2 B>G|A<A c>e B/c/d e2||A<A c>A g2 B>G|A<A c>A a2 ae|
G2 g2 d2 B>G|A<A c>A dB e2|A<A c>A g2 B>G|A<A c>A a2 ae|g2 a/g/f/e/ d2 B>G|
A<A c>A B/c/d e2||A<A c>A AgBG|A<A c>A AacA|aefd egBG|A<A c>e B/c/d e2|
A<A c>A AgBG|A<A c>A AacA|gbeg dgBG|A<A c>E B/c/d e2||
|:A<A c>A G/G/G BG|A<A c>A A/A/A c>A|c>ABA G/G/G B>G|A<A c>A B/c/d e2:|
|:A<A c>e dgBG|A<A c>e AacA|a/g/f/e/ fd gdBG|A<A c>e B/c/d e2:|
|:A2 cA BGBG|A2 cA cAcA|cAcA BGBG|A<A c>A B/c/d e2:|
|:A<A c>e AgBG|A<A c>e AacA|gaeg dgBb|gaeg dg e2:|
T:Gille Callum
L:1/8
M:C|
S:Strathspey
B:The Athole Collection
K:A
e|:AAc>e d2 B>G|AAc>e d2 c>A|B>EB>e d2 B>G|AAc>e d>B e2:|
||AAc>e =g2 B>G|AAc>e a2 c>A|a2 c>A =g2B>G|AAc>e d>B e2|
AAc>e =g2 B>G|AAc>e a>ba>f|=g>ag>e d>=gB>G|AAc>e d>B e2|]
GLENFIDDICH STRATHSPEY. AKA - "Glen Fiddich Strathspey." Scottish, Strathspey. A Major. Standard. AA'BB' (Perlman): AABBCCDD (Glen, Marshall). Composed by William Marshall {1748-1833} appearing earliest in his 1781 collection. Although there is a famous single-malt whisky called Glenfiddich, it is likely the tune was named after the Duke of Gordon's hunting lodge, built between 1773/74. It was a large though rather simple structure that had a thatched roof, and Marshall would have been acquainted with it through his position as Steward of the Household for Alexander, the 4th Duke of Gordon. Moyra Cowie (1999) reports that Queen Victoria visited the Lodge in 1887 and that the building exists today, although in a sad state of repair, being used to store grouse feed. Source for notated version: Peter Chaisson, Jr. (b. 1942, Bear River, North-East Kings County, Prince Edward Island) [Perlman]. Glen (The Glen Collection of Scottish Dance Music), Vol. 1, 1891; pg. 3. Marshall, Fiddlecase Edition, 1978; 1822 Collection, pg. 18 and the 1781 Collection, pg. 4. Perlman (The Fiddle Music of Prince Edward Island), 1996; pg. 189. Atlantica Music 02 77657 50222 26, Carl MacKenzie - "Atlantic Fiddles" (1994).
T:Glenfiddich
L:1/8
M:C|
S:Glen Collection
K:A
c|[CEA] (c>A) e>Ac>A|E>Ac>A B2 B>c|A/A/A (c>A) e>Ac>A|F>dcB [C2A2] [CA]:|
|:f/g/|a>ef>d e>cA>g|a>e f<b g2 ef/g/|a>ef>d e<cBA|F>dcB [C2A2] [CA]:|
|:c|(A>E)(F>E) (A>E)(F>E)|D>FC>E B,2 B,2|(A>E)(F>E) (A>E)(F>E)|
F>dcB [C2A2] [CA]:|
|:d|c>d e<c a<ce<c|f<de<c B2 B>d|c>d e<c f<de<c|F>dcB [C2A2] [CA]:|
HIGHLANDS OF BANFFSHIRE, THE (Braigh Bhanbh). Scottish, English; Strathspey. England, Northumberland. F Major (Athole, Fraser, Hunter, Kerr, Skinner, Skye): G Major (Hall & Stafford, Johnson). Standard. AAB (Athole, Fraser, Hall & Stafford, Hunter, Johnson, Skinner, Skye): AABB' (Kerr). MacDonald's (The Skye Collection) source for the tune was Captain Simon Fraser's Knockie Collection, and the editor notes it can be found in the Inverness Collection, where the composition is also attributed to Capt. Fraser. Lowe also believes the tune originated with Fraser, though he notes Fraser himself did not claim it in his collection. "The Highlands of Banffshire, extending south of the Spey, have been long famous for the best dancers of the strathspeys, which must have been well performed to inspire them sufficiently. In this district also lie the most picturesque scenery, the finest sporting grounds and deer forests, perhaps in Great Britain, belonging to the Duke of Gordon, Earl of Fife, &c., long inaccessible to strangers, from the badness of the roads, and want of bridges" (Fraser). Fraser (The Airs and Melodies Peculiar to the Highlands of Scotland and the Isles), 1874; No. 35, pg. 12. Hall & Stafford (Charlton Memorial Tune Book), 1974; pg. 38. Johnson (Airs & Melodies of Scotland's Past), Vol. 10, 1992; pg. 8. Kerr (Merry Melodies), Vol. 2; No. 193, pg. 22. MacDonald (The Skye Collection), 1887; pg. 161. Skinner (The Scottish Violinist), pg. 15. Stewart-Robertson (The Athole Collection), 1884; pg. 216. Culburnie COL 113D, Aladair Fraser & Tony McManus - "Return to Kintail" (1999).
T:Highlands of Banffshire, The
L:1/8
M:C
R:Strathspey
B:The Athole Collection
K:F
d|c<F c>B A>F F<f|c<F c>B A2 A>f|c<F c>B A<F c>A|
B>G _E/F/G/_A/ B2B:|
b|a>fc>f A<fc<b|a<f c>B A2 A>b|a>f c<f A<fc<A|B>G _E/F/G/_A/ B2 B>b|
a>f c<f A<fc<b|a<f c>B A>B cf/g/|(3afa (3geg (3fed (3cBA|B>G _E/F/G/_A/ B2B||
HOUNDS IN THE BRIAR PATCH. AKA and see "Scott's Return," Scotts Favorite," "The Duke of Gordon's Rant."
HOUSE OF ACHLUNCART, THE. Scottish, Reel. C Major. Standard. AAB (Athole, Marshall): AABB' (Kerr). Composed by William Marshall (1748-1833). A Scottish fiddler and composer, Marshall is most famous for his many fine strathspeys. Marshall worked for much of his life for the Duke of Gordon as the Steward of his Household, and it is fortunate that the Duke was an enthusiastic supporter and patron of Marshall's music. Achluncart House is near Keith and still exists. In Marshall's time it was the home of Rachel Missing Duff and her husband Patrck Steuart of Achlinkart and of Tannachy, Portgordon. Kerr (Merry Melodies), Vol. 2; No. 105, pg. 13. Marshall, Fiddlecase Edition, 1978; 1822 Collection, pg. 46. Stewart-Robertson (The Athole Collection), 1884; pg. 81.
T:House of Achluncart, The
L:1/8
M:C|
R:Reel
B:The Athole Collection
K:C
c|c2c2 ecge|c2c2 gBGB|c2c2 ecgc|Bddc BGG:|
~c2 Gc EcGc|EcGc dDDB|~c2 Gc EcGc|fedc BGGB|
~c2 Gc EcGc|EcGc dDDf|afge fdec|Bcde dB G||
HOUSE OF CAIRNFIELD, THE. Scottish, Strathspey. E Flat Major. Standard. AAB. Composed by William Marshall (1748-1833). A Scottish fiddler and composer, Marshall is most famous for his many fine strathspeys. Marshall worked for much of his life for the Duke of Gordon as the Steward of his Household, and it is fortunate that the Duke was an enthusiastic supporter and patron of Marshall's music. The House of Cairnfield was a Gordon family seat built in 1802 near the burn of Gollachy, Portgordon, Scotland. As the name 'cairnfield' suggests, it was built on an old Pictish site (Moyra Cowie, The Life and Times of William Marshall, 1999). Marshall, Fiddlecase Edition, 1978; 1822 Collection, pg. 24.
T:House of Cairnfield, The
L:1/8
M:C
S:Marshall - 1822 Collection
K:E_
~E>Gbe e/d/c/d/ B2|~B>Dfa gf/g/ e2|~g>abg fedc|BAGF [G,2E2][G,E]:|
geef/g/ ac ~f2|d>e f/e/d/c/ Bdfa|geag fedc|BAGF [G,2E2] [G,2E2]|
geef/g/ ac ~f2|d>e f/e/d/c/ Bdfa|~g>abg fedc|BAGF [G,2E2] [G,2E2]||
HOUSE OF CANDACRAIG, THE. Scottish, Air. A Major. Standard. AAB. Composed by William Marshall (1748-1833). A Scottish fiddler and composer, Marshall is most famous for his many fine strathspeys. Marshall worked for much of his life for the Duke of Gordon as the Steward of his Household, and it is fortunate that the Duke was an enthusiastic supporter and patron of Marshall's music. Candacraig House is located in the heart of Strathdon. It was the home of Catherine Gordon, an illegitimate child of the Duke of Gordon who was raised by the Duke at Gordon castle. Catherine married Captain John Anderson of Candacraig. Marshall, Fiddlecase Edition, 1978; 1822 Collection, pg. 18.
T:House of Candacraig, The
L:1/8
M:C
S:Marshall - 1822 Collection
K:A
A,ACA A,(AA)c|e>c d/c/B/A/ G/A/B/c/ Bc|A,ACA A,(AA)c|e>c d/c/B/A/ (G/A/)B/G/ A2:|
A,Ace ~a>bag|fedc (e/d/c/d/) ~B2| A,Ace ~a>bac|dbca (EG) A2| A,Ace ~a>bag|
fedc e/d/c/d/ B2|CDEC DFBd|cAGB (EG) A2||
HOUSE OF CLUNY, THE. Scottish, Strathspey. F Major. Standard. AAB. Composed by William Marshall (1748-1833). A Scottish fiddler and composer, Marshall is most famous for his many fine strathspeys. Marshall worked for much of his life for the Duke of Gordon as the Steward of his Household, and it is fortunate that the Duke was an enthusiastic supporter and patron of Marshall's music. George Gordon of Buckie lived at the House of Cluny in the 18th century. It is no longer in existance. Marshall, Fiddlecase Edition, 1978; 1822 Collection, pg. 57. Stewart-Robertson (The Athole Collection), 1884; pg. 223.
T:House of Cluny, The
L:1/8
M:C
R:Strathspey
B:The Athole Collection
K:F
C|F<F A>F A<c F2|E<G G<c G<c E>C|F<F A>F A>c~f>c|
d/c/B/A/ Gc/B/ A<F~F||
c|f/e/d/c/ ~fcdc f2|~f>c d<c f<a ~ge|f/e/d/c/ f>c d<BA<f|
c>B A<G F2 F>c|f/e/d/c/ f>c d<c ~f2|f>c d<c f<a ~g>e|
f/g/a/g/ f>c d>fB>d|c>A c/B/A/G/ F2 ~F||
HOUSE OF LETTERFOURIE, THE. AKA and see "Lasses Look Beyond You," "Look Behind You," "Lady Anne Gordon's Reel." Scottish, Reel. D Major. Standard. AABB. Composed by William Marshall (1748-1833) and appearing in his First Collection of 1781. A Scottish fiddler and composer, Marshall is most famous for his many fine strathspeys. Marshall worked for much of his life for the Duke of Gordon as the Steward of his Household, and it is fortunate that the Duke was an enthusiastic supporter and patron of Marshall's music. The House of Letterfourie was designed by the famous Robert Adam and dates from 1773; it is an elegant structure set at the foot of the Hill of Maud near Buckie in Rathven parish. At the time Marshall composed the tune it was the abode of Sir James Gordon (Moyra Cowie, The Life and Times of William Marshall, 1999). The Gows published the melody as "Look Behind You" in their Repository (Part Second, 1802). MacDonald (The Skye Collection), 1887; pg. 39. Marshall, Fiddlecase Edition, 1978; 1822 Collection, pg. 33.
T:House of Letterfourie, The
L:1/8
M:C|
S:Marshall - 1822 Collection
K:D
B|ADFD EB,B,B|ADFD e2 df|gfed eBBd|FD F/G/A d2d:|
F|dg fga beef|dg fga fdec|dBAF EFGB|FD FGA d2 d:|
HOUSE OF NEW, THE. Scottish, Strathspey. C Major. Standard. AAB. Composed by William Marshall (1748-1833). A Scottish fiddler and composer, Marshall is most famous for his many fine strathspeys. Marshall worked for much of his life for the Duke of Gordon as the Steward of his Household, and it is fortunate that the Duke was an enthusiastic supporter and patron of Marshall's music. The House of Newe (New is the old spelling, but pronounced 'Nyow') is a seat of the Forbes family in Strathdon, and once the home of 'Bombay Jack' who made his fortune in India. The castle, really a fortified mansion, was torn down in 1950 with the stones recycled for use at Aberdeen University (Moyra Cowie, The Life and Times of William Marshall, 1999). See also note for "Lady Forbes of Newe and Edinglassie." Marshall, Fiddlecase Edition, 1978; 1822 Collection, pg. 47. Stewart-Robertson (The Athole Collection), 1884; pg. 81.
T:House of New, The
L:1/8
M:C|
R:Strathspey
B:The Athole Collection
K:C
E/D/|C<c c2 E<c c2|G<c c2 B>dd>f|e<c c2 B/c/d/B/ cG|AF E/F/G/F/ ECC:|
e/f/|g<ca<c g<c e2|g<ca<c Bd de/f/|g<ca<c g<cc'<c|f/d//d/c/ B/c/d/B/ c<C Ce/f/|
g<ca<c g<c e2|g<ca<c B<d d>f|e/f/g/a/ g2 f/e/d/c/ f2|c/B/A/G/ A/B/c/G/ ECC||
HOUSE OF PARK, THE. Scottish, March. F Major. Standard. AAB. Composed by William Marshall (1748-1833). A Scottish fiddler and composer, Marshall is most famous for his many fine strathspeys. Marshall worked for much of his life for the Duke of Gordon as the Steward of his Household, and it is fortunate that the Duke was an enthusiastic supporter and patron of Marshall's music. The House of Park dates from 1536 and was built on the burn of Boyne, Cornhill, Scotland. It was the home of Lieutenant Colonel Gordon in the early 19th century, when Marshall composed the tune. Marshall, Fiddlecase Edition, 1978; 1822 Collection, pg. 51. Stewart-Robertson (The Athole Collection), 1884; pg. 240.
T:House of Park, The
L:1/8
M:C|
R:Reel
B:The Athole Collection
K:F
B|AB/c/ cA Bc/d/ dB|cAFA G2 GB|AB/c/ cA Bc/d/ df|cAfA F2F:|
f|affa geeg|fdcA G2 Gg|affa geeg|cAfA F2 Ff|affa geeg|fdcA G2 Gg|
afaf gege|fdcA F2F||
KEITHMORE. Scottish, Strathspey. E Flat Major. Standard. AB. Composed by William Marshall (1748-1833). The Mains of Keithmore, Glen Fiddich, was the name of a farm of Duke of Gordon, which Marshall lived in and ran after he left the Duke's employ as Steward of the Household in 1792. Moyra Cowie (1999) finds that little remains of the farm at Keithmore today. Keithmore was originally a wadset, or mortgaged land, received by Alexander Duff from the Marquis of Huntly around 1640. "In 1680," says Cowie, "Alexander Duff and his wife built the fortified house of Keithmore 'to with stand cannon' and it was into this old house that Marshall and his family moved." Marshall, Fiddlecase Edition, 1978; 1822 Collection, pg. 59.
T:Keithmore
L:1/8
M:C
S:Marshall - 1822 Collection
K:E_
[G,E]>GBG Bc ~G2|E>GBG Be GE|~E>GBG B/c/d/e/ ~G2|C<F F>G A/G/F/E/ E/D/C/B,/|
~E>GBG Bc ~G2|E>GBG BeGE|~E>GBG B/c/d/e/ ~G2|C<F F>G A/G/F/E/ E/D/C/B,/||E/F/G/A/ B/c/d/e/ e/d/c/B/ e2|G/B/c/d/ e/f/g/a/ bgeB|
G/B/c/d/ e/d/c/B/ c/B/A/G/ ~EG|FC ~F>E DB,CD|E/F/G/A? B/c/d/e/ e/d/c/B/ e2|
G/B/c/d/ e/f/g/a/ bgeB|A,c cA, G,B BG,|C<F F>G A/G/F/E/ E/D/C/B,/||
KINRARA (STRATHSPEY) [1]. AKA and see "Countess of Dalkeith." Scottish, Strathspey. B Flat Major. Standard. AB (Marshall): AAB (Athole, Hunter). Kinrara was the summer residence "where the Duchess of Gordon resided in Badenoch" (Marshall). The strathspey was composed by William Marshall (1748-1833) on short notice, at the request of Jane, Duchess of Gordon, wife of his patron and employer, Alexander, the fourth Duke of Gordon. Moyra Cowie (1999) writes that Jane had become estranged from Alexander because of his liason with Jean Christie, the daughter of the housekeeper at Gordon Castle, and since she would not abide long in the same house, she had Kinrara built on the banks of the Spey in Badenoch, below the hill of Tor Alvie. The tune was first published in 1800 by Pietro Urbani and Liston (Edinburgh), alongside a piece by the Duke (who was an amateur fiddler) called "Brodie House." It was republished by the Gows in their Fourth Collection (1800) under the title "The Countess of Dalkeieth," althought without crediting Marshall. Jane Gordon died in 1812 and is buried on the Kinrara estate, overlooking a broad curve in the Spey.
***
Elizabeth Grant of Rothiemurches describes her experiences of Kinrara:
***
We are often over at Kinrara, the Duchess having perpetual dances, either in
the drawing room or the servants hall and my father returning these entertainments
in the same style. A few candles lighted up bare walls, at short warnings fiddles
and whisky punch were always at hand and then gentles and simples reeled
away in company till the ladies thought the scene becoming more boisterous
that they liked remaining in; nothing more however, a highlander never forgets his
place, never loses his native inborn politeness, never presumes upon on favour.
***
Hunter (The Fiddle Music of Scotland), 1988; No. 170. Marshall, Fiddlecase Edition, 1978; 1822 Collection, pg. 2 and the Kinrara Collection (1800), pg. 25. Stewart-Robertson (The Athole Collection), 1884; pg. 293.
T:Kinrara
L:1/8
M:C
R:Strathspey
B:The Athole Collection
K:B_
F|B>cB>d F<B G/F/E/D/|B<F B>d c<C C>A|B>cB>d F<B G/F/E/D/|
E<g f>e d<BB:|
f|d>f e/d/c/B/ b>Be>g|f>g e/d/c/B/ d<c cd/e/|f>Bd>B g>Be>g|
F>B cB/c/ d<B ~B>d|fg/a/ b>B g>Bf>B|e>cd>B A>cc>d|
B<F G<BF<B G/F/E/D/|E<g f>e d<B~B||
LADY ALEXANDER RUSSELL. Scottish, Reel. F Major. Standard. AABB'. Composed by William Marshall (1748-1833). Lady Alexander was the wife of Alexander Russell, the son of Lady Georgianna Gordon and her lover Edwin Landseer, a famous artist. The connection with Marshall is that as Steward of the Household of the the 4th Duke of Gordon, Georgianna's father, he was intimately connected with all members of the family. Marshall, Fiddlecase Edition, 1978; 1845 Collection, pg. 3.
T:Lady Alexander Russell
L:1/8
M:C
S:Marshall - 1845 Collection
K:F
A|~F2 (fc) A(cc)f|dfcf gfga|~F2 (fc) A(cc)f|d<f c>A G2G:|
a|bgaf gfdf|cfAf cfAa|1 bgaf gfdf|c<AfA G2G:|2 dbca BgAf|
c<AfA G2G||
LADY ANNE GORDON'S REEL. AKA and see "The House of Letterfourie," "Look Behind You" (Gow's title). Scottish, Reel. D Major. Standard. AABB. Composed by William Marshall (1748-1833) and first appearing in his 1781 collection. It was published once by the Gow's, although without composer credit to Marshall. Lady Anne (1748-1816) was the sister of Marshall's employer, Alexander, the 4th Duke of Gordon, for whom he was the Steward of the Household. She married the Reverend Chalmers, minister of Cairnie, Huntly. Marshall, Fiddlecase Edition, 1978; 1781 Collection, pg. 12. McGlashan (A Collection of Reels), c. 1786; pg. 7.
T:Lady Anne Gordon's Reel
L:1/8
M:C|
S:McGlashan - Reels
K:D
B|ADF>D EB,B,B|ADF>D d2 df|gfed eBBd|FD F/G/A d2 d:|
|:f|dg f/g/a beef|dg f/g/a fdec|dBAF EFGB|FD F/G/A d2d:|
LADY CHARLOTTE GORDON. Scottish, Reel. F Major. Standard. AAB. Composed by William Marshall (1748-1833), Steward of the Household for the 4th Duke of Gordon. Lady Charlotte was the Duke's daughter, born in 1768, who grew up to marry Charles Lennox, the Duke of Richmond. In Brussels, prior to the Battle of Waterloo, the Charlotte gave a famous grand ball, immortalized in poetry by Lord Byron. The reel appears first in print in his 1781 collection. MacDonald (The Skye Collection), 1887; pg. 146. Marshall, Fiddlecase Edition, 1978; 1822 Collection, pg. 56 and the 1781 Collection, pg. 3.
T:Lady Charlotte Gordon's Reel
L:1/8
M:C|
S:Marshall - 1781 Collection
K:F
f2 (cf) BfAf|f2 (af) g(G G2)|f2 (cf) BfAf|1 BGcB A(F F2):|2 dbge a(f f2)||
AFcF dFcF|f(dcA) BGGB|AFcF dFcF|afge f(F F)B|AFcF dF cF|f(dcA) BGGB|
AFcF defg|afge f(F F2||
LADY GEORGINA GORDON. Scottish, Reel. D Minor. Standard. AB. Composed by Robert "Red Rob" Mackintosh. Lady Georgina, daughter of Alexander, 4th Duke of Gordon, became the Duchess of Manchester. Glen (The Glen Collection of Scottish Dance Music), Vol. 2, 1895; pg. 42. Stewart-Robertson (The Athole Collection), 1884; pg. 226.
T:Lady Georgina Gordon
L:1/8
M:C|
R:Reel
B:The Athole Collection
K:D Minor
a|f(ddA) FDdf|eccG ECce|f(ddA) FDAd|cAGE A(Dde)|f(ddA) FDdf|
e(ccG) ECcE|FDEG AFGB|Ad^ce d(DD)||a|fada bgaf|egcg acgc|
fada bgad|^ceAa f(dde)|fada bgaf|egcg acgc|dAeA fAgA|afge ~f(dd)||
LADY ISABELLA WEMYSS' STRATHSPEY. Scottish, Strathspey ("Slow when not danced"). D Major. Standard. AAB. Composed by William Marshall (1748-1833). Lady Isabella was the first cousin of Elizabeth Brodie, the 5th Duchess of Gordon, the daughter-in-law of Marshall's employer, Alexander, the 4th Duke of Gordon (Cowie, The Life and Times of William Marshall, 1999). Marshall, Fiddlecase Edition, 1978; 1822 Collection, pg. 32. MacDonald (The Skye Collection), 1887; pg. 156.
T:Lady Isabella Wemyss' Strathspey
L:1/8
M:C
S:Marshall - 1822 Collection
K:D
D2 E>F AB ~B,2|A,DDF E2 DA,|DDEF AB ~B,2|d>BAF E2 D2:|
A>df>d g/f/e/d/ ~B2|Addf e2 d>A|~B>d B/A/G/F/ G/F/E/D/ B,2|
A,>DDF E2D2|A>df>d g/f/e/d/ ~B2|Addf e2 d>A|A/d/c/d/ B/A/G/F/ G/F/E/D/ B,2|
d>B A<F E2 D2||
LADY LOUISA GORDON'S REEL. AKA and see "Miss M'Leod's Fancy," "Miss Farquharson of Invercauld." Scottish, Strathspey. F Major. Standard. AABB. Composed by William Marshall (1748-1833), and first appearing in print in his 1781 collection. Lady Louisa was the daughter of the beautiful and witty Jane Maxwell, and married Lord Broome, the son of the Marquis of Cornwallis. Mother Jane was married to Alexander, 4th Duke of Gordon (Marshall's patron and employer), but Moyra Cowie (1999) says that daughter Louisa was reputed not to have been a Gordon child. "When Louisa married...Jane Maxwell insisted Louisa 'had not a drop of Gordon blood in her veins!', in response to the Marquis's concerns that insanity ran in the Duke of Gordon's family." Robert Burns called Marshall "the greatest composer of strathspeys of the age." Madame Hillsburgh, a celebrated stage dancer of the first half of the nineteenth century, danced to this tune at the Edinburgh Opera House (before 1845). The Gows renamed the tune "Miss M'Leod's Fancy" and did not give composition credit to Marshall until their Sixth Collection. In Marshall's posthumous collection the melody can be found under the title "Miss Farquharson of Invercauld". Glen (The Glen Collection of Scottish Dance Music), Vol. 1, 1891; pg. 14. Marshall, Fiddlecase Edition, 1978; 1781 Collection, pg. 7. Culburnie COL 102, Alasdair Fraser & Jody Stecher - "The Driven Bow" (1988). Culburnie COL 113D, Alasdair Fraser & Tony McManus - "Return to Kintail" (1999).
T:Lady Louisa Gordon
L:1/8
M:C
S:Glen Collection
K:F
A|C>FF>G A>GA>F|D<G G>A (B2 B<)c|d<fc<A G>F G<A|C>FE>G F3:|
|:e|f>c f<a f>c f<a|fcfa g2 g<a|f>c c<A f>b a<g|f<d c>A G3:|
LADY LOUISA RUSSELL'S JIG. Scottish, Jig. B Flat Major. Standard. One part. Composed by William Marshall (1748-1833). Lady Louisa was the grand-daughter of Marshall's employer, Alexander, the 4th Duke of Gordon, by the Duke's daughter Lady Georgiana Gordon and her husband John Russell, the 6th Duke of Beford. Marshall, Fiddlecase Edition, 1978; 1822 Collection, pg. 5.
T:Lady Louisa Russell's Jig
L:1/8
M:6/8
S:Marshall - 1822 Collection
K:B_
~f2d ~f2d|B2B Bcd|e2c d2B|cAF ~F3|f2d ~f2d|B2B Bcd|efg fba|ga=e f3|
f2d f2d|B2B Bcd|e2c d2B|cAF F3|f2d f2d|B2B Bcd|efg fba|bg=e f3|
F2F e2c|d2B cAF|(FA)F (Bd)B|(df)d c3|F2F e2c|d2B cde|def gba|ga=e f3|
~g2e gfe|~f2d fed|~e2c gfe|dcB AGF|~g2e gfe|~f2d fed|efg f2F|~B3 B3||
LADY MADELINA/MADALINA GORDON('S REEL). Scottish, Reel. F Major. Standard. AAB. Composed by William Marshall (1748-1833), first published in his 1781 collection. Lady Madelina (1772-1849) was the second daughter of the 4th Duke and Duchess of Gordon, who married first Sir Robert Sinclair of Caithness and later Charles Fyche-Palmer of Luckely Park, Berkshire. Marshall, Fiddlecase Edition, 1978; 1822 Collection, pg. 54 and the 1781 Collection, pg. 6 (appears as "Lady Madaline Gordon's Reel"). Stewart-Robertson (The Athole Collection), 1884; pg. 242.
T:Lady Madalina Gordon
L:1/8
M:C|
R:Reel
B:The Athole Collection
K:F
CFAF CGBG|CFAF EF/G/ EC|CFAF CGBG|cABG F/F/F ~F2:|
fg/a/ fc dBcA|BGAF EF/G/ EC|FcAc FdBd|cfeg f/f/f ~fg|
afge fcdB|cABG EF/G/ EC|CFAF CGBG|cABG F/F/F ~F2||
LADY MADELINA PALMER('S STRATHSPEY). Scottish, Strathspey. D Major. Standard. AAB. Composed by William Marshall. Gow never affixed his name to it, but did print it in 1791, some 30 years before Marshall published it--the reason: Marshall's airs were often in general circulation before being printed. Lady Madelina was Madelina Gordon (1772-1849), the second daughter of the 4th Duke and Duchess of Gordon. Her second husband was Mr. Charles Fysche Palmer of Luckly Park, Berwickshire (Moyra Cowie, The Life and Times of William Marshall, 1999). See also note for "Lady Madelina Sinclair." MacDonald (The Skye Collection), 1887; pg. 37. Marshall, Fiddlecase Edition, 1978; 1822 Collection, pg. 50.
T:Lady Madelina Palmer's Strathspey
L:1/8
M:C
S:Marshall - 1822 Collection
K:F
A>B|c>Fd>F c>FBd|cF B/A/G/F/ E(GG)A/B/|c<fd<f c<fBd|(EF/G/) (GA/B/) A<F~F:|
f/g/|a>g f<c d<(f ~f>)g|a>g f<c d<g ~g2|a>g f<c d<fc<f|(Bc/d/) (GA/B/) A<(F ~F2)|
a>gf>c d<(g ~g>)b|a>bg>a f>gd>f|(Bc/d/) (GA/B/) A<F~F||
LADY MADELINA SINCLAIR. AKA - "Lady Madeline Sinclair." AKA and see "The Braes of Aberarder." Scottish, Strathspey. A Major. Standard. AB (Hardie, Kerr): AAB (Athole, Glen, Gow, Honeyman, Hunter, Skye). Lady Madelina Sinclair (1772-1849) was a daughter of Alexander, 4th Duke of Gordon, and William Marshall's employer and patron. Her second husband was named Palmer (see note for "Lady Madelina Palmer"), however, her first husband was Sir Robert Sinclair of Murtle, who died in 1795 when she was twenty-three. MacDonald, in his Skye Collection, repeats the composer credit Niel Gow awarded himself which appears in the Gow's Third Collection of 1792. It also appears in Malcolm MacDonald's 3rd Collection (c. 1792). However, Charles Duff had a prior claim to authorship of (at least a prototype of) the tune under the title "The Braes of Aberarder," which he earlier published in 1790 (Emmerson, 1971). Carlin (Gow Collection), 1986; No. 100. Glen (The Glen Collection of Scottish Dance Music), Vo. 1, 1891; pg. 25. Hardie (Caledonian Companion), 1986; pg. 29. Honeyman (Strathspey, Reel and Hornpipe Tutor), 1898; pg. 19. Hunter (The Fiddle Music of Scotland), 1988; No. 133. Kerr (Merry Melodies), Vol. 2; No. 7, pg. 4. MacDonald (The Skye Collection), 1887; pg. 4. Stewart-Robertson (The Athole Collection), 1884; pg. 11. Greentrax Recordings CDTRAX 9009, Donald MacDonell (1888-1967) - "Scottish Tradition 9: The Fiddler and His Art" (1993). Ron Gonella - "Scottish Violin Music" (1966). "The Caledonian Companion" (1975).
T:Lady Madelina Sinclair
L:1/8
M:C
S:Strathspey
B:The Athole Collection
K:A
f|e>A c<A c/d/e f2|e>A f/e/d/c/ B2 B>f|e>Ac>A c/e/e a2|A>Ac>B A2A:|
g|a>ef>e (3fga (3gab|a/g/f/e/ a>c B2 B>g|a>ef>e (3fga (3gab|(3agf (3efg a2 (ef/g/|
a>fg>e f>de>c|d>bc>a B3d|c/d/e f2 c/d/e a2|Aac>B A2A||
LADY MADELINA SINCLAIR'S BIRTHDAY. AKA and see "Lady Elgin's Courtship." Scottish, Reel. B Flat Major. Standard. AAB (Athole, Cranford, Gow): AABB' (Kerr). Lady Medelina Sinclair was a daughter of Alexander, 4th Duke of Gordon, and William Marshall's employer and patron. Her second husband was named Palmer. Paul Cranford (1997) remarks that this tune was a favorite of Mary 'Hughie' MacDonald, and that his source Fitzgerald "played some of his best music with Mary's daughter, pianist Mary Jessie MacDonald." Source for notated version: Winston Fitzgerald (1914-1987, Cape Breton) [Cranford]. Carlin (The Gow Collection), 1986; No. 266. Cranford (Winston Fitzgerald), 1997; No. 110, pg. 45. Kerr (Merry Melodies), Vol. 2; No. 203, pg. 23. MacDonald (The Skye Collection), 1887; pg. 135. Stewart-Robertson (The Athole Collection), 1884; pg. 284.
T:Lady Madelina Sinclair's Birthday
L:1/8
M:C|
R:Reel
B:The Athole Collection
K:B_
d|B2 FB DBFB|B2 d/c/B Accd|B2 FB DBFB|A/B/c ce dB~B:|
d|B/B/B dB fBdB|B/B/B dB Accd|B/B/B dB fBdB|A/B/c ce dBBd|
B/B/B dB fBdB|B/B/B dB Accd|BBcc ddee|ffbf dB~B||
LADY PEEL. Scottish, Strathspey ("Moderately Slow"). E Flat Major. Standard. AAB. Composed by William Marshall (1748-1833). Lady Peel, says Moyra Cowie (The Life and Times of William Marshall, 1999), was Lady Jane Lennox, who married Lawrence Peel, the brother of Sir Robert Peel, the British Prime Minister (who is remembered in the slang word for police officers-'peelers'). Jane was the daughter of the Duke of Richmond and Lady Charlotte Gordon, and this was the connection to Marshall, who as Steward of the Household to the Duke of Gordon knew Lady Charlotte intimately (see note for "Lady Charlotte Gordon's Reel"). Marshall, Fiddlecase Edition, 1978; 1845 Collection, pg. 33.
T:Lady Peel
L:1/8
M:C
S:Marshall - 1845 Collection
K:E_
B,|E>F (E/D/)(C/B,/) CFF>G|EB Ge Bg eb|E>F E/D/(C/B,/) CFF>G|
B,>E (E/D/)(C/B,/) E2E:|
B|e>f (e/d/)(c/B/) c(ff>)g|egce Be GE|e>f e/>d/c/B/ c(ff>)g|(e/>d/)c/B/ cd e2 e B|
e>f e/>d/c/B/ cff>g|egce Be G>E|Ac GB CFFG|C>E E/>D/C/>B,/ E2E||
LADY RACHAEL RUSSELL. Scottish, Strathspey. F Major. Standard. AAB. Composed by William Marshall (1748-1833). Moyra Cowie, in her book The Life and Times of William Marshall (1999) reports that Lady Rachel was born in 1826, reputedly the daughter of Lady Georgianna Gordon, the Duchess of Bedford, and the famous artist Edwin Landseer with whom she had a passionate affair. Lady Georgianna was then the wife of John Russell, the 6th Duke of Beford, Woburn Abbey, who had brought three stepsons into the marriage. (See also note for "The Duchess of Beford's Cairn"). Marshall, Fiddlecase Edition, 1978; 1845 Collection, pg. 7.
T:Lady Rachel Russell
L:1/8
M:C
S:Marshall - 1845 Collection
K:F
F>F (FA/B/) (cd/e/) fA|G<G G>A B>c d<f|F<F FA/B/ cf/g/ ag|
f<d c>A G>A B<d:|
c<fA<f cf d/c/B/A/|dfAf GABd|cfAf cf a>g|fc d/c/B/A/ G>A B<d|
c<fA<f cf d/c/B/A/|cfAf GABd|(3bag (3agf g/f/e/d/ d/c/B/A/|
B>c d/c/B/A/ G>A B<d||
LADY SUSAN GORDON'S REEL. Scottish, Reel. B Flat Major. Standard. AAB. Composed by William Marshall (1748-1833), first appearing in print in his 1781 collection. Lady Susan was the third daughter of the 4th Duke and Duchess of Gordon, who married William Montague, 5th Duke of Manchester, in 1793. Moyra Cowie (1999) records that Suans was a "wayward girl" and later ran off with one of her footman. She left the Duke in 1803, and her conduct was described as being "most notoriously bad." Glen (Glen Collection of Scottish Music), Vol. 1, 1891; pg. 17. Marshall, Fiddlecase Edition, 1978; 1822 Collection, pg. 10 and the 1781 Collection, pg. 5. Stewart-Robertson (The Athole Collection), 1884; pg. 294.
T:Lady Susan Gordon
L:1/8
M:C|
R:Reel
B:The Athole Collection
K:B_
BfdB fBdB|GBFD EC C2|BfdB fBdB|ga/b/ fe dB ~B2:|
D/E/F BF dFBF|E/F/G cG eGcG|D/E/F BF dFBF|FAce dB ~B2|
D/E/F BF dFBF|E/F/G cG eGcG|D/E/F BF dBfd|ga/b/ fe dB ~B2||
LADYHILL. Scottish, Reel. E Flat Major. Standard. AAB. Composed by William Macpherson. Neil (1991) explains that Ladyhill is situated at the northern extremity of the High Street in the town of Elgin, and was named after the chapel of the Virgin Mary which was originally in the bounds of the old Royal Castle, now a ruin. A column and statue is situated at the top of the hill, erected to the memory of the last Duke of Gordon. The old castle dates from the 11th century and was originally erected to protect the region from pirates and marauders, and against the opposition of neighboring towns. "A curious tradition, which is also told of the Castle of Lochindorb in Cromdale, preserves the memory of its English occupation under Edward I and its recovery by the Scots. It is said that the 'pestilence long hovered over it' in the shape of 'a dark blue vapour' until it was 'by one sudden great exertion pulled down and buried in the hill'" (Neil, 1991). Neil (The Scots Fiddle), 1991; No. 73, pg. 97.
LEITH HALL. Scottish, Strathspey. F Major. Standard. AAB. Composed by William Marshall (1748-1833). Leith Hall is in Huntly, Aberdeenshire, and was for several centuries the home of the Leith Hays and dates from 1650. Hay of Rannes was present at the baptism of Marshall's employer, Alexander, the 4th Duke of Gordon, and was reported to have been an ardent Jacobite. He was also seven feet in height (Cowie, The Life and Times of William Marshall, 1999).
***
LOCHRYNACH. Scottish, Reel. G Major. Standard. AAB (Athole, Hunter, Marshall): AABB (Lerwick): AABB' (Kerr). A note in Marshall's volume reads: "This good Old Reel is inserted at the particular request of the Duke of Gordon." It was not one of Marshall's compositions, but rather a favorite tune of the Duke's, Marshall's employer. Hunter (Fiddle Music of Scotland), 1988; No. 199. Kerr (Merry Melodies), Vol. 2; No. 133, pg. 16. Lerwick (The Kilted Fiddler), 1985; pg. 15. Marshall, Fiddlecase Edition, 1978; 1822 Collection, pg. 38. Stewart-Robertson (The Athole Collection), 1884; pg. 184.
T:Lochrynach
L:1/8
M:C|
R:Reel
B:The Athole Collection
K:G
G2 Bd c>AF>D|G2 Bd c2 c>f|g>dB>d e>cA>c|B>GA>F G2G,2:|
g2 fg/a/ gdBG|g2 fg/a/ g2b2|g>dB>d e>cA>c|BGAF G2G,2|
g2 fg/a/ g>dB>G|g2 fg/a/ g2b2|g>dB>d ceAc|Bc/d/ D>F G2G,2||
LOGIE O' BUCHAN [1]. AKA and see "The March of the Corporation of Tailors." Scottish, Air (3/4 time). C Major. Standard. AB. This version of the air (there are several) is attributed to Napier (1792). It is also "known as 'The March of the Corporation of Tailors' and was usually played at the annual meeting when they chose their deacons" (Neil, 1991). The words to the ballad were written bny George Halket, a schoolmaster at Rathen and an ardent Jacobite (for another song he wrote describing king George II in league with the devil, the Duke of Cumberland offered a reward of 100 pounds for his head). "Logie O' Buchan" is the tale of love and longing for Jamie (James Robertson, in real life a gardener at the mansion-house of Logie, in the parish of Crimond, belonging to Gordon of Logie and near Halket's home), despite the lure of rich Sandie. The heroine was Isobel Keith, who died in 1826 at the age of 89.
***
O Logie O' Buchan, O Logie the laird,
They hae ta'en awa Jamie, that delved in the yaird,
Wha play'd on the pipe, an' the viol sae sina'
They ha'e ta'in awa' Jamie, the flow'r o' them a',
He said 'Think na lang, lassie, th' I gan awa',
For I'll come and see thee in spite o' tham a'.
Though Sandie has owsen, has gear and has kye,
A house, an' a' hadden, and siller forbye,
Yet I'd tak' my ain lad, wi' his staff in his hand,
Before I'd ha'e him, wi' his houses and land,
But simmer is comin', cauld winter's awa
And he'll come and see me in spite o' them a'.
***
Neil (The Scots Fiddle), 1991; No. 81, pg. 109.
LORD ALEXANDER GORDON('S). Scottish, Strathspey. A Major. Standard. AB (Cole, McGlashan): AAB (Gow, Marshall): AABB (Athole, Kerr): AABB' (Skye). The melody was composed by William Marshall (1748-1833) and appears earliest in his First Collection of 1781. It was republished by the Gows in Repository, Part First, 1799, without composer credit. A Scottish fiddler and composer, Marshall is most famous for his many fine strathspeys. He worked for much of his life for the Alexander, the 4th Duke of Gordon as the Steward of his Household, and it is fortunate that the Duke was an enthusiastic supporter and patron of Marshall's music. Lord Alexander was the son and namesake of Marshall's employer, born in 1785, who lived only until the age of 23, dying in Musselburgh Barracks on January 8th, 1808, "after a life of dissipation" (Cowie, 1999). Cole (1001 Fiddle Tunes), 1940; pg. 127. Gow (Complete Collection), Part 1, 1799; pg. 23. Kerr (Merry Melodies), Vol. 2; No. 23, pg. 5. MacDonald (The Skye Collection), 1887; pg. 25. Marshall, Fiddlecase Edition, 1978; 1822 Collection, pg. 17. McGlashan (A Collection of Reels), c. 1786; pg. 38.
T:Lord Alexander Gordon
L:1/8
M:C
R:Strathspey
B:The Athole Collection
K:A
c|A,>(A A)c/d/ e<A c2|e>e f/e/d/c/ d<B B>c| A,>(A A)c/d/ e<A c>e|
(3fga (3efd c<AA:|
|:E|C<(E E)F/G/ A<E A2|F<B B>c d>cB>A|(3cde (3fga a>cd>c|
(3Bcd (3efd c<AA:|
LORD ALEXANDER RUSSELL'S JIG--WOBURN ABBEY. Scottish, Jig. C major. Standard. AAB. Composed by William Marshall (1748-1833). A Scottish fiddler and composer, Marshall is most famous for his many fine strathspeys. Marshall worked for much of his life for the Duke of Gordon as the Steward of his Household, and it is fortunate that the Duke was an enthusiastic supporter and patron of Marshall's music. Marshall, Fiddlecase Edition, 1978; 1822 Collection, pg. 59.
T:Lord Alexander Russell's Jig-Woburn Abbey
L:1/8
M:6/8
S:Marshall - 1822 Collection
K:C
G|[G,3E3c3] (c2e)|(B/c/d)B c2G|cBA GFE|D3 (D2B)|[E3c3] (c2e)|(de)c B2G|
cBA GEG|C3 C3:|
(e/f/g)c gfe|(f/g/a)f agf|gec cde|d3 d2 e/f/|(e/f/g)c gfe|(f/g/a)f agf|edc GAB|c3 c2 e/f/|
gec afd|gec afd|gec cde|d3 d2 e/f/|gfe fdcB|cBA GEG|C3 C2||
LORD FRANCIS RUSSELL. Scottish, Strathspey. F Major. Standard. AAB. Composed by William Marshall (1748-1833). Moyra Gowie (The Life and Times of William Marshall, 1999) speculates that Lord Francis Russell may have been one of the stepsons of Georgianna Gordon, Duchess of Bedford, who married the widower John Russell, the 6th Duke of Beford. Georgianna was the daughter of Alexander, the 4th Duke of Gordon, Marshall's employer, for whom he worked as Steward of the Household. Marshall, Fiddlecase Edition, 1978; 1845 Collection, pg. 7.
T:Lord Francis Russell
L:1/8
M:C
S:Marshall - 1845 Collection
K:F
A|F2 FA cfcA|cfcA BGGA|F2 FA cfag|fdcB AFF:|
a|bagf egfe|fdcA BGGa|bagf egfe|fdcB AFFa|(ba)gf (eg)fe|
fdcA BGGA|F2 FA cfag|fdcB AFF||
LORD GEORGE GORDON'S REEL. AKA and see "Miss L. Stewart of the Island of Java." Scottish, Reel. C Major. Standard. AAB. Composed by William Marshall (1748-1833), first appearing in print in his 1781 collection (pg. 1). Lord George was the brother of Marshall's patron and employer, Alexander, the 4th Duke of Gordon, for whom he worked as Steward of the Household. Moyra Cowie (1999) records that George was a fervent anti-Catholic who once was arrested in London for his leadership in the Gordon riots. He was imprisoned for a time in the famous Tower of London but was acquitted after a trial. No slave to popular fashion, George was instantly recognizable in his time for his habit of wearing tartan trews and never wearing a wig. He reportledly learned to speak Gaelic and to play the pipes while living in Skye. It is not either of the Irish "Lord Gordon's." Marshall, Fiddlecase Edition, 1978; 1781 Collection, pg. 1.
T:Lord George Gordon's Reel
L:1/8
M:C|
S:Marshall - 1781 Collection
K:C
c2 (ec) (Ac)(ec)|Fd Ec DG,B,G,|c2 (ec) (Gc)(ec)|fage c/c/c c2|:|
(3ege ce (3faf df|(3ege (ce) fddf|(3ege ce (3faf df|gefd c/c/c (cf)|
(3ege ce (3faf df|(3ege (ce) fddF|ECFD GEcG|FAGE C/C/C C2||
LORD GORDON'S REEL ("An Tiarna Gordon" or "Cor an Tigearna Gorduin"). AKA and see "The Duke of Gordon's Rant," "Duke Gordon," "The Duke of Gordon's Favourite," "My Heart with Love is Breaking," "The Pride of Kildare," "The Rakes of Drumlish," "The Rocks of Antiluce," "The Scotch Rose," "The Scotch Patriot's Reel," "The Waterloo Reel." Irish, Reel. D Major. Standard. AB (Breathnach Vol. II, O'Neill/1850 & 1001, Roche): AABB (Allan's): ABCDE (Breathnach, Vol. 1): ABBCCDDEE (Flaherty): AABBCCDDEE (Cranitch): AA'BB'CC'DD'E (Miller): AA'BBCC'DEE' (O'Neill {Krassen}): AABBCCDD'EEAA (Brody). Breathnach (1963) states this reel was composed by the Scots composer and musician William Marshall (1748-1833). It is called "The Duke of Gordon's Rant" in McGlashan's Collection of Strathspey Reels, c. 1780, which Breathnach (1976) finds is the first printing of the melody. "Lord Gordon" was popularized by fiddler Michael Coleman, originally from Kilavil, County Sligo, although the tune was "ever part of the local ...repertoire," according to Blooming Meadows (1998) authors Charlie Piggott and Fintan Vallely. Sources for notated versions: fiddler Jean Carignan (Montreal, Canada) [Brody]; fiddler Tommy Potts (Ireland) [Breathnach]; piper Seamus Ennis, (Dublin, Ireland) [Breathnach]; fiddler Andrew Davey (b. 1928, Cloonagh, Mullaghroe, Keash) [Flaherty]. Allan's Irish Fiddler, No. 70, pg. 18. Breathnach (CRE I), 1963; No. 203, pg. 79. Breathnach (CRE II), 1976; No. 213, pgs. 110-111. Brody (Fiddler's Fakebook), 1983; pg. 174-175. Cole (1001 Fiddle Tunes), 1940; pg. 5. Cranitch (Irish Fiddle Book), 1996; No. 82, pg. 157. Flaherty (Trip to Sligo), 1990; pgs. 115-116. Miller & Perron (Irish Traditional Fiddle Music), 1977; Vol. 2, No. 50. O'Neill (Krassen), 1976; pg. 138. O'Neill (1850), 1903/1979; No. 1433, pg. 266. O'Neill (1001 Gems), 1907/1986; No. 670, pg. 119. Roche Collection, 1983, Vol. 1; No. 162, pg. 64. Ace of Hearts AH 95, "Irish Dance Party." Gael-Linn 069, Paddy Glackin- "An Fhidil Straith II" (1980). Green Linnett 1022, Eileen Ivers and Mick Moloney- "Irish Music: The Living Tradition, Vol. 2." Green Linnet SIF-1052, Kevin Burke - "Kevin Burke: Up Close" (1984). Green Linnet SIF-1101, Kevin Burke - "Playing wiht Fire: the Celtic Fiddle Collection" (1989). Philo 2018, Jean Carignan- "Plays Coleman, Morrison, and Skinner" (learned from a Michael Coleman record). Legacy 120, Jean Carignan- "French Canadian Fiddle Songs." Shanachie 33002, Michael Coleman- "The Legacy of Michael Coleman."
T:Lord Gordon's Reel
L:1/8
M:C|
R:Reel
S:O'Neill - 1001 Gems (670)
K:D
dB|AD (3FED AD (3FED|ADFD A2 GF|EFGA BE {F}(3EDE|defd B2 AB|
defd efdB|AFDF A2 Bc|dBcA BGAF|EFGA B2||de|d>f {e}(3dcd|fgag|fddf a2 gf|
efga beef|defd B2 AB|defd efdB|AFDF A2 Bc|dBcA BGAF|EFGA B2||
LORD JOHN RUSSELL. Scottish, Reel. B Flat Major. Standard. AAB. Composed by William Marshall (1748-1833). Moyra Cowie (The Life and Times of William Marshall, 1999) finds that Lord John Russell was the youngest stepson of Georgianna Gordon, the Duchess of Bedford. He was an avid supported of Earl Grey's Reform Bill (see note for "Earl Grey"). John's stepmother, Georgiana was the daughter of the Alexander, the 4th Duke of Gordon, for whom Marshall was employed as Steward of the Household. Marshall, Fiddlecase Edition, 1978; 1845 Collection, pg. 21.
T:Lord John Russell
L:1/8
M:C
S:Marshall - 1845 Collection
K:B_
f|edcA BFBd|GBFD C2 Cf|edcA BFBd|GBFD B,2 B,:|
E|(DE/F/) B,F DFB,F|BFdB ~c2 (cd)|(D/E/F) (B,F) DFEG|
FBAc ~B2 (Bd)|(DE/F/) (B,F) DFB,F|BFdB ~c2 (ce)|dfeg fBdB|
AFGA B2B||
MARCHIONESS OF CORNWALLIS' STRATHSPEY, THE. Scottish, Slow Strathspey. E Flat Major. Standard. AAB. Composed by William Marshall (1748-1833) in honor of Louisa (1776-1850), the fourth daughter of the Alexander (1743-1827), the 4th Duke of Gordon, who became Marchioness of Cornwallis through her marriage to Viscount (later Marquis) Brome. The Viscount's mother (Louisa's mother-in-law) was a great favorite of Marshalls as she had a good sense of humor, says Moyra Cowie (The Life and Times of William Marshall, 1999). This is the tune (an "excellent melody", says Glen) that the last Duke of Gordon, Marshall's patron, considered one of the composer's best and which he preferred to end his dining-room concerts with, directing Daniel Macdonald (the composer and performer steward who replaced Marshall after he left the Duke's employ) to have his musical retainers to render it on such occasions. Gow (Complete Repository), Part 4, 1817; pg. 4. Hunter (Fiddle Music of Scotland), 1988; No. 183. Marshall, Fiddlecase Edition, 1978; 1822 Collection, pg. 22.
T:Marchioness of Cornwallis' Strathspey, The
L:1/8
M:C
S:Marshall - 1822 Collection
K:E_
B,/A,/|G,<B, B,>C E2 G,E|B,EGE GF FB,/A,/|G,<B, BC/D/ [G,2E2] [G,E]e|
c>BAB GEE:|
c/d/|e/d/c/B/ EB dB eB|fB a>g gffg|a>gfe edcB|e>cBB, CEEc/d/|
eEcE BEGE|a>fg>e dff>B,|CEDF EBGe|cBAB GEE||
MARCHIONESS OF HUNTLEY('S), THE [1]. AKA and see "The Duchess of Gordon." Scottish (originally), Canadian; Strathspey. Canada; Cape Breton, Prince Edward Island. A Major. Standard. One part (Kerr): AB (Cole): AAB (Athole, Skye): AABB (Perlman). Composed by William Marshall (1748-1833), originally set in the key of B flat (it appears in A Major in Gow's Collection). His 1822 Collection is dedicated to the Marchioness, Elizabeth Brodie (1794-1864), wife of George (1770-1836), Marquis of Huntly and the future 5th Duke of Gordon. Moyra Cowie (The Life and Times of William Marshall, 1999), says the Marchioness was instrumental in the publication of Marshall's 1822 collection of music and was a great aid to Marshall, promoting his music to her friends. Despite a number of tunes composed in her honor, Hunter (1988) says Elizabeth was more partial to psalms and hymn tunes than dance music. Cowie, however, says she was an accomplished musician and loved to play traditional Scottish music. Source for notated version: 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]. Cole (1001 Fiddle Tunes), 1940; pg. 124. Cranford (Winston Fitzgerald), 1997; No. 67, pg. 31. Gow (Collection). Hunter (Fiddle Music of Scotland), 1988; No. 137. Kerr (Merry Melodies), Vol. 2; No. 37, pg. 7. MacDonald (The Skye Collection), 1887; pg. 22. Marshall, Fiddlecase Edition, 1978; 1822 Collection, pg. 1. Perlman (The Fiddle Music of Prince Edward Island), 1996; pg. 196. Stewart-Robertson (The Athole Collection), 1884; pg. 19. Breton Books and Records BOC 1HO, Winston "Scotty" Fitzgerald - "Classic Cuts" (reissue of Celtic Records CX 17). Green Linnett GLCD 1087, Seamus Connolly - "Notes From My Mind" (1988).
T:Marchioness of Huntly, The
L:1/8
M:C|
S:Strathspey
B:The Athole Collection
K:A
A,>CE>C D<F ~E2|F<B B>c d/c/B/A/ G/F/E/D/| C>D E<C D<F ~E2|
F>B A/G/F/E/ A2 A:|
d|c>eA>e c>e d/c/B/A/|G>BE>B G>BE>d| c>eA>e c>e d/c/B/A/|
F>B A/G/F/E/ A2 A>d|c>eA>e c/e/f/g/ a2|F<B B>c d/c/B/A/ G/F/E/D/|
C>DE>C D<F ~E2|F>B A/G/F/E/ A2A||
MARCHIONESS OF HUNTLY'S FAVORITE, THE [1]. Scottish, Slow Air (4/4 time). C Minor. Standard. AB. Composed by William Marshall (1748-1833). His 1822 Collection was dedicated to the Marchioness, Elizabeth Brodie (1794-1864), who was wife to George (1770-1836), Marquis of Huntly and the future 5th Duke of Gordon. Despite a number of tunes composed in her honor, Hunter (1988) says she was more partial to psalms and hymn tunes than dance music. A Scottish fiddler and composer, Marshall is most famous for his many fine strathspeys. Marshall worked for much of his life for the Duke of Gordon as the Steward of his Household, and it is fortunate that the Duke was an enthusiastic supporter and patron of Marshall's music. Hardie (Caledonian Companion), 1992; pg. 92. Hunter (Fiddle Music of Scotland), 1988; No. 63. Marshall, Fiddlecase Edition, 1978; 1822 Collection, pg. 27.
T:Marchioness of Huntly's Favorite, The [1]
L:1/8
M:C
S:Marshall - 1822 Collection
K:C Minor
G|c>dce GGG>E|F>EDC B,2 B,G|c>dce GGGE|FEG=B, C2 CG|c>dce GGG>E|
F>ED>C ~B,2 B,D|CEDF EGFe|g>fed c2c||G|c>de>f e/d/c/B/ G2|
B/=A/B/c/ B/c/d/c/ B2 Bd|c>de>f g/f/e/f/ gE|a/g/f/e/ d/f/e/d/ c2 cG|
c>de>f e/d/c/B/ G2|B/=A/B/c/ B/c/d/c/ B2 Bd|e/g/f/e/ d/f/e/d/ c/=B/c/d/ eE|
DAG=B, C2C||
MARCHIONESS OF HUNTLY'S FAVORITE JIG, THE. Scottish, Jig. C Minor. Standard. AAB. Composed by William Marshall (1748-1833). A Scottish fiddler and composer, Marshall is most famous for his many fine strathspeys. Marshall worked for much of his life for Alexander (1743-1827), 4th Duke of Gordon as the Steward of his Household, and it is fortunate that the Duke was an enthusiastic supporter and patron of Marshall's music. The Marchioness, Elizabeth Brodie (1794-1864), was wife to George (1770-1836), Marquis of Huntly and the future 5th Duke of Gordon. Despite a number of tunes composed in her honor, Hunter (1988) says she was more partial to psalms and hymn tunes than dance music. Hardie (Caledonian Companion), 1992; pg. 92. Marshall, Fiddlecase Edition, 1978; 1822 Collection, pg. 27.
T:Marchioness of Huntly's Favorite Jig, The
L:1/8
M:6/8
S:Marshall - 1822 Collection
K:C Minor
G|c2d e2c|d2b fed|c2d e2f|g2E gfe|d2b b=ag|fdB Bcd|e2c dc=B|c3C2:|
D|E2CG,2E|FDB, B,2D|C2E D2F|E2G F2A|G2e B2G|FDB, B2d|e2c dc=B|
c3 C2D|E2C G,2E|FDB, B,2D|C2c cde|d2B, def|E2g gfe|dcB def|
gfe dc=B|c3C2||
MARCHIONESS OF HUNTLY'S JIG. Scottish, Slow Jig. B Flat Major. Standard. AAB. Composed by William Marshall (1748-1833). A Scottish fiddler and composer, Marshall is most famous for his many fine strathspeys. Marshall worked for much of his life for Alexander (1743-1827), the 4th Duke of Gordon as the Steward of his Household, and it is fortunate that the Duke was an enthusiastic supporter and patron of Marshall's music. The Marchioness, Elizabeth Brodie (1794-1864), was wife to George (1770-1836), Marquis of Huntly and the future 5th Duke of Gordon. Despite a number of tunes composed in her honor, Hunter (1988) says she was more partial to psalms and hymn tunes than dance music. Marshall, Fiddlecase Edition, 1978; 1822 Collection, pg. 1.
T:Machioness of Huntly's Jig, The
L:1/8
M:6/8
S:Marshall - 1822 Collection
K:B_
f|(df)d B3|(FBF) D3|B,2 B fdB|Acc cde|(df)d B3|(FBF) D3|E2g fbf|dBB ~B2:|
d/e/|fec bfd|fed bfd|fga bfd|Acc ~c2 d/e/|fed bag|fed cBA|GAB cde|dBB ~B2 e/f/|
fed bfd|fed bfd|fga bfd|Acc ~c2 d/e/|fed edc|B>AG FED|E2g fbf|dBB ~B2||
MARCHIONESS OF NORMANBY, THE. Scottish, Jig. B Flat Major. Standard. AAB. Composed by William Marshall (1748-1833). A Scottish fiddler and composer, Marshall is most famous for his many fine strathspeys. Marshall worked for much of his life for the Duke of Gordon as the Steward of his Household, and it is fortunate that the Duke was an enthusiastic supporter and patron of Marshall's music. Marshall, Fiddlecase Edition, 1978; 1845 Collection, pg. 17.
T:Marchioness of Normanby, The
L:1/8
M:6/8
S:Marshall - 1845 Collection
K:B_
f|dfd B3|dfd B3|GAB cde|dcB AGF|dfd B3|dfd B3|efg gab|ag=e f2:|
F2F FGA|Bcd e2c|B2B Bcd|ede g2f|E2g g2b|D2f f2b|dcB FGA|
B3B2d|F2F FGA|Bcd e2c|B2B Bcd|ede g2f|b2B fga|b2B g2f|
d2B FGA|B3 B3||
MARCHIONESS OF TWEEDDALE, THE. Scottish, March (?). E Flat Major. Standard. AB. Composed by William Marshall (1748-1833). A Scottish fiddler and composer, Marshall is most famous for his many fine strathspeys. Marshall worked for much of his life for Alexander, the 4th Duke of Gordon as the Steward of his Household, and it is fortunate that the Duke was an enthusiastic supporter and patron of Marshall's music. Tweedale is in Berwick on Tweed. The Marchioness is Lady Susan Montague, the daughter of Lady Susan Gordon of Gordon castle and William Montague, thus she was the 4th Duke of Gordon's grand-daughter. See also note for "The Marquis of Tweedale" Marshall, Fiddlecase Edition, 1978; 1822 Collection, pg. 23.
T:Marchioness of Tweeddale, The
L:1/8
M:C
S:Marshall - 1822 Collection
K:E_
E2 D/C/B,/A,/ G,EB,G,|B,EDF EBGe|A2 A/G/A/B/ cEDB,|FB,GB, A/G/F/E/ DB,|
E2 D/C/B,/A,/ G,EB,G,|B,EDF EBGe|cC A>G F/G/A/B/ cA|
G/A/B/c/ BB, [G,2E2] [G,2E2]||G/A/B/c/ BB E>g F/E/d/c/ B/A/B/c/ BB|
b/=a/g/f/ g/f/e/d/ e/d/c/B/ eE|~d/e/f/g/ fF Bc B/A/G/F/|E/e/d/e/ BG A,c c2|
G/A/B/c/ ~B/c/d/e/ ~d/e/f/g/ f>g|a>g f/e/d/c/ B/A/G/F/ GE|
~G/A/B/c/ BB, [G,2E2] [G,2E2]||
MARQUIS OF HUNTL(E)Y'S FAREWELL, THE. AKA and see "George Booker." Scottish, Strathspey ("Slow when not danced"). A Major. Standard. AB (Alburger, Athole, Collinson, Gow, Honeyman, Kerr, Marshall & Skye): ABAB' (McGlashan): ABAB'AB''AB''' (Skinner). An andante air with "just a touch of strathspey," composed by William Marshall (1748-1833). The Marquis of Huntly, George Gordon (b. 1770), was the heredetary heir to the Duke of Gordon and became the 5th and last Duke. This tune was written by Marshall, the Gordon's steward or butler, who was emotionally moved as the young man took his farewells from his family when he departed for his Continental tour in 1787. Witnessing the family's sorrow and grief at his leaving, Marshall "endeavoured in the first part (of the tune) to imitate the wailing of the parents, and in the latter bars that of his young sisters" (Marshall, 1845 Collection). It was one of the earliest composed by Marshall and was first published in his First Collection of 1781; it is particularly celebrated and one of his most famous pieces (Collinson {1966} was much impressed by it and used it as an example of Marshall's melodic grace and power). The melody was published by the Gows, with no credit to the composer in their Repository, Part First, 1799. It was included as one of the tunes in a 1921 concert set by the famous Scots violinist J. Scott Skinner, which set was romantically entitled "Spey's Furys;" Skinner was thorughly familiar with the tune by that time, for his rendition of it gained him a first place prize at a competition held nearly sixty years previously in Inverness in September, 1863. Skinner was not only a noted violinist but, especially early in his career, was a tutor of the national dances, and had formerly included the melody as one of the pieces in his dance school ball in Forres in 1880. In America the tune became the precursor for the old-timey tune "George Booker," first printed by George P. Knauff in his Virginia Reels, volume III (Baltimore, 1839). Alburger (Scottish Fiddlers and Their Music), 1983; Ex. 54, pg. 80. Carlin (The Gow Collection), 1986; No. 133. Collinson (The Traditional and National Music of Scotland), 1966; pg. 223. Emmerson (Rantin' Pipe and Tremblin' String), 1971; No. 62, pgs. 150-151. Gow (Complete Repository), Part 1, 1799; pg. 24. Hardie (Caledonian Companion), 1992; pg. 71. Honeyman (Strathspey, Reel and Hornpipe Tutor), 1898; pg. 22. Kerr (Merry Melodies), Vol. 1; Set 10, No. 1, pg. 8. MacDonald (The Skye Collection), 1887; pg. 1. Marshall, Fiddlecase Edition, 1978; 1822 Collection, pg. 14. McGlashan (A Collection of Reels), c. 1786; pg. 38. Skinner (The Scottish Violinist), pg. 16. Stewart-Robertson (The Athole Collection), 1884; pg. 12. Beltona BL2096, Edinburgh Highland Strathspey and Reel Society (1936). HCD 008, Tommy Peoples - "Traditional Irish Music Played on the Fiddle" (appears as 2nd tune, track 5).
T:Marquis of Huntly's Farewell, The
L:1/8
M:C|
S:Strathspey
B:The Athole Collection
K:A
C|A,2 A,>C E/E/E (E>F|A>Bc>B A2 (A>c|A,2 A,>C E/E/E (E>c|
B>c d/c/B/A/ (A<F F>A|A,2 A,>C E/E/E (E>F|A>Bc>B A2 (A>c|
d2 d>f e<c c>A|B>c d/c/B/A/ A<F F||f|f/e/d/c/ a>c b>c a2|f/e/d/c/ ac f>ed>c|
B<b b>f b/a/g/f/ b2|f<b b>f a>gf>e|f/e/d/c/ a>c b>c a2|f/e/d/c/ ac f>ed>c|
d/e/f/g/ a>g f>e d>c|B>c d/c/B/A/ A<F F>A||
MARQUIS OF TWEEDDALE'S REEL, THE. Scottish, Reel. E Flat Major. Standard. AAB. Composed by William Marshall (1748-1833). According to the contemporary writings of Elizabeth Grant of Rothiemurchus, quoted by Moyra Cowie (The Life and Times of William Marshall, 1999), the Marquis was "to my mind, for thick set and square built and coarse mannered with that flat Maitland face. He was althogether the ugliest boxer or bruiser, looking sort of common order, yet he had a kind manner and pleasant smile and made a tender husband to Lady Susan Montague." Lady Susan was the grand-daughter of Alexander, the 4th Duke of Gordon, for whom Marshall worked as Steward of the Household. Marshall, Fiddlecase Edition, 1978; 1822 Collection, pg. 23.
T:Marquis of Tweeddale's Reel, The
L:1/8
M:C|
S:Marshall - 1822 Collection
K:E_
E2 GB eBGE|E2 GB e2 BG|E2 GB eBGE|CFFE D2 CB,:|
egec dfdB|ceBG B2 AG|egec dfdB|CFFE D2 CB,|egec dfdB|ceBG B2 AG|
[A,A]ccA GBBG|CFFE D2 CB,||
MERRY MAKING, THE (A' Chridhealachd). Scottish, Pipe Reel. F Major. Standard. AABB'CCD. "The Highlands of Banffshire, extending south of the Spey, have been long famous for the best dancers of the strathspeys, which must have been well performed to inspire them sufficiently. In this district also lie the most picturesque scenery, the finest sporting grounds and deer forsts, perhaps in Great Britain, belonging to the Duke of Gordon, Earl of Fife, &c., long inaccessible to strangers, from the badness of the roads, and want of bridges. (This tune) is one of the pipe-reels referred to in Note 13" (Fraser). Emmerson (1971) suggestss the tune may have been written for a bellows-pipe ("they have the staccato characteristics of the 'closed' chanter"), like the Irish Union pipes or the Northumbrian small-pipes, which were known in the Highlands and the Isles before the 18th century. Emmerson (Rantin' Pipe and Tremblin' String), 1971; No. 46, pg. 138. Fraser (The Airs and Melodies Peculiar to the Highlands of Scotland and the Isles), 1874; No. 36, pg. 12. Stewart-Robertson (The Athole Collection), 1884; pg. 231. Culburnie COL 113D, Aladair Fraser & Tony McManus - "Return to Kintail" (1999).
T:A' Chridhealachd
X:1
T:Merry Making, The
L:1/8
M:C|
R:Reel
B:The Athole Collection
K:F
B|A/B/c cB Acfc|A/B/c cd _eGGB|A/B/c cB Acfc|e/f/g g>e f2f:|
|:b|af~fg a>gfc|egfg eccb|1 af~fg agfc|dbge ~f2f:|2 afge fdcB|
Afge ~f2f||
|:c|A/B/c cf dBBd|A/B/c ce fcac|A/B/c cf dBBd|cbge ~f2f:|
g|bggb affa|gece cega|babg afaf|ecge ~f2 fg|bggb affa|gece ~fdcB|
AfBf cfdf|e/f/g ge ~f2f||
X:2
T:Merry Making, The
T: A' Chridhealachd
L:1/8
M:C
S:Fraser Collection
K:F
B|A/B/c c>B Acfc|A/B/c cd _eGGB|A/B/c cB Acfc|e/f/g g>e f2 f:|
|:b|affg a>gfc|egfg eccb|1 affg a>gfc|dbge f2f:|2 f/g/|afge fdcB|Afge f2f||
|:c|A/B/c cf dBBd|A/B/c ce fcac|A/B/c cf dBBd|cbge f2f:|
g|bggb affa|bece cega|bgbg afaf|ecge f2fg|bggb affa|gece fdcB|AfBf cfdf|
e/f/g ge f2f||
MILL OF LAGGAN. Scottish, Reel. F Major. Standard. AAB. Composed by William Marshall (1748-1833). A Scottish fiddler and composer, Marshall is most famous for his many fine strathspeys. Marshall worked for much of his life for the Duke of Gordon as the Steward of his Household, and it is fortunate that the Duke was an enthusiastic supporter and patron of Marshall's music. Moyra Cowie, in her book The Life and Times of William Marshall (1999), says the mill, which dates to the 18th century, is on the Dullan water, although it is now almost a ruin. Interestingly, Cowie says that farmers in those days were assigned a mill to which they took their corn. Marshall, Fiddlecase Edition, 1978; 1822 Collection, pg. 52. Stewart-Robertson (The Athole Collection), 1884; pg. 207. Culburnie COL 102, Alasdair Fraser & Jody Stecher - "The Driven Bow" (1988).
T:Mill of Lagan, The
L:1/8
M:C|
R:Reel
B:The Athole Collection
K:F
F|FAcf ~f2 e>f|gaba gGGA|FAcf ~f2 ef|afge fFF:|
B|A/B/c c>A B/c/d d>B|d/e/f f>d eccb|afge f2 dB|A/B/c GB AFFB|
A/B/c c>A B/c/d d>B|d/e/f f>d eccb|afca gece|fdcB A<FF||
MISS MACPHERSON GRANT'S JIG--OF BALLINDALLOCH. Scottish, Jig. A Major. Standard. AB. Composed by William Marshall (1748-1833). A Scottish fiddler and composer, Marshall is most famous for his many fine strathspeys. Marshall worked for much of his life for the Duke of Gordon as the Steward of his Household, and it is fortunate that the Duke was an enthusiastic supporter and patron of Marshall's music. Marshall, Fiddlecase Edition, 1978; 1822 Collection, pg, 21.
T:Miss MacPherson Grant's Jig-of Ballindalloch
L:1/8
M:6/8
S:Marshall - 1822 Collection
K:A
E|E2A A2F|GAB Bcd|c2E (AG)A|~B3 E3|E2e e2c|dcd Bcd|cde fed|cBA GFE|
E2A A2F|GAB Bcd|c2E (AB)A|~B3 E3|E2e e2c|dcd Bcd|cBA EFG|A3 A2||E|
C2E A2=G|FEF D2F|d2c BcA|~G3 E2E|FGA Bcd|cde fga|gfe Bc^d|e3 e2z|
F2D fed|e2c ecA|FGA BcA|~G3 E3|F2d E2c|D2B C2e|cBA EFG|A3 A,2||
MISS MACQUEEN'S REEL. Scottish, Strathspey. F Major. Standard. AABB'. Composed by William Marshall (1748-1833), first appearing in his 1781 collection (pg. 5). A Scottish fiddler and composer, Marshall is most famous for his many fine strathspeys. Marshall worked for much of his life for the Duke of Gordon as the Steward of his Household, and it is fortunate that the Duke and Duchess were enthusiastic supporters and patrons of Marshall's music. Miss McQueen lived at Strathdown, now called Strathavon (Cowie, 1999). Marshall, Fiddlecase Edition, 1978; 1781 Collection, pg. 5.
T:Miss McQueen's Reel
L:1/8
M:C
S:Marshall - 1781 Collection
K:F
F>G (B/A/)(G/F/) c<Ad<B|f>dc>A G/G/G G2|F>G (B/A/)(G/F/) c<Ad<B|
f>dc>A F/F/F F2:|
|:f>g (b/a/)(g/f/) c<fa<f|b>ga>f g/g/g g2|1 f>g (b/a/)(g/f/) c<fa<f| b>ga>e f/f/f f2:|2
c>f (d/c/)(B/A/) d<fd<B|c>BA>G F/F/F F2||
MISS MALCOLM'S HORNPIPE. Scottish, Hornpipe. E Flat Major. Standard. AB. Composed by William Marshall (1748-1833). A Scottish fiddler and composer, Marshall is most famous for his many fine strathspeys. Marshall worked for much of his life for the Duke of Gordon as the Steward of his Household, and it is fortunate that the Duke was an enthusiastic supporter and patron of Marshall's music. Marshall, Fiddlecase Edition, 1978; 1822 Collection, pg. 22.
T:Miss Malcolm's Hornpipe
L:1/8
M:C|
S:Marshall - 1822 Collection
K:E_
E2 GE BEGE|F2 AF cFAF|~G2 ag fedc|BAGF EDCB,|E2 GE BEGE|F2 AF cFAF|
GbeG Acfe|dBcd e2 e2||eEGB egfe|dBdf bfdB|c=Bcd ec_BA|GEDE FDCB,|
EB,GE FB,AF|GEBG AA,cA|GbeG Acfe|dBcd e2e2||
MISS MARY L. ROBERTSON. Scottish, Reel. C Major. Standard. AABB'. Composed by William Marshall (1748-1833). A Scottish fiddler and composer, Marshall is most famous for his many fine strathspeys. Marshall worked for much of his life for the Duke of Gordon as the Steward of his Household, and it is fortunate that the Duke was an enthusiastic supporter and patron of Marshall's music. Marshall, Fiddlecase Edition, 1978; 1845 Collection, pg. 14.
T:Miss Mary L. Robertson
L:1/8
M:C
S:Marshall - 1845 Collection
K:C
F|E(GG)A c2 (ce)|defe dDDF|E(GG)A c2 (ca)|gefd c/c/c c:|
|:f|(ef/g/) (cg) egcg|(fg) a/(g/f/e/) fddf|1 (ef/g/) (cg) egcg|fdge cc/c/ c:|2
ecdB (dc)(BA)|GcGE C/C/C C||
MISS McLEOD'S FAVORITE. Scottish, "Slow" Strathspey. D Major. Standard. AAB. Composed by William Marshall (1748-1833). A Scottish fiddler and composer, Marshall is most famous for his many fine strathspeys. Marshall worked for much of his life for the Duke of Gordon, employed as the Steward of his Household, and it is fortunate that the Duke was an enthusiastic supporter and patron of Marshall's music. Gow (Complete Repository), Part 4, 1817; pg. 16.
T:Miss McLeod's Favorite
L:1/8
M:C|
S:Gow - 4th Repository
N:"Slow"
K:D
B,|(A,<D) D>E {DE}F>EFD|(B,<E) E>F {F}~G3A|(B>c/4d/4) (B/A/)(G/F/) E>DEF|
A,>DCE {E}D2D:|
(A/4B/4c/)|{c}d>Adf {c}d>Adf|{c}d>A (d/e/f/g/) fe ef/e/|{c}d>B (B/A/)G/F/ A>d {d}f>e|
{e}d>B {B}A>F FEEB|A<d d>e {de}f>efd|B<e e>f {f}~g3a|bc'/d'/ {b}ag/f/ e>def|
A<d c>e d3||
MISS SUSAN GORDON('S REEL--FOCHABERS). Scottish, Reel. F Major. Standard. AB. Composed by William Marshall (1748-1833). According to Moyra Cowie (The Life and Times of William Marshall, 1999), Miss Susan Gordon was the illegitimate daughter of a housekeeper's daughter, Jean Christie, and Marshall's employer, Alexander, the 4th Duke of Gordon. Gatherer (Gatherer's Musical Museum), 1987; pg. 12. MacDonald (The Skye Collection), 1887; pg. 149. Marshall, Fiddlecase Edition, 1978; 1822 Collection, pg. 50. Stewart-Robertson (The Athole Collection), 1884; pg. 223.
T:Miss Susan Gordon
L:1/8
M:C|
R:Reel
B:The Athole Collection
K:F
f|F1 FB AB/c/ cf|afcB ABcA|G2 GB Bc/d/ dg|bagf efge|F2FB AB/c/ cf|
afcB ABcA|BdBd AcAc|GABc d2d||f|cfAf cfAf cfaf cBAc|dg=Bg dgBg|
dgba gfef|cfAf cfAf|cfaf cBAc|BdBd AcAc|GABc d2d||
MISS TAYLOR('S REEL--KEITH). Scottish, Reel. C Major. Standard. AB (Marshall): AA'B (Athole): AA'BB' (Kerr). Composed by William Marshall (1748-1833). A Scottish fiddler and composer, Marshall is most famous for his many fine strathspeys. Marshall worked for much of his life for the Duke of Gordon as the Steward of his Household, and it is fortunate that the Duke was an enthusiastic supporter and patron of Marshall's music. Moyra Cowie (The Life and Times of William Marshall, 1999), thinks Miss Taylor may have either been the daughter of George Keith who founded the Milton Distillery of Keith (now owned by Chivas), or the daughter of a schoolmaster in Keith, Mr. Taylor. Kerr (Merry Melodies), Vol. 3; No. 128, pg. 15. Marshall, Fiddlecase Edition, 1978; 1822 Collection, pg. 48. Stewart-Robertson (The Athole Collection), 1884; pg. 81.
T:Miss Taylor
L:1/8
M:C|
R:Reel
B:The Athole Collection
K:C
cBcd cdef|gfed cBAG|1 cEGc EcGc|dDdc cBAG:|2 cEGc dDdB c2c2||
CEGc ecGE|FAde fdBG|cege agfe|gAdc cBAG|EFGc ecGE|FAde fdBG|
geag fedc|BGdB c2c2||
MISS YOUNG('S STRATHSPEY--BANFF). Scottish, Strathspey. C Major. Standard. AB (Kerr): AAB (Athole, Marshall). Composed by William Marshall (1748-1833). According to Moyra Cowie (The Life and Times of William Marshall, 1999), Miss Young was the daughter of Archibald Young, the 4th Duke of Gordon's solicitor in Banff. Marshall would have known them through his position as Steward of the Household for the Duke. Kerr (Merry Melodies), Vol. 3; No. 125, pg. 15. Marshall, Fiddlecase Edition, 1978; 1822 Collection, pg. 47. Stewart-Robertson (The Athole Collection), 1884; pg. 80.
T:Miss Young
L:1/8
M:C
R:Strathspey
B:The Athole Collection
K:C
E/F/|G>E G<c G>E G<c|e>d c<e d/d/d dE/F/|G>E G<c G>E G<c|
F>A G<E C/C/C C:|
e/f/|~g>a g<e ~g>a g<e|c>e g<e d/d/d de/f/|~g>a g<e ~g>a g<e|
f<d g>e c/c/c ~cf/g/|a<f f>a g<e e>g|f<ae<g D/D/D D>E|
C>DE>F G>A B<c|G>EF>D C/C/C C||
N:variations: 5th measure, 'B' part: a<F F>a g<E E>g|F<aE<g D/D/D D>E|
MIXING THE PUNCH (Ag Measgad an/na Dige). Irish, Double Jig. D Major. Standard. AABB. O'Neill (Krassen), 1976; pg. 53. O'Neill (1850), 1979; No. 1015, pg. 189. O'Neill (1001 Gems), 1986; No. 230, pg. 52.
T:Mixing the Punch
L:1/8
M:6/8
S:O'Neill - 1001 Gems (230)
K:D
A/G/|FED dfe|dAF GFE|GBG edB|ABA GFE|FAD GBE|Ace dAG|FDG ECE|DED D2:|
|:(3A/B/c/|d2d def|ABA Fdc|Bcd efg|d2f|ecA|FED def|efg ecA|FDG ECE|DED D2:|
MISS ABERCROMBY'S REEL (--OF BIRKENBOG). AKA and see "Hobb's Favorite," "Boston Rattlers," "Col. McBain's Reel." Scottish, Reel. C Minor. Standard. AAB (Athole): AABB' (Marshall). Composed by William Marshall (1748-1833), first printed in his 1781 collection. The title refers to the daughter of Sir Robert Abercromby of Birkenbog near Portsoy, Banffshire, according to Moyra Cowie (1999). The Abercrombys were friends with the 4th Duke and Duchess of Gordon, and through this relationship would have had contact with Marshall, who was employed as the Duke's Steward of the Household. Cowie points out that Banff was a favorite wintering place for the well-to-do of North-East Scotland, many of whom maintained town-homes there, spending the season visiting and socializing. Birkenbog was a farm house south of Cullen and was a well-devoloped and substantive property. Marshall, Fiddlecase Edition, 1978; 1781 Collection, pg. 5, and the 1822 Collection, pg. 23. Stewart-Robertson (The Athole Collection), 1884; pg. 273.
X:1
T:Miss Abercromby
L:1/8
M:C|
R:Reel
B:The Athole Collection
K:C Minor
EDCD EFGE|FBEB DB,FD|EDCD EFGc|BGFD C/C/C C2:|
edcd efge|dcBc defd|edcd efge|dc=Bd c/c/c ~c2|edcd efge|
dcBc defd|gefd ecdB|GBFD C/C/C C2||
X:2
T:Miss Ambercromby's Reel
L:1/8
M:C|
S:Marshall - 1781 Collection
K:C Minor
(EDC)(D EF)GE|FBFB DB,FD|(EDC)(D EF)Gc|B<G F>D C/C/C C2:|
(edc)(d ef)ge|(dcB)(c de)fd|1 (edc)(d ef)ge|d>cBd c/c/c c:|2
gefd ecdB|G<B F>D C/C/C C2||
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 ANN CAMERON'S JIG--BALVENIE. Scottish, Slip Jig. B Flat Major. Standard. AAB. Composed by William Marshall (1748-1833). A Scottish fiddler and composer, Marshall is most famous for his many fine strathspeys. Marshall worked for much of his life for the Duke of Gordon as the Steward of his Household, and it is fortunate that the Duke was an enthusiastic supporter and patron of Marshall's music. Moyra Cowie (The Life and Times of William Marshall, 1999) identifies Miss Ann as Dr. Grigor of Nairn's maiden aunt, who lived at Balvenie Farm in lower Glen Fiddich. Marshall wrote several tunes for members of the family. Marshall, Fiddlecase Edition, 1978; 1822 Collection, pg. 9.
T:Miss Ann Cameron's Jig - Balvenie
L:1/8
M:9/8
S:Marshall - 1822 Collection
K:B_
B2b f2d cAF|B2b f2d fga|b2B f2d cAF|G2B (AB/c/)A B3:|
FdB e2d cAF|fdB e2d efg|fga bfd cAF|G2B (AB/c/)A B3|
FdB e2d cAF|fdB e2d efg|fga bfd cAF|G2B (AB/c/)A B3||
MISS ANNE GORDON. Scottish, Slow Strathspey. F Major. Standard. AAB. Composed by William Marshall (1748-1833). A Scottish fiddler and composer, Marshall is most famous for his many fine strathspeys. Marshall worked for much of his life for the Duke of Gordon as the Steward of his Household, and it is fortunate that the Duke was an enthusiastic supporter and patron of Marshall's music. Marshall, Fiddlecase Edition; 1845 Collection, pg. 32.
T:Miss Anne Gordon
L:1/8
M:C
S:Marshall - 1845 Collection
K:F
A|F/F/F (F>d) c<FA<f|F/F/F (F>G) AG(D>E)|F/F/F (F>d) c<FA<f|f<d c>A A>G D:|
e|f<cf<a c<fA<a|f<c f>a ~g2 (d>e)|f<cf<a c>fa>g|f<A A/A/A G2 D e|f<cf<a c<fAa|
f<c f>a ~g2 (d>e)|f>ag>b a<f g>e|f<A A/A/A A>G D||
MISS GORDON OF GLASTIRUM'S REEL. AKA and see "Miss Louisa Duff." Scottish, Reel. G Minor. Standard. AAB (Glen): AABB' (Marshall). Composed by William Marshall (1748-1833), first appearing in his 1781 collection (pg. 6). Marshall was Steward of the Household for the 4th Duke of Gordon and wrote many tunes honoring various members of the Gordon family. It is not known which Miss Gordon is being referred to, however, Moyra Cowie (1999) believes it may have been a sister or daughter of James Gordon of Glaterim who died in 1783 at the age of 64. James was descended from a second son of the Earl of Huntly. Cowie says the farm of Glastirum is located on the main Fochabers/Buckie road, from which can be sighted the Moray Firth and hills (Braes) of Enzie. Glen (Glen Collection of Scottish Dance Music), Vol. 1, 1891; pg. 19. Marshall, Fiddlecase Edition, 1978; 1781 Collection, pg. 6, and 1845 Collection, pg 2 (where it appears as "Miss Louisa Duff").
T:Miss Gordon of Glastirum's Reel
L:1/8
M:C
S:Glen Collection
K:G Minor
B2 (GB) DGBG|A2 (Fc) AFcA|B2 (GB) DGBG| AGFA G/G/G G2:|
d(gg)a bgaf|c(ff)a bgaf|d(gg)a bgaf|agfa g/g/g g2|d(gg)a bgaf|
c(ff)a bgaf|defg fdcB|AGFA G/G/G G2||
MISS GORDON OF PARK. AKA and see "Miss Menzie's." Scottish, Jig. F Major. Standard. AB (Marshall): AA'BB' (Cranford). Composed by William Marshall (1748-1833). A Scottish fiddler and composer, Marshall is most famous for his many fine strathspeys. Marshall worked for much of his life for the Duke of Gordon as the Steward of his Household, and it is fortunate that the Duke was an enthusiastic supporter and patron of Marshall's music. Moyra Cowie, in her book The Life and Times of William Marshall (1999), suggests that the tune was composed in honor of one of the children of Sir James Gordon of Park and Joanna Maria, the eldest daughter of David McDowell Grant of Arndilly. Park is a fortified mansion that dates from 1536 near the village of Cornhill, famous for its markets. See also "Miss Menzie's" for a Cape Breton setting of the melody. Source for notated version: Winston Fitzgerald (1914-1987, Cape Breton) [Cranford]. Cranford (Winston Fitzgerald), 1997; No. 198, pg. 77. Marshall, Fiddlecase Edition, 1978; 1845 Collection, pg. 5. Celtic CX 34, Winston Fitzgerald (appears as "Lady Menzies").
T:Miss Gordon of Park
L:1/8
M:6/8
S:Marshall - 1845 Collection
K:F
F2F c<AF|F>GF d3|c<AF F2A|G<EC C>DE|F2F c<AF|F>GF a2a|
gaf efd|cdB ABG|F2F c<AF|F>GF d3|c<AF F2A|GEC CDE|F2F cAF|
F>GF a2a|gaf efd|c3 c3||c2c gec|cdc c2a|b2g a2f|g2f edc|c2c gec|
cdc b3|agf cde|f3 F2c|c2c gec|c>dc c2a|b2g a2f|g2f edc|f3 cAc|
d3 B2d|cba gfe|fcA f3||
MISS GORDON'S STRATHSPEY--OF FOCHABERS [1]. Scottish, Strathspey. D Major. Standard. AAB (Marshall): AA'B (Perlman). Composed by William Marshall (1748-1833). A Scottish fiddler and composer, Marshall is most famous for his many fine strathspeys. Marshall worked for much of his life for Alexander, Duke of Gordon, as the Steward of his Household, and it is f