The Fiddler’s Companion
© 1996-2009 Andrew Kuntz
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LADY M – LADY’S |
Notation
Note: The tunes below are recorded in what
is called “abc notation.” They
can easily be converted to standard musical notation via highlighting with
your cursor starting at “X:1” through to the end of the abc’s, then
“cutting-and-pasting” the highlighted notation into one of the many abc
conversion programs available, or at concertina.net’s incredibly handy “ABC
Convert-A-Matic” at http://www.concertina.net/tunes_convert.html **Please note that the abc’s in the Fiddler’s
Companion work fine in most abc conversion programs. For example, I use
abc2win and abcNavigator 2 with no problems whatsoever with direct
cut-and-pasting. However, due to an anomaly of the html, pasting the abc’s
into the concertina.net converter results in double-spacing. For
concertina.net’s conversion program to work you must remove the spaces
between all the lines of abc notation after pasting, so that they are
single-spaced, with no intervening blank lines. This being done, the F/C
abc’s will convert to standard notation nicely. Or, get a copy of
abcNavigator 2 – its well worth it.
[AK] |
LADY MACINTOSH('S
REEL) [1].
AKA and see "(A man's a
man) For Aw That and Aw That," “Strawberry Blossom [2],” "There's
Nae Luck Aboot the Hoose (There’s Nae Luck Ava) [1]." Scottish,
Strathspey. D Major. Standard tuning. AAB: AABB (Bremner). The tune is from Robert Bremner and first appears in
print in his 1757 collection (pg. 52). Words to the tune appear in A Collection of Loyal Songs, Poems, 1750. Bruce Olson finds these lyrics in NLS MS
2910 (c 1730? -40's?):
***
A New Song. Tune: Lady Mackintosh's Reel
That Georgie reigns in Jamie's stead
I'm grieved yet scorn to shaw that
On Rebel whigs for a that
For a' that and a that
And twice as mickle's a that
That will be king for a that
***
From the
above lines it appears that the Lady Macintosh of the title was Lady Anne
Macintosh, also known as Anne Farquharson and Colonel Anne, married to the
Laird of Macintosh. It must have been a
contentious union, for the laird supported the Hannovarians during the Jacobite
rising in Scotland in 1745-6, while Anne held for Bonnie Prince Charlie. She
even raised several hundred men to his service, although she did not personally
lead them. At various times she and her husband were both captured by their
respective foes, each time being released into each others’ custody.
***
The melody
was famously used by Robert Burns as the vehicle for his song "a man's a
man for a' that" by which the tune is now often known. Bremner (Scots Reels), c. 1757; pg. 52. Carlin (The Gow Collection), 1986; No. 523. Kerr
(Merry Melodies), vol. 2, pg. 17.
T:Lady MacIntosh’s Reel
M:C|
L:1/8
R:Reel
S:Bremner – Scots Reels (c. 1757)
Z:AK/Fiddler’s Companion
K:D
f | d/d/d dA B>def | d/d/d gd (B2 B)e | d/d/d dA B>de(g | f)edB (A2 A) :|
|: f | a>baf gfe(g | f)dgd (B2 B)f | a>baf gea(g | f)edB (A2 A) :|
LADY MACINTOSHE'S REEL
[2]. AKA and see "Knit the Pocky." Scottish, Reel. D
Minor. Standard tuning. John Glen (1891) finds the earliest appearance of the
tune in print in Neil Stewart's 1761
collection (pg. 20). It appears in Robert Bremner’s 1757 collection as “Knit
the Pocky” (whose own “Lady Mackintosh’s Reel” is another tune). The melody
appears in the 1770 music manuscript collection of Northumbrian musician
William Vickers, about whom nothing is known. It is noted in two sharps in the
ms., but probably should have been in the minor mode. Seattle (William Vickers), 1987, Part 1; No. 73.
X:1
T:Lady Mackintosh’s Real [sic]
M:C|
L:1/8
R:Reel
S:William Vickers’ music
manuscripts, pg. 15 (1770)
Z:AK/Fiddler’s Companion
K:D Minor
Addc defd|cAGF G/F/E/D/ CE|Dddc
defd|ecce d/d/d d2:|
|:defg afdf|ecgc ecce|defg afge|fdec
d/d/d d2:|
LADY MACKENZIE OF
COULL. Scottish, Strathspey. D Major
(Martin): C Major (Surenne). Standard tuning. AAB. Martin (Ceol na Fidhle), Vol. 2, 1988; pg. 40. Surenne (Dance Music of Scotland), 1852; pgs.
154-155. Tradition 2118, Jim MacLeod & His Band ‑
"Scottish Dances: Jigs, Waltzes and Reels" (1979).
X:1
T:Lady MacKenzie of Coul
M:C
L:1/8
R:Stathspey
S:Surenne – Dance Music of Scotland, pgs. 154-155 (1852)
Z:AK/Fiddler’s Companion
K:C
E/F/ | G>AG>c (A<F)F>d |
(B<G)G>B (c/d/e/f/) g2 | G>AG>c (A<F)F>c) | B/c/d/B/) G>B
c3E/F/ |
G>AG>c (A<F)F>d |
(B<G)G>B (c/d/e/f/) g2 | G>AG>c (A<F)F>c) | B/c/d/B/) G>B
c3 || f |
(e<g) g2 a>fd>f |
e>gc>e (d/c/B/A/) G>f | (e<g) g2 a>fd>f | (e<g) (B/c/d/B/)
c3f |
(e<g) g2 a>fd>f |
(e<g)(c<e) (d/c/B/A/) G2 | c2 G>E F>AD>f | (f/e/d/c/) (e/d/c/B/)
c3 ||
LADY MACKENZIE OF
SEAFORTH. AKA and see “MacBeth’s Strathspey.” Scottish,
Strathspey. A Mixolydian. Standard tuning. AABB'CCDD'. A pipe tune, though
better known by pipers (at least in Cape Breton) under the alternate title
“MacBeth’s Strathspey.” MacDonald (The
Skye Collection), 1887; pg. 70.
X:1
T:Lady MacKenzie of Seaforth
T:MacBeth’s Strathspey
M:C
L:1/8
R:Strathspey
S:MacDonald – Skye Collection
(1887)
Z:AK/Fiddler’s Companion
K:D
(a/f/)|eNA e>c
e>Ag>e|d>Gd>B d<G f>d|e<A e>c e<A
g>e|d>Bg>B BAA:|
|:a|e>ac/<c/a
e>ag>e|d>gB/<B/g d>gf>d|1 e>ac/<c/a e<A
g>e|d>Bg>B BAA:|2
(e/f/g) a<g
f>de>c|d>Bg>B BAA||:a|e>Ac>A eAg>e|d>GB>G
d>Gf>d|e>Ac>A e<A g>e|
d>Bg>B B<AA::a|e>Ac>A
eA (g/f/e)|d>GB>G dG (f/e/d)|e>Ac>A eA (g/f/e)|dG (d/c/B) cAA:|
|:a|e>ac>a ea
(g/f/e)|d>gB>g dg (f/e/d)|1 e>ac>a ea (g/f/e)|dG (d/c/B) cAA:|2
(e/f/g) a/g/f eA (g/f/e)|dG (d/c/B) cAA||
LADY MADELINA/MADALINA GORDON('S REEL). Scottish, Reel. F Major. Standard
tuning. AAB. Composed by William Marshall
(1748-1833), first published in his 1781 collection. Lady Madelina (1772-1847)
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.
X:1
T:Lady Madalina Gordon
M:C|
L:1/8
R:Reel
B:Stewart-Robertson – The
Athole Collection (1884)
Z:AK/Fiddler’s Companion
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). AKA and see “Mr. Lumsdane of Blanerne’s
Strathspey.” Scottish, Strathspey. D Major. Standard tuning. 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 (1772-1847), the second daughter of the 4th
Duke and Duchess of Gordon. Her second husband was Mr. Charles Fyshe Palmer of
Luckley 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.
X:1
T:Lady Madelina Palmer’s Strathspey
M:C
L:1/8
R:Strathspey
S:Marshall – 1822 Collection
Z:AK/Fiddler’s Companion
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||
X:2
T:Lady Madelina Palmer
M:C
L:1/8
R:Strathspey
S:Skye Collection (1887)
Z:AK/Fiddler’s Companion
K:D
f|d2 (A>d) (F>d)
(A>d)|d>f g/f/e/d/ c<e e>f|d2 A>d (F>d) (A>d)|(c/d/e)
(e>g) f<d d:||
f|d<d (f>d) (a<d)
f>d|d<d f>d c<e e>f|d<d (f>d) a>d f>d|(c/d/e) e>g
f<d d>f|
d<d (f>d) (a>d)
(f>d)|d<d f>d c<e e>f|d<d e<e f<f g<g|a<a b>a
f<d d||
LADY
MADELINA SINCLAIR. AKA – “Lady Madeline Sinclair.” AKA
and see "The Braes of Aberarder."
Scottish, Strathspey. A Major (most versions): G Major (Kennedy, Surenne). Standard
tuning. AB (Hardie, Kerr, Surenne): AAB (Athole, Glen, Gow, Honeyman, Hunter,
Kennedy, Martin, Skye). Lady Madelina Sinclair (1772-1847) was the second
daughter of Alexander, 4th Duke of Gordon, and William Marshall’s
employer and patron. Her second husband was named Charles Fyshe Palmer Esq.
(see note for “Lady Madelina Palmer”) of
Luckley Hall, Berkshire, whom she wed in 1804, however, her first husband was
Sir Robert Sinclair of Murtle, who died in 1795 when she was twenty-three.
According to Mary Robinson (Beaux and
Belles of England), the daughters of Alexander and his wife Jane, the
Duchess of Gordon, were far less beautiful than their mother. It was “to her
skilful diplomacy alone” that they married well and into fortune. “Lady
Madeline was not handsome,” writes Robinson, “but (was) extremely agreeable,
animated, and intellectual. Among her other conquests was the famous Samuel
Parr, of Hatton, who used to delight in sounding her praises, and recording her
perfections with much of that eloquence which is now fast dying out of
remembrance…” Palmer became the M.P. for Reading between 1818 and 1837.
Madelina is buried with her second husband in St James’s Church, Finchampstead,
Berkshire, England.
***
MacDonald,
in his Skye Collection, repeats the
composer credit Niel Gow (1727-1807) awarded himself which appears in the Gow's
Third Collection of Strathspey Reels
of 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). The tune also appears in Angus MacKay’s c. 1840’s collection
of pipe tunes. Christine Martin (2002) notes the tune is also the vehicle for a
popular Scots song (albeit with sometimes bawdy words) in the Gaelic puirt a beul tradition, called “A’ bhean a bh’aig an
taillear chaol” (The skinny tailor’s wife).
***
Carlin (Gow Collection), 1986; No. 100. Glen (The Glen Collection of Scottish Dance Music),
vol. 1, 1891; pg. 25. Gow (Third
Collection of Niel Gow’s Reels), 1792; pg. 3 (3rd ed.). Hardie (Caledonian Companion), 1986; pg. 29.
Honeyman (Strathspey, Reel and Hornpipe
Tutor), 1898; pg. 19. Hunter (The
Fiddle Music of Scotland), 1988; No. 133. Kennedy (Traditional Dance Music of Britain and Ireland: Reels and Rants),
1997; No. 93, pg. 24. Kerr (Merry
Melodies), vol. 2; No. 7, pg. 4. MacDonald (The Skye Collection), 1887; pg. 4. Martin (Traditional Scottish Fiddling), 2002; pg. 77. Petrie (Third Collection of Strathspey Reels with a
Bass for the Violoncello or piano forte), 1800; pg. 18. Stewart-Robertson
(The Athole Collection), 1884; pg.
11. Surenne (Dance Music of Scotland),
1852; pgs. 40-41. Greentrax Recordings CDTRAX 9009,
Donald MacDonell (1888-1967) - “Scottish Tradition 9: The Fiddler and His Art”
(1993). Greentrax CDTRAX, Deaf Shpherd – “Even in the Rain” (). Rounder 7059,
Alex Francis MacKay with Gordon MacLean – “Gaelic in the Bow” (2005). Ron
Gonella – “Scottish Violin Music” (1966). “The Caledonian Companion”
(1975). Deaf Shepherd – “Even in the
Rain.”
See also listings at: Alan Snyder’s Cape Breton Fiddle
Recording Index Jane Keefer’s Folk Music Index: An
Index to Recorded Sources Alan
Ng’s Irishtune.info |
X:1
T:Lady Madelina Sinclair
M:C
L:1/8
S:Strathspey
B:Stewart-Robertson – The
Athole Collection (1884)
Z:AK/Fiddler’s Companion
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||
X:2
T:Lady Madelina Sinclair
M:C
L:1/8
R:Strathspey
S:Surenne – Dance Music of Scotland, pgs. 40-41 (1852)
Z:AK/Fiddler’s Companion
K:G
E|d>GB>G (B/4c/2<d) e2|d>G (e/d/c/B/) ({B}A3) e|d>GB>G (B/4c/2<d) e2|d>GB>A ({A}G3) e|
d<GB>G (B/4c/2<d) e2 | d>G (e/d/c/B/) ({B}A3) e|d>GB>G (B/4c/2<d) e2|d>GB>A ({A}G3)||
(e/f/)|g>d{f}e>d (e/4f/2<g) (f/4g/2<a)|(g/f/e/d/) g>B ({B}A3 f|g>d{f}e>d (3efg (3fga |(g/f/e/d/) (e/f/g/d/) g2 (de/f/)|
g>ef>d e>cd>B | (c<a)(B<g) ({B}A3) G|(B/4c/2<d) e2 (B/4c/2<d) g2|G<GB>A ({A}G3)||
X:3
:TLady Madelina Sinclair’s Strathspey
M:C
L:1/8
R:Strathspey
B:Gow – 3rd Collection of Niel Gow’s Reels, 3rd ed., pg. 3 (orig. 1792)
Z:AK/Fiddler’s Companion
K:A
f|e>Ac>A c/d/e “tr”f2|eA {f}ed/c/ {c}B2 Bf|eAcA c/d/e “tr”f2|eA “tr”cB {B}A2A:||
f/g/|a>e”tr”f>e f/g/a ({g/a/}b2)|a/g/f/e/ a>c {c}B2 Bg|a>e”tr”f>e (3fga (3gab|a/g/f/e/ f/g/a/e/ “tr”a2 ef/g/|
afge fdec|d<bc<a {c}B2 BA|c/d/e “tr”f2 c/d/e “tr”a2|A<A”tr”c>B A2A||
LADY MADELINA SINCLAIR’S REEL. Scottish, Reel. A Major. Standard tuning. AAB. The melody appears in Malcolm MacDonald's 3rd Collection (c. 1792), dedicated to Miss Drummond of Perth. MacDonald (A Third Collection of Strathspey Reels), c. 1792; pg. 7.
X:1
T:Lady Madelina Sinclair’s Reel
M:C|
L:1/8
R:Reel
S:MacDonald – 3rd Collection of Strathspey Reels (c. 1792)
Z:AK/Fiddler’s Companion
K:A
c | A2 “tr”ED CEDC | B,BBc dcBc | A2 “tr”ED CEDC | DFEC A,A,A, A, :|
c | A2 (d/c/B/A/) eaec | dcBA GBBc | A2 (d/c/B/A/) eaec | dfec A/A/A Ac |
A2
(d/c/B/A/) eaec | dcBA GBBc | A”tr”(FED) CEDC | B,(dcB) cAA ||
LADY MADELINA SINCLAIR'S
BIRTHDAY. AKA and see “Lady Elgin’s Courtship.”
Scottish, Reel. B Flat Major. Standard tuning. AB (Surenne): AAB (Athole,
Cranford, Gow): AABB' (Kerr). Lady Madelina Sinclair (1772-1847) was the second
daughter of Alexander, 4th Duke of Gordon, and William Marshall’s
employer and patron. Unfortunately, we don’t know when her birthday is, as
records do not specify a date and even the year of her birth is a ‘circa’. She
married Sir Robert Sinclair in 1789. Her second husband was named Charles Fyshe
Palmer (See note above for “Lady Madelina Sinclair” for more), which dates the
tune to the period between 1789 and 1805, when she remarried. Paul Stewart
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. Gow (Fourth Collection of Niel Gow’s Reels), 2nd
ed., originally 1800; pg. 6. Kerr (Merry
Melodies), vol. 2; No. 203, pg. 23. MacDonald (The Skye Collection), 1887; pg. 135. Ryan’s Mammoth Collection, 1883; pg. 60. Stewart-Robertson
(The Athole Collection), 1884; pg.
284. Surenne (Dance Music of Scotland);
pg. 34. Rounder Records CDROUN 7042, Willie Kennedy –
“Cape Breton Violin” (2002). WMT002, Wendy MacIsaac – “That’s What You Get”
(1998?).
X:1
T:Lady Madelina Sinclair’s Birthday
M:C|
L:1/8
R:Reel
B:Stewart-Robertson – The Athole Collection (1884)
Z:AK/Fiddler’s Companion
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 MAISTERTON. AKA and see "The Wood Hill."
Irish, Air (3/4 time). G Mixolydian. Standard tuning. AB. O'Sullivan (1983) can
find no record of a family named Maisterton (which is a Scottish name), though
there is "Woodhill or Knocknakillew" in County Sligo. Source for
notated version: Bunting states "Lady Maisterton very ancient. From Martin
a harpress in County Cavan," though the index to his 1840 edition says the
tune was noted from "C. Martin, harper at Virginia, 1800."
O'Sullivan/Bunting, 1983; No. 9, pg. 14.
LADY MARGARET
LINDSAY'S MINUET. Scottish, Minuet (3/4 time). This
and a companion tune ("Lady
Anne Lindsay's Minuet") were composed by Kelly around 1768 for the
Duke of Balcarre's daughters, then aged 17 and 15. The usual practice of naming
such tunes was from musician to patron, but Johnson (1983) points out that
Kelly was an aristocrat himself who having a private income had no need of
patronage. In addition he was a neighbor and second cousin to the girls, thus
the tune was written, as were other of his minuets, "for friends for
fun" (pg. 150).
LADY MARGARET
MACDONALD. Scottish. John Glen (1891) finds the earliest appearance of
the tune in print in Neil Stewart's
1761 collection (pg. 34).
LADY MARGERET STEWART. Scottish, Reel. B Minor. Standard tuning. AB (Surenne): AAB (Gow): AABB
(Kerr): AABB' (Athole). Gow (2nd
Collection of Niel Gow’s Reels), 1788; pgs. 22-23 (3rd ed.).
Henderson (Flowers of Scottish Melody),
1935. Kerr (Merry Melodies), vol. 3;
No. 36, pg. 6. Stewart-Robertson
(The Athole Collection), 1884; pg.
132. Surenne (Dance Music of Scotland),
1852; pg. 106. Green Linnet SIF 1047, John Cunningham
- "Fair Warning" (1985). Tannahill Weavers – “Dancing Feet.”
See also listings at: Alan Snyder’s Cape Breton Fiddle
Recording Index Jane Keefer’s Folk Music Index: An
Index to Recorded Sources |
X:1
T:Lady Margaret Stewart
M:C|
L:1/8
R:Reel
B:Stewart-Robertson – The
Athole Collection (1884)
Z:AK/Fiddler’s Companion
K:B Minor
g|f2Bf dBfB|f/^g/a ef cAec|f2Bf dBfd|ecac B/B/B ~B:|
|:A|FBBc dBcA|EAAB cdec|1 FBBc dBdb|afec B/B/B B:|2 dBdb cAce|dfec B/B/B B||
LADY MARIA DUNDAS. Scottish, Reel. F Major. Standard tuning. AB (Surenne): AABB’ (Kerr).
Kerr (Merry Melodies), vol. 4; No. 148,
pg. 18. Surenne (Dance Music of Scotland),
1852; pg. 103.
X:1
T:Lady Mary Dundas
M:C
L:1/8
R:Reel
S:Surenne – Dance Music of Scotland, pg. 103
(1852)
Z:AK/Fiddler’s Companion
K:F
f || c>FF<F c2 Ac | dfef cAAf
| c>FF<F c2 Ac | dfcA G<G Gf | c>FF<F c2 Ac |
dfef cAAf | c>FF<F c2 Ac |
dfcA G<GG || g | (f/4g/2<a) ga fddf | cfAf cAAc |
(f/4g/2a<) ga fddf | cfcA
G<GGg | (f/4g/2<a) ga fddf | cfAf cAAc | faga fgdf | cdAf G<G Gf ||
LADY MARIA PARKER. Scottish, Strathspey. A Major. Standard tuning. AA’B. Jones
[Ed.] (Complete Tutor Violin), c.
1815; pg. 3.
X:1
T:Lady Maria Parker's Strathspey.
R:strathspey
M:C|
L:1/8
B:Complete Tutor Violin (c. 1815)
Z:Dr. Evan Jones, 2005
K:A
U:w=!wedge!
U:T=!trill!
N: 1st/2nd time bars marked with slurs not braces. 3rd full bar after repeat a marked as quaver, replaced with semi-quaver.
c2 (B>A) (ce) c2 | d>cBA (GB) E2 | c2 (B>A) (ce) c2 |[1 (A/G/F/E/) FG A2 z2 :|[2 (a/g/).f/.e/ f>g a2 z2]|: (e/4f/4g/) |
a>ef>e a>A (d/c/)wB/wA/ | G>BE>B G>B E (f/g/) | a>eTf>e a>A (d/c/)wB/wA/ | (GA/B/) (EF/G/) A2 A (e/4f/4g/) |
a>ef>e a>Ac>A G>BE>B G>BE>B | A>cB>d cedf | (a/g/f/e/) f>g a2 z2 |]
LADY MARY DOUGLAS. English, Jig. D Major. Standard tuning. AAB.
***
Lady Mary Douglas-Hamilton.
***
Kennedy (Fiddler’s Tune Book), vol. 2, 1954; pg. 45. Raven (English Country Dance Tunes), 1984; pg.
109.
X:1
T:Lady Mary Douglas
L:1/8
M:6/8
K:D
A/G/|FGA A2d|BGB A2G|FGA Adf|f3 e2G|FGA A2d|BGB A2b|afd gec|d3D2:|
f/g/|aba d’2a|f3 d2f|efe a2e|c3 ABc|d2d Bcd|e2e cde|fga agf|edc BAG|FGA A2d|
BGB
A2G|FGA Adf|f3 e2G|FGA A2d|BGB A2b|afd gec|d3 D2||
LADY MARY DUNDAS. See “Lady Maria Dundas.”
LADY MARY HAY. Scottish, Reel. C Minor. Standard tuning. AAB. Composed by C. Stewart.
Glen (The Glen Collection of Scottish
Dance Music), vol. 2. 1895; pg. 32.
X:1
T:Lady Mary Hay
M:C
L:1/8
R:Reel
S:Glen Collection, vol. 2 (1895)
Z:AK/Fiddler’s Companion
K:Cmin
a|g2 eg cgeg|f2 df bfdB|g2 eg
cgeg|fbdf gcc:|
c|GcEc gcec|Bb=ab fbdB|GcEc
gcec|fbdf gcce|
GcEc gcec|Bb=ab fbdB|ceGc EGCg|fbdf
gcc||
LADY MARY HAYES' SCOTTISH MEASURE. AKA ‑ "Lady Mary Hay's Scotch
Measure." Scottish, Reel. D Minor. Standard tuning. AABCCDD (Hunter,
Lerwick): AABCCDD’ (Gow). Composed by Nathaniel Gow
(1763-1831) a Scottish fiddler, composer, music publisher and
bandleader; a son of the famous Niel Gow. Lady Mary Turner Hay was born in
Hatton in February, 1786, the daughter of Lord George Hay and Hannah Charlotte
Maitland. Carlin (The Gow Collection), 1986; No. 101. Gow
(Third Collection of Niel Gow’s Reels),
1792; pg. 27 (3rd ed.). Hunter (The
Fiddle Music of Scotland), 1988; No. 324. Lerwick (The Kilted Fiddler), 1985; pg. 16‑17.
X:1
T:Lady Mary
Hay’s Scotch Measure
M:C
L:1/8
R:Scotch
Measure
B:Gow – Third
Collection of Niel Gow’s Reels, 3rd ed. (1792, pg. 27)
Z:AK/Fiddler’s
Companion
K:Dmin
“tr”F>E|D2D2
A3F|D2A2 defg|agfd ecd^B|c2 (C2 c2) “tr”F>E|D2D2 A3F|
D2A2
defg|agfd eaA^c|d2 (D2 D2):||”tr”f>e|d2d2 “tr”d3A|(d^c)de fefd|efga gfed|
e2(c2c2)
“tr”f>e|d2d2”tr”d3A|”tr”d^cde fefd|efgb afge|f2(d2d2)
“tr”f>e|d2D2”tr”d3e|
(fef).g
agfd|efge c’gaf|e2(c2c2)ag|fgag “tr”f>efd|efgf {f}ede^c|dBAG FdE^c|
d2(D2D2)||:F>E|(DF)(AF)
(Dd)(^cd)|DdEd (Fd)(DA)|”tr”d2(ef).d ecd=B|c2(C2C2) FE|
D(d^c)d
(Dd)(Ed)|(Fd)(Ed) (Fd)(DA)|(de)(fd) (ea).A.^c|d2D2D2::ag|”tr”f>ede fgag|
fd(^cd)
(Dd)(Fd)|(Ad)fd “tr”f>gaf|(efg).e c2 ag|1 “tr”f>ede fgag|f(d^c).d
(Ad)(fd)|
.e(ga)b
(ag).f.e|f2(d2d2):|2 fdba geag|fd gfed ^cA|dBAG (Fd)(E^c)|d2D2D2||
LADY MARY HOPE VERE. Scottish, Reel. D Major. Standard tuning. AABB'. MacDonald (The Skye Collection), 1887; pg. 57. Stewart-Robertson
(The Athole Collection), 1884; pg.
109.
X:1
T:Lady Mary Hope Vere
M:C|
L:1/8
R:Reel
B:Stewart-Robertson – The
Athole Collection (1884)
Z:AK/Fiddler’s Companion
K:D
c|d2 AG FGAF|Geed cABc|d2 AG FGAg|faeg fdd:|
|:g|fdad bdag|fdaf geeg|1fdad bdaf|geag fdd:|2 fdcd BdAG| FAge fdd||
LADY MARY LINDSAY. Scottish, Reel. C Major. Standard tuning. AAB. John Glen (1891) finds
the earliest appearance of the tune in print in John Riddell's 1782 collection (pg. 33).
The second part of this tune is the same as the first part of the Irish reel “Fisherman’s Lilt.” Glen (The Glen Collection of Scottish Dance Music),
vol. 1, 1891; pg. 10.
X:1
T:Lady Mary Lindsay
M:C|
L:1/8
R:Reel
S:Glen Collection, vol. 1
(1891)
Z:AK/Fiddler’s Companion
K:C
g|edc(G cd)cE|DCDE A2 Ag|edcG
cdc(E|DC)DE C2 C:|
(E/F/|GA)GE GAcd|edce d2 dE/F/|GAGE
GAcd|egde c2 cE/F/|
GAGE GAcd|egfe dcde/f/|gage
fedc|AGAB c2 c||
LADY MARY MENZIES REEL. AKA and see “Lucy Campbell [3],”
"Miss Louisa
Campbell's Delight,” "Pudding
Maggie.” Scottish, Reel. F Major (Athole): F Mixoldyian (Bremner). Standard
tuning. AABB. The dance instructions, but not the music, are contained in the Menzies Manuscript, 1749, in the Atholl
Collection of the Sandeman Library, Perth. They go:
***
1st pair goes cross hands round with the 2d pair
then back again & casts off, then the 1st woman and the 1st
man leads up and sets to the 2d pair then leads down and sets to the
3d pair; then the 1st woman turns the 2d man
& sets to her partner, then turns the 3d man and sets again to
her partner who was doing the same on the woman's side: then reels at the
sides, & falls into their places.
***
John Glen (1891) finds the earliest
appearance of the tune in print in Robert
Bremner's 1757 collection (pg. 82). The melody is related to “Lucy
Campbell’s.” Bremner (Scots Reels),
1757; pg. 82. Stewart-Robertson
(The Athole Collection), 1884; pg.
245.
X:1
T:Lady Mary Menzies
M:C|
L:1/8
R:Reel
B:Stewart-Roberson – The
Athole Collection (1884)
Z:AK/Fiddler’s Companion
K:F
f|cFAF cFfd|cFAF dGGA|cFcA dfag|fdcA fFF:|
|:e|fcce
fgag|fdcA gdde|fdcA fgag|fdcA fFF:|
LADY MARY LYON’S REEL. Scottish, Strathspey. D Major. Standard tuning. AABBCCDD. McGlashan (A Collection of Reels), c. 1786; pg. 39.
X:1
T:Lady Mary Lyon’s Reel
M:C|
L:1/8
R:Strathspey
S:McGlashan – Reels (c. 1786)
Z:AK/Fiddler’s Companion
K:D
e|d>Dd>F E>E e>f|dDdF dDdF|d>DdF E>E e>f|d>Dd>F D3:|
|:d|D<DF<A BEEd|D<D F>D A>DF>D|A,>DF>D F>E Ee|D<D A>F D3:|
|:d>df>d B>B e2|d>dfd e>df>d|e>dfd B<B e2|d>fe>f d3:|
|:d|D<D
F>A BEEd|D<D F>D ADFD|A,>DFD BEEe|d>DAF D3:|
LADY MARY MONTAGUE. Scottish, Reel. D Major. Standard tuning. AAB. The tune was composed by
J. McDonald, and appears in the John Bowie
collection of 1789. One Lady Montagu (undoubtedly not the one for whom this
tune was composed, but perhaps illustrative of a family dancing tradition)
wrote from Vienna in 1717: "The ball always concludes with English Country
Dances to the number of thirty or forty couples, and [they are] so ill danced
that there is very little pleasure in them" (Emmerson, 1972). Glen (The Glen Collection of Scottish Dance Music),
vol. 1, 1891; pg. 29.
X:1
T:Lady Mary Montague
M:C
L:1/8
R:Reel
S:Glen Collection, vol. 1
(1891)
Z:AK/Fiddler’s Companion
K:D
B|AfdF A2 FA|BGAF
GEEG|FADF|GBEd|ceAc dDD:|
g|fdad f2 df|gfed ceeg|fdad
fadf|gbag fdda|
fdad f2 df|gfed ceeg|B2 GB ceAc|dfeg
fdd||
LADY MARY MONTGOMRIE’S
REEL.
AKA and see “Lady Montgomery(‘s Reel) [1].”
LADY MARY MURRAY. Scottish, Strathspey. G Major. Standard tuning. AAB. Composed by Nathaniel Gow
(1763-1831). There are
two possibilities for the person of the title. One Lady Mary Murray’s family
were landowners in Crieff. She is remembered today in Lady Mary’s Walk. a
picturesque path along the River Earn. It was created by her father, judge and
statesman Sir Patrick Murray (1771-1837), the Laird of Ochtertyre, and was a
favorite of hers. There was also a Lady Mary Murry (d. 1814) who was also a
Lady Mary Murray who was a daughter of John, First Duke of Atholl. She married
a Reverend Martin (whose married name she took) and died in 1814. Sir Peter
Murray of Ochtertyre was a friend of Nathaniel Gow, and at the Edinburgh Ball
of 1811, he presented him with a fine violincello, among gifts from other
notables. Carlin (The Gow Collection),
1986; No. 102. Gow (Fourth Collection of Strathspeys & Dances), 2nd
ed., originally 1800; pg. 3. Stewart-Robertson
(The Athole Collection), 1884; pg.
176.
X:1
T:Lady Mary Murray
M:C
L:1/8
R:Strathspey
B:Stewart-Robertson – The
Athole Collection (1884)
Z:AK/Fiddler’s Companion
K:G
E|D>EG>B d/c/B/A/ B<G|A>Bc>B A>GF>E|D>EG>B d/c/B/A/ B<G| A<B g>B G/G/G G:|
g|d>eg>a b/a/g/f/ g>e|d<B g>B A>dF>D|d>eg>a b/a/g/f/ g>e|
d>Bg>B G/G/G G>e|d>eg>b a<bg<a|e<gB<g A>GF>E|D>EG>B d/c/B/A/ B>G| A<B g>B G/G/G G||
LADY MARY POWISS'S
MINUET. Scottish, Minuet. D Major. Standard
tuning. AABBCCDD. The melody appears in the Gillespie
Manuscript of Perth (1768) and in the manuscript collection of Colonial
dancing master John Ormsby, who transcribed it in Annapolis in about 1758.
Source for notated version: the music manuscript of Captain George Bush
(1753?-1797), a fiddler and officer in the Continental Army during the American
Revolution [Keller]. Keller (Fiddle Tunes from the American Revolution),
1992; pg. 11.
X:1
T:Lady Mary Powiss’s Minuet
M:3/4
L:1/8
K:D
D4 (3FED | E2 [A,2A2] (3GFE | F2D2
(3FED | “tr”G4 F2 | B4 (3dcB |
A2F2A2 | GA G2F2 | E6 :: E4 (3GFE |
F2A2d2 | “tr”G4 (3BAG | F2”tr”E2D2 |
“tr”B4 (3dcB | A2G2F2 | (3GFE “tr”E4
| D6 :: a2a2g2 | f2f2e2 | d2 (3def (3efg |
“tr”f4e2 | a2a2^g2 | b2b2a2 | (3dcB
“tr”B4 | A6 :: A2A2A2 | A2”tr”G4 |
G2G2G2 | G2 “tr”F4 | a2a2g2 | f2f2e2
| d2 (3def (3efg | “tr”f4a2 | “tr”b6 |
“tr”a6 | (3gfe “tr” e4 | d6 :|
LADY MARY PRIMROSE'S
FAVORITE. AKA and see "Miss Joan Kier," "Sir Hendry's Strathspey." Scottish,
Slow Strathspey. B Flat Major. Standard tuning (fiddle). AB. Henderson (1935)
finds the earliest appearance of the tune as "Miss Joan Kier” in
Clarkson's Musical Entertainer (c.
1796), however, variants appear in T. Calvert's Collection (c. 1799) as "Sir Hendry's Strathspey," while Nathaniel
Gow (1763-1831) published it under the above title in 1800. Hunter also
says William Marshall's (1748-1833) "Invershire" has "a strong
affinity" with the tune. J. Scott Skinner (1904, Harp and Claymore) attributed the tune to Marshall, saying: “This
beautiful strain was composed by Wm. Marshall, and appeared in his collection
as ‘Invereshie’. Nathaniel Gow adopted the strathspey, reversing the strains
and altering the title. Peter Milne, whose services to Scottish Music deserve
warm recognition, did much to give the melody vogue.” The melody appears in print
in Clarkson’s Musical Entertainment, c. 1796.
***
Lady Mary Primrose was the 2nd
daughter of Neil, 3rd Earl of Rosebery and Mary Vincent, born at
Barnbougle Castle, Linlithgow, on the last night of 1777. Her brother was also an
Earl of Rosebery. She married a lawyer named Henry John Shepherd (1783-1855) of
Lincoln’s Inn in 1808, introduced to her, no doubt, by her brothers who were
Shepherd’s Cambridge school-chums. Henry continued his studies at Lincoln’s Inn
with her youngest brother Francis. She had an interest in philosophy and
published (as Lady Mary Shepherd) either two or three metaphysical works
(depending on the source), Essays on the Perception of an External Universe,
and other subjects connected with the Doctrine of Causation (1827) and An
Essay on the Relation of Cause and Effect (1824), in addition to a few
articles. These works were published a good deal after her marriage, and it is
only her daughter’s memoir that reveals that Lady Mary wrote many of these
works between the ages of seventeen and twenty-seven, ‘whilst still at
Barnbougle’, and published them later through the encouragement of her husband.
She was involved in a public intellectual controversy with a retired naval
officer turned philosopher, John Fearn, when she wrote several short criticisms
of Fearn’s book First Lines of the Human Mind. There was some
back-and-forth in various literary publications. She was also a subscriber to
the Geological Society of London, and was acquainted with Charles Babbage and
his literary circle. Lady Mary died at the age of 69 in 1847.
***
Lady Francis Jerningham wrote of
Lady Charlotte (to Lady Bedingfeld, May 29, 1800) in a letter:
***
Lady Charlotte Primrose’s [Mary’s sister] match was not
sanctioned by her parents. He is a near relation
of Lady Rosebery’s, and may become
Earl of Effingham, but has at present only his pay,
as Colonel in the Guards. Her Bands
were mutter’d over in the Parish Church, and she
walked out at the Half-Door, and met
Col. Howard at the end of the street, from whence
they proceeded to the altar of
Hymen. Lady Mary
[Primrose] will perhaps do the same, but
she is a sensible girl, and has very
good taste. I had a visit a few mornings since from Lady
Rosebery and her three daughters; we
were all seated when a pretty young man entered.
Lady Mary Coloured as red as fire
and I have since felt a partiality for her.
***
See also a strathspey composed for
her sister, Charlotte, by
John Gow.
***
Carlin (The Gow Collection), 1986; No. 103. Gow (Fourth Collection of
Niel Gow’s Reels), 2nd ed., originally 1800; p. 13. Henderson (Flowers of Scottish Melody), 1935.
Hunter (Fiddle Music of Scotland),
1988; No. 58. Skinner (Harp and Claymore
Collection), 1904; pp. 18-19 (appears as “Lady Mary Primrose”).
X:1
T:Lady Mary Primrose
M:C
L:1/8
R:Strathspey
S:Skinner – Harp and Claymore Collection (1904)
Z:AK/Fiddler’s Companion
K:Bb
.D/.E/ | F>B D>B F>B D<d
| B>G (G/F/).E/.D/ C2 C D/E/ | F>B D>B F>B D<g | f<B f>e
(d2 d).f |
g<e E>g fd Df |
e>d({d}c>)B (G2 G)B | F>G (G/F/)(.E/.D/) .F>G ~(B>g) | fB
({B}d>)c B2B ||
(3f/g/a/ | b>fdf Bfdf |
e>d({d}c>)B G2G (3f/g/a/ | b>fdf Bfdf | .g/.f/.g/.a/ .b.d (f2
f/).g/.a/.b/ |
.g/.e/.B/.G/ E>g f/d/B/F/ Df |
e>d ({d}c>)B G2 GB | F>G (G/F/) .E/.D/ F>G ~(B>g) | (f<B)
({B}d>)c B2B ||
X:2
T:Lady Mary Primrose
M:C
L:1/8
S:William Mackie ms. (Aberdeen, early 19th century)
N:A piping ms.
Z:AK/Fiddler’s Companion
K:D
D|A>dF>d A>Bc>e|d>B B/A/G/F/ E Ed|A>dF>d A>Bd>b|ada>g f2 fg/a/|
.b.g.G.b .a.f.G.a|{a}g>f e>d B2 Bd/c/ e/4d/4c/4B/4|A>B B/A/G/F/ A>B d>b|a>d {d/e/}f>e {e}d2 d:|
|:a/b/4c’/4|d’>af>a d>af>a|{e/f/}g>f {f}e>d B2 B a/b/4c’/4|d’>af>a d>af>a|
b/a/b/c’/ d’>f {f}a2 a/b/c’/d’/|.b/.g/.d/.B/ Gb/g/ a/f/d/A/ Fd/a/|{a}g>f {e}e>d {d}B2 B/d/4c/4 e/4d/4c/4B/4|A>B B/A/G/F/ A>B d>b|a>d {e/f/}f>e d2 d||
LADY MARY RAMSAY('S)
[1]. AKA
and see "Sailor Ower da
Raft Trees" (Shetland), "The Auld Toon O' Edinburgh."
Scottish, Shetland, Canadian; Strathspey or Reel. Canada, Cape Breton. D Major
(most versions): G Major (Huntington): E Flat Major (Athole, Gow). Standard or
ADae (in the Shetlands) tuning (fiddle). AB (Cole, Honeyman, Surenne): AAB
(Gow, Howe, Hunter, Kerr, Martin): AABB (Huntington): AABB' (Skinner,
Stewart-Robertson): AABB'CCD (Skye). Lady Mary Ramsay was the daughter of
George Ramsay, 8th Earl of Dalhousie, and married James Hay. Her
brother was William Ramsay Maule (see “Mr.
Maule’s Frolick”). Composed by Nathaniel Gow
(1763-1831), and attributed to Gow in the Fourth Collection (1800) and
in Part 4 of his Complete Repository;
it is one of his best-known compositions. "This tune...(appears) in James
Porteous's Collection and having his initials attached it is possible he may
have been the composer of it" (Skye). Renamed in the Shetlands (as "Mary Ramsay") and played as a reel,
for when the tune first circulated via [J. Scott Skinner's] gramophone records
which played at a higher speed than the original performance, it was assumed a
reel, as the Shetlanders had no knowledge of strathspeys in the country
districts (Alburger {1983} quoting the late Shetland collector and fiddler Tom
Anderson). The tune was printed in Lowe's First
Collection (1844). In Ireland the tune was a popular Highland fling and
reel, going under such titles as “The Four Provinces Fling,”
“The Queen’s Shilling,” and “Jamie Duffy’s Highland” (see “Lady Mary Ramsey [2],” below). A version in
the American Ryan’s Mammoth Collection (1883) can be found as “Forget Me Not [3].”
***
Sources for notated versions:
Jean-Ann Callender (Aberdeen) [Martin]; Hector MacAndrew
[Martin]. Cole (1000 Fiddle Tunes), 1940;
p. 127. Cooke (The Fiddle Tradition of
the Shetland Isles), 1986; Ex. 19a, p. 69. Gow (Fourth Collection of
Strathspey Reels), 2nd ed., originally 1800; p. 15. Henderson (Flowers
of Scottish Melody), 1935. Honeyman (Strathspey,
Reel and Hornpipe Tutor), 1898; p. 31. Howe (1000 Jigs and Reels), c. 1867; p. 134. Hunter (Fiddle
Music of Scotland), 1988; No. 106. Huntington (William Litton's), 1977; p. 22. Kerr (Merry Melodies), vol. 1; Set 14, No. 1, p. 10. MacDonald (The Skye Collection), 1887; p. 34. Martin
(Traditional Scottish Fiddling),
2002; pp. 127 &134. Ryan’s Mammoth
Collection, 1883; p. 166. Skinner (Harp
and Claymore), 1904; p. 88. Stewart-Robertson
(The Athole Collection), 1884; pg.
88. Surenne (Dance Music of Scotland),
1852; pp. 26-27. Beltona 2103 (78 RPM), Edinburgh
Highland Reel and Strathspey Society (1936). Canadian Broadcasting Corp. NMAS
1972, Natalie MacMaster - "Fit as a Fiddle" (1993). Topic 12TS379,
Aly Bain & Tom Anderson ‑ "Shetland Folk Fiddling, vol. 2"
(1978). Ron Gonella – “A Tribute to Niel Gow.”
See also listings at: Alan Snyder’s Cape Breton Fiddle
Recording Index Jane Keefer’s Folk Music Index: An
Index to Recorded Sources |
X:1
T:Lady Mary Ramsay [1]
M:C
L:1/8
R:Strathspey
B:Stewart-Robertson – The
Athole Collection (1884)
Z:AK/Fiddler’s Companion
N:”Original key.”
K:D
A,|D3B A<F F>B|A>FB>G A<FF<d|D3B A<F F>A|d>BA>F E/E/E E:|
g|f<d d>f e<c c>e|d<B d>B A<F F>e|f<d d>f e>dc>A|d>BA>F E/E/E Ee|
f>dd>f ecce|d<B d>B A<F F>A|d>fc>e B>dA>F|d>BA>F E/E/E E||
N:last two bars at end of tune go: (3def (edc (3dcB (3AGF|(3GAB (3AGF F<E E>F||
X:2
T:Lady Mary Ramsay [1]
M:C|
L:1/8
R:Reel
B:Stewart-Robertson – The
Athole Collection (1884)
Z:AK/Fiddler’s Companion
K:E Flat
G|E3c B<G G>c|B<G c>A B<G G>e|E3c B<G G>B|c>EB>G F/F/F F:|
e/f/|g<e e>g f<d d>f|e<c c>e B<G Ge/f/|g<e e>g f>de>B|c<e B>G F/F/F Fe/f/|
g<e e>g f<d d>f|e<g c>e B<G G>B|e<g d>f c<e B>c|G<e B>G F/F/F F||
X:2
T:Lady Mary Ramsay's Reel [1]
T:The Queen's Shilling (DMI752)
D:Aly Bain/Phil Cunningham: The Ruby
Z:Nigel Gatherer
M:4/4
L:1/8
K:D
FE | D3 B AFFA | BGGB AFAd | D3 B AFFA | BdAF EGFE |
D3 B AFFA | BGGB AFAd | D3 B AFFA | BdAF E3 ||
g | fddf ecce | dBBd AFDg | fddf eccA | BdAF E3 g |
fddf ecce | dBBd AFD2 | faef dBAF | BdAF EGFE ||
LADY MARY RAMSEY [2] (Beantigearna Maire Ramsei). AKA and see “Boy in the Gap,” “Forget Me Not [3],” “Kilkenny Boys,” “Miss Ramsay [2],” "The Queen's Shilling." Irish, Reel. G
Major. Standard tuning (fiddle). AB (Kennedy, O'Neill/1850): AA'B
(O'Neill/Krassen). Source for notated version: Francis O'Neill learned the tune
from an accomplished West Clare flute player (and Chicago police patrolman)
named Patrick "Big Pat" O'Mahony, a man of prodigious physique of
whom he said: "the 'swing' of his execution was perfect, but instead of
'beating time' with his foot on the floor like most musicians he was never so
much at ease as when seated in a chair tilted back against a wall, while both
feet swung rhythmically like a double pendulum" [O'Neill, Irish Folk Music].
***
“Lady Mary Ramsay” also is played in
Ireland as the third tune in a medley of flings called “The Four Provinces.” Peter
Kennedy gives “Boy in the Gap” as an alternate title. Kennedy (Traditional Dance Music of Britain and
Ireland: Reels and Rants), 1997; No. 94, p. 24. O'Neill (Krassen), 1976; p.
159. O'Neill (Music of Ireland: 1850 Melodies), 1903; No. 1536, p. 284.
X:1
T:Lady Mary Ramsey [2]
M:C|
L:1/8
R:Reel
S:O’Neill – Music of Ireland
(1903), No. 1536
Z:AK/Fiddler’s Companion
K:G
D2 | G2 (G>B) dBGB | dBeB dBAB |
G2 (GB) d2 (Bd) | (3efg (dB) AcBA |
G2 (GB) dBGB | dBeB dBAB | G2 (GB)
dBGB | (3efg dB A2 || (ga) |
B2 (gb) a2 (fa) | g2 (eg) (fd) B2 |
b2 (gb) a2 fa | gfef d2 (ga) | bagb agfa |
gfeg dega | bgaf gfed | (3efg dB
AcBA ||
LADY MARY STOPFORD. Scottish, Reel. D Major. Standard tuning (fiddle). AB (Surenne): AAB (Gow,
Skye): AABB' (Kerr). Composed by Malcolm Macdonald in honor of Lady Mary Scott
(1769-1823), eldest daughter of Sir Henry Scott, 3rd Duke of
Buccleugh and Lady Elizabeth Montagu. She married James George Stopford, 3rd
Earl of Courtown (Gorey, County Wexford, Ireland), in 1791, and they had five
children—the eldest two sons died in infancy. Lady Mary Stopford was a Lady of
the Bedchamber to the Duchess of Kent. Carlin (Gow Collection), 1986; No. 267. Gow (Fourth Collection of Niel
Gow’s Reels), 2nd ed., originally 1800; p. 19. Kerr (Merry Melodies), vol. 3; No. 16, p. 4.
MacDonald (The Skye Collection),
1887; p. 41. Stewart-Robertson
(The Athole Collection), 1884; p.
104. Surenne (Dance Music of Scotland),
1852; p. 39. Rounder 7005, Carl MacKenzie – “Welcome
to Your Feet Again” (1977). Rounder Records, Alex Francis MacKay – “A Lifelong
Home” (1997).
See also listings at: Alan Snyder’s Cape Breton Fiddle
Recording Index Jane Keefer’s Folk Music Index: An
Index to Recorded Sources |
X:1
T:Lady Mary Stopford
M:C|
L:1/8
R:Reel
B:Stewart-Robertson – The
Athole Collection (1884)
K:D
B|AFdF A2 FA|BGAF GEEG|FADF GBEd|ceAc dDD:|
g|fdad f2df|gfed ceAg|fdad f2df|gbag fddg|
fdad f2df|gfed ceA=c| B2GB ^ceAc|dfeg fdd||
LADY
MATILDA BRUCE’S REEL. Scottish, Reel. F Major. Standard
tuning (fiddle). AAB. Composed by Nathaniel Gow
(1763-1831), fiddler, composer, music publisher and bandleader. Third
son of the great Scottish fiddler-composer Niel Gow. Gow (Complete
Repository), Part 4, 1817; p. 21.
X:1
T:Lady Matilda Bruce’s Reel
M:C
L:1/8
R:Reel
S:Gow – 4th Repository
(1817)
Z:AK/Fiddler’s Companion
K:F
b|a(bag) f2 ed|cfAa gabg|abag f2
ed|cdAf cFAF:|
(ABc)A fAcA|dBfd gdec|(fga)f
dBbg|afge fFAF|
(ABc)A fAcA|dBfd gdec|fcaf dBbg|afge
f2F||
LADY MAXWELL. Scottish. John Glen (1891) finds the earliest appearance of this tune
in print in Joshua Campbell's 1778
collection (pg. 25).
LADY MAXWELL OF
MONREATH. Scottish. John Glen (1891) finds
the earliest appearance of this tune in print in Robert Riddell's 1782
collection (pg. 32).
LADY McBAIN’S
PANTALETTES.
Irish, Reel. G Major. Standard tuning (fiddle). AB. From the late North
Kerry fiddler Paddy O’Sullivan, via Paul de Grae.
X:1
T:Lady McBain’s Pantalettes
M:4/4
L:1/8
R:Reel
S:Paddy O’Sullivan, fiddle, Co.
Kerry
N:played after “Rolling in the Rye
Grass”
Z:Paul de Grae
K:G
G2 BG DGBG|F2 AF DFAF|G2 BG
DGBd|dBAG E3F|
G2 BG DGBG|F2 AF DFAF|G2 BG
DGBd|dBAG E3f||
gfeg fedf|edBd dB A2|gfeg
fedB|[e3e3]e [e2e2] ef|
g2 eg fedf|edBd dBAF|G2 BG DGBd|dBAG
E4:||
LADY McDONALD'S REEL. AKA and see "Lord
MacDonald('s Reel) [4]."
LADY McINTOSH’S REEL. Scottish, Strathspey. From the Angus Cumming collection. See note
for “Knit the Pocky.”
LADY McKENZIE OF COUL. Scottish, Strathspey. C Major. Standard tuning (fiddle). AAB. Kerr (Merry Melodies), vol. 2; No. 98, p. 13.
X:1
T:Lady McKenzie of Coul
M:C
L:1/8
R:Strathspey
B:Kerr – Merry Melodies, vol. 2, No. 98
(c. 1880’s)
Z:AK/Fiddler’s Companion
K:C
(E/F/)|G>AG?c A<F
F>B|B<G G>B (c/d/)e/f/ g2|G>AG>c A<F F>c|B/c/d/B/ G>B c3:|
f|(e<g) ~g2
a>fd>f|e>gc>e d/c/B/A/ G>f|(e<g) ~g2 a>fd>f|e>g
(B/c/)d/B/ c3|
(e<g) ~g2
a>fd>f|e>gc>e d/c/B/A/ G>G|c2 G>E F>A D>f|(f/e/)d/c/
(e/d/)c/B/ c3||
LADY McLEOD’S. Scottish, Reel or Highland. G
Major. Standard tuning (fiddle). AABB. Kennedy (Traditional Dance Music of Britain and Ireland: Reels and Rants),
1997; No. 95, p. 24.
LADY McNABB’S. AKA and see “Rory McNab’s Reel.”
Scottish, Reel. G Major. Standard tuning (fiddle). AABB. Kennedy (Traditional Dance Music of Britain and
Ireland: Reels and Rants), 1997; No. 96, p. 24.
LADY McNEIL. Scottish, Reel. B Flat Major. Standard tuning (fiddle). AB. Composed by
William Marshall (1748-1833). Marshall, Fiddlecase Edition, 1978; 1845
Collection, p. 19.
X:1
T:Lady McNeil
M:C
L:1/8
R:Reel
S:Marshall – 1845
Collection
Z:AK/Fiddler’s Companion
K:B Flat
B2 FD GEBG|FDGE EDCB,|edef gfed|cBAG FGAF|B2 FD GEBG|
FDG>E EDCB,|d2b2 agfe|dcBA B4||edef gfed|cBcd edcB|AFGA Bcde|
gfed
c4|B2 FD GEBG|FDGE EDCB,|d2b2 agfe|dcBA B4||
LADY MENZIES OF CASTLE
MENZIES. Scottish, Jig. C Major. Standard
tuning (fiddle). AABB. Composed by William Marshall
(1748-1833). Castle Menzies is nearby Aberfeldy. Marshall, Fiddlecase Edition, 1978; 1845 Collection, p. 12.
X:1
T:Lady Menzies of Castle Menzies
M:6/8
L:1/8
R:Jig
S:Marshall – 1845
Collection
Z:AK/Fiddler’s Companion
K:C
G|c3 edc|BAG d3|~c3 edc|fef agf|e2c cBc|ABc d3|GAB cde|fed gfe:|
|:f2A agf|e>dc g3|E2g e>dc|a2f agf|(G,C)E (Gc)e|FAd ~f2a|gfe fdB| GAB cde:|
LADY MEXBOROUGH. English, Jig. North‑West England. B Flat Major. Standard tuning
(fiddle). AABB. Knowles (Northern Frisk),
1988; No. 21.
LADY MILDMAY’S WALTZ.
English, Waltz. A Major (‘A’ and ‘B’ parts) & A Minor (‘C’ and ‘D’
parts). Standard tuning (fiddle). AABBCCDD. The title perhaps refers to Jane
Mildmay (c. 1765-1857), who married Sir Henry Paulet St. John-Mildmay in 1786.
She apparently was a heiress, for Henry added the name Mildmay to his own in
1790. Lady Jane evidently was musical, for there is a portrait of her dating
from 1785, seated playing the harp. Goulding (Twenty Four Country Dances for
the Year 1808), 1808; No. 8.
X:1
T:Lady Mildmay’s Waltz
M:3/8
L:1/8
R:Waltz
B:Goulding & Co. – Twenty Four Country Dances for the Year 1808 (London)
N:”With proper Tune & Directions to each Dance (as they may be
N:performed at Court, Bath, and all Public Assemblys.”
Z:Transcribed and edited by Flynn Titford-Mock
Z:abcs’s:AK/Fiddler’s
Companion
K:A
(a/e/a/e/a/e/)|ccc|(dB).B|cAA|a/e/a/e/a/e/|ccc|edB
A3:|
|:G/B/e/B/G/B/|A/c/e/c/A/c/|G/B/e/B/G/B/|A/c/e/c/A/c/|a/e/a/e/a/e/|ccc|edB|A2:||
K:Amin
|:c/B/|AAc/B/|AAc/A/|Bee|cAc/B/|AAc/B/|AAc/A/|Be^G|A2:|
|:e/f/|ee^G|AAc|BBe|d/c/B/c/e/f/|ee^G|AAc|Be^G|A2:||
LADY MONTGOMERY('S
REEL) [1].
AKA and see “Cuddy’s Fancy,” “Guiry’s Reel,” “Miss Montgomery.” AKA – “Lady
Mary Montgomrie’s Reel.” Scottish, Reel. D Major (Cole/Ryan, Kennedy): B Flat
Major (Athole, Honeyman, Hunter, Kerr, Martin & Hughes, Skye, Surenne,
Wilson): C Major (Cranford/Fitzgerald, Jones). Standard tuning (fiddle). AB
(Surenne): AAB (Athole, Cranford, Honeyman, Hunter, Jones, Kennedy, Kerr,
Skye): AABB (Cole): AABB’ (Martin & Hughes). A tune by Colonel Hugh
Montgomerie (1749‑1819), and the vehicle for the dance "The
Montgomerie Rant" (having replaced “Lord Eglintoune”). Montgomerie was
an interesting character‑‑an amateur but talented Scots fiddler who
loved his native music, he was "singularly tongue‑tied" and had
trouble expressing himself in words. Serving in the English army in the
American campaigns, he became the 12th Earl of Eglintoun, and was elected
Member of Parliament for Ayrshire. "He took over the Eglinton policies
with a grand conception of his role as laird, instituted many improvements,
maintained a splendid stable and fine equipages, and appointed a family
piper" (Emmerson, 1971). Poet Robert Burns dubbed him 'Sodger Hugh'. The
English dance band Muddy York plays a G chord for the first six measures of the
'A' part for variety. Paul Cranford (1997) remarks that Cape Breton fiddler Johnny
Wilmot had an Irish variant in the key of D with a third tune in the related
minor. Gow (1817) directs “Slow, with expression.” See also the related “Rising Sun [3]” and the P.W. Joyce’s “Guiry’s Reel.” The alternate title “Cuddy’s
Fancy” comes from W.A. Cocks collection. One of the oddest appearances of the
tune is on the barrel organ from the polar expedition of Admiral Parry of 1810.
In place of a ship’s fiddler (common in those days), Parry introduced a
mechanical barrel organ on board ship to provide entertainment and a vehicle to
which the men could exercise (i.e. by dancing). “Lady Montgomery’s Reel” was
one of eight tunes on barrel no. 4. Source for notated version: Winston
Fitzgerald (1914-1987, Cape Breton) [Cranford]. Cole (1000 Fiddle Tunes), 1940; pg. 11. Cranford (Winston Fitzgerald), 1997; No. 116, p. 47. Gow (Complete Repository), Part 4, 1817; p.
15. Henderson (Flowers of Scottish Melody),
1935. Honeyman (Strathspey, Reel and
Hornpipe Tutor), 1898; p. 28. Hunter (Fiddle
Music of Scotland), 1988; No. 268. Jones [ed.] (Complete Tutor Violin), c. 1815; p. 3. Kennedy (Traditional Dance Music of Britain and
Ireland: Reels and Rants), 1997; No. 97, p. 24. Kerr (Merry Melodies), vol. 1; Set 27, No. 4, p. 17. MacDonald (The Skye Collection), 1887; p. 125.
Martin & Hughes (Ho-ro-gheallaigh),
1990; p. 13. Ryan’s Mammoth Collection,
1883; p. 35. Stewart-Robertson
(The Athole Collection), 1884; p.
278. Surenne (Dance Music of Scotland),
1852; p. 5. Wilson (Companion to the
Ballroom), 1815; p. 63. BOOT 7244, Muddy York ‑
"Scatter the Ashes" (Canadian variant). Culburnie Records CUL 121D,
Alasdair Fraser & Natalie Haas – “Fire and Grace” (2004). Green Linnet SIF
1077, Capercaillie ‑ "Crosswinds" (1987). Saydisc SDL 234,
Parry’s Barrel Organ (vol. 11 in the Golden Age of Mechanical Music).
X:1
T:Lady Montgomery [1]
M:C|
L:1/8
R:Reel
B:Stewart-Robertson – The
Athole Collection (1884)
Z:AK/Fiddler’s Companion
K:Bb
d|B2 BF DEFD|B2 BG ABcd|B/B/B BF DEFD|CccB ABcd:|
B/B/B fB dB f2|B/B/B fB defb|B/B/B fB dBfd|edcB ABcd|
B/B/B fB dB f2|Bgfe defg|fdec dBcA|BGFD Cccd||
X:2
T:Lady Montgomery’s [1]
M:C|
L:1/8
R:Reel
S:Ryan’s Mammoth Collection (1883)
Z:AK/Fiddler’s Companion
K:D
d2 dA FAAF | d2 fd cdef | d2 dA FGAF | E2 ed cdef | d2 dA FAAF |
d2 fd cdef | d2 dA FGAF | E2 ed cdef :: d2 ag fdaf | d2 ag fgab | d2 ag fdaf |
(gf)ed cdef | d2 ag fdaf | d2 ag fgab | afge fdec | dBAB cdef :|
X:3
T:Lady Mary Montgomries's Reel.
N:Reel with same name appears in Robert Mackintosh's four collections of 1783-1803. http://www.heallan.com/mackintosh.html
M:C|
L:1/8
R:reel
B:Complete Tutor Violin (c. 1815)
Z:Dr. Evan Jones [Ed.], 2005
K:C
c2 (cG) EFGE | c2 (cA) Bcde | c2 (cG) EFGE | Dddc Bcde :||
ccgc ec g2 | ccgc efga | ccgc ecgc | fedc Bcde |
ccgc ecge | ccgf efga | gefd ecdB | cAGE Ddde |]
LADY MONTGOMERY [2]. AKA and see “Phelim’s Frolic(s).” Irish,
Reel. C Major. Standard tuning. AB. An Irish variant of Colonel Hugh
Montgomerie’s (1749‑1819) Scottish tune “Lady Montgomery [1]." New York musician,
writer and researcher Don Meade says the tune was recorded in the key of ‘C’ by
Donegal fiddler Hughie Gillespie in New York in the 78 RPM era, and later by
Andy McGann, Joe Burke and Felix Dolan under the title “Phelim’s Frolics” on
the “Tribute to Michael Coleman” recording.
X:1
T:Lady Montgomery [2]
R:Reel
D:Paddy Carty & Conor
Tully(Session Tape)
Z:Adrian Scahill
M:4/4
L:1/8
K:C
c3G ECEG|c2Ac Bcd2|c3G EFGc|Addc
BGAB|\
c3G ECEG|c2Ac BcDB|cAGF EFGE|Addc
BGAB||\
c2gc acgc|c2gc BcdB|c2gc acgb|aged cGAB|\
c2gc acgc|c2gc Bcd2|cBcd egg2|aged
cAGB||
LADY MONTGOMERY [3]. AKA - “The Snow on the Mountain.” Irish, Reel. D Major. Standard
tuning. AA’BB’. The tune (which bears some resemblance to “Lady Anne Montgomery”),
possibly Scottish in origin, is associated with two northern Irish musicians‑‑Tommy
Peoples and Cathal McConnell. Green Linnet SIF‑1109,
Altan ‑ "The Red Crow" (1990). Green Linnet GLCD 1074, Jerry
O’Sullivan – “The Invasion” (1987. Appears as untitled tune).
X:1
T:Lady Montgomery [3]
R:reel
D:Paul McGrattan: The Frost Is All
Over
Z:id:hn-reel-511
Z:transcribed
by henrik.norbeck@mailbox.swipnet.se
M:C|
L:1/8
K:D
~F3A AFDE|F2EG FDDE|~F3A AFDE|1 FDEC
D2DE:|2 FDEC D3A||
|:d2AG FGAB|A2ed cdec|1 d2AG
FGAB|AFGE FDDA:|2 d2AG ~F3G|AFGE FDDE||
"variations"
|:~F3A AFDE|FAEG FEDE|~F3A AFDE|1
FAEF D2DE:|2 FAEF D3d||
|:d2AG FGAB|A2ed cdec|d2AG FGAB|1
AFEG FEDd:|2 AFEG FDDE||
LADY MUIR MACKENZIE. AKA and see “Captain
David Stewart 42nd Royal Highlanders. Afterwards General Stewart,” “General Stewart,” “Mrs. Muir MacKenzies.” Scottish,
Canadian; Reel. Canada, Cape Breton. C Major/Mixolydian. Standard tuning. AABB
(Cranford): AABB' (Skye). A “double tonic” composition attributed to William
Gow (1751-1791), eldest son of Niel Gow, by MacDonald (Skye Collection). The tune is often played in D Major/Mixolydian by
Cape Breton fiddlers. See also the related tune “Irvine Steeple.” Source for notated
version: Winston Fitzgerald (1914-1987, Cape Breton) [Cranford]. Cranford (Winston Fitzgerald), 1997; No. 115, pg.
47. MacDonald (The Skye Collection),
1887; pg. 109. Celtic CX 005, Decca 14030, Angus Allan
Gillis (c. 1936, who recorded it in the key of D). Celtic CX 14, Dan Joe
MacInnis - “The Scottish Fiddle of...” (1963). Little Jack MacDonald (recorded
in the key of D). Marquis 81245 2, David Greenberg & Doug MacPhee – “Tunes
Until Dawn.” Nimbus 5383, Buddy MacMaster - “Traditional Music from Cape Breton
Island” (1993). RDRC 850, Raymond Ellis - “Dedicated to Mom and Dad” (1994).
WRC1 1273, Glendale Massed Fiddlers.
See also listings at: Alan Snyder’s Cape Breton Fiddle
Recording Index Jane Keefer’s Folk Music Index: An
Index to Recorded Sources |
X:1
T:Lady Muir MacKenzie
M:C|
L:1/8
R:Reel
S:MacDonald – Skye Collection (1887)
Z:AK/Fiddler’s Companion
K:C
E|C<c c>G ECC_E|D<_B B>F
DB,B,D|C<c c>G E>FG>f|ecde c/c/c c:|
e|gece gage|fd_Bd fgfd|gece
gage|fdge c/c/c ~c>e|
gece gage|fd_Bd (fg)fd|cedf
egfa|gefd c/c/c c||
LADY MUIR MACKENZIE'S FAVORITE. Scottish, Slow Strathspey. D Major. Standard tuning. AAB. Composed by
Perthshire fiddler-composer Niel Gow (1727-1807). The tune honors Jane Murray
(c. 1769-1827), daughter of Sir Robert Murray of Dunerne, 6th Bart.,
who in 1789 married Sir Alexander Muir MacKenzie of Delvine, 1st
Bart. Sir Alexander was created Baronet in 1805, thus raising Jane’s status to
“Lady Jane.” Previously she was Mrs. Muir MacKenzie, for whom see the several
tunes (and notes) under that name (“Mrs.
Muir MacKenzies”). See also other tunes for the family: “Miss Muir MacKenzies,” “Mr. Muir MacKenzie’s Favorite.”
Carlin (The Gow Collection), 1986;
No. 104. Gow (Fifth Collection of Strathspey Reels), 3rd ed.,
originally 1809; pg. 2. Rounder 7059, Alex Francis MacKay with Gordon MacLean – “Gaelic in
the Bow” (2005).
See also listings at: Alan Snyder’s Cape Breton Fiddle Recording
Index Jane Keefer’s Folk Music Index: An
Index to Recorded Sources |
X:1
T:Lady Muir
MacKenzie’s Favorite
M:2/4
L:1/8
R:Strathspey
N:”Slow”
C:Niel Gow
(1727-1807)
B:Gow – Fifth
Collection of Niel Gow’s Reels (1809)
Z:AK/Fiddler’s
Companion
K:D
B,|(A,/B,/)(D/E/)
“tr”D<E|D/E/4(F/4 G/4A/4B/4c/ d>)B|(B/A/)(G/F/) (G/F/)(E/D/)|(D/E/F/).D
~B,>D|(A,/B,/)(D/E/) “tr”D>E|
D/(E/4F/4
G/4A/4B/4c/4) d>B|(B/A/)(G/F/) (A/G/)(F/E/)|{E}D2
D:||(A/B/4/c/4)|(d/e/f/).e/ d>A|(B/c/d/).B/ (B/A/)(G/F/)|”tr”(E/D/).E/.F/
(G/F/)”tr”(E/D/)|
(D/E/F/).D/
B,>A|(d/e/f/).e/ d>A|(B/c/d/).c/ (B/A/)(G/F/)|(A/F/)(E/D/)
“tr”(E/D/)E/F/|{F}d2 ~d>A|(B/c/d/)B/ (B/A/)(G/F/)|”tr”(E/D/).E/.F/
(G/F/)(E/D/)|
(D/E/F/).D
~B,>D|(A,/B,/)(D/E/) “tr”D>E|.D/(E/4F/4) (G/4A/4B/4c/4)
d>B|(B/A/)(G/F/) (A/G/)(F/E/)|{E}D2 D||
LADY MURRAY'S REEL. English, Reel. England, Northumberland. F Major. Standard tuning. AABB.
Seattle (William Vickers), 1987, Part
2; No. 333.
LADY NELLY
WEMYSS/WEMYES'S JIG. Scottish, Jig. A Major/Mixolydian.
Standard tuning. AABB. Bremner (A Collection of Scots Reels), 1757; pg.
13. Gow (Complete Repository), Part
1, 1799; pg. 25. Kerr (Merry Melodies),
vol. 2; No. 317, pg. 35. MacDonald (The
Skye Collection), 1887; pg. 177. Stewart-Robertson
(The Athole Collection), 1884; pg.
134.
X:1
T:Lady Nelly Wemyss’s Reel (sic)
M:6/8
L:1/8
R:Jig
S:Bremner – Scots
Reels (1757)
Z:AK/Fiddler’s Companion
K:Amix
B | “tr”c2(e e)(f/^g/a) | cAc “tr”e2d | “tr”c2(e e)(e/f/=g) | BGB d2B | “tr”c2(e e)f^g |
a^gf edc | dfd cac | BGB d2 :: (f/^g/ | a)cA ecA | acA ef^g |
acA ecA | BGB d2(f/^g/ | a)cA ecA | a^gf edc | dfd cac | BGB d2 :|
LADY NELLY WEMYSS'S
REEL. AKA – “Lady Nellie Wemyss.” AKA and
see “Lady Wemyss.”
LADY NIVEN LUMSDEN OF ACHINDOIR'S STRATHSPEY. Scottish, Strathspey. E Flat Major.
Standard tuning. AAB. Composed by William Marshall
(1748-1833). Lady Lumsden was Harriet Christian, the eldest daughter of General
Alexander Leith-Hay of Rannes. She wed in 1821, marrying Sir Harry Lumsden of
Auchindoir and Clova (Moyra Cowie, The
Life and Times of William Marshall, 1999). Marshall, Fiddlecase Edition, 1978; 1822 Collection, pg. 22.
X:1
T:Lady Niven Lumsden of Achindoir’s
Strathspey
M:C
L:1/8
R:Strathspey
S:Marshall – 1822 Collection
Z:AK/Fiddler’s Companion
K:Eb
E2 B>G EBGE|C<F F>G
A/G/F/E/ E/D/C/B,/|e2 B>G EBGE|
~C>F E/D/C/B,/ [G,2E2] [G,2E2]:|
eeeg cfdB|eeeg BeGE|AcGB
CFDB,|~C>F E/D/C/B,/ [G,2E2] [G,2E2]|
eeeg cfdB|eeeg BeGE|A,cBG
CFDB,|~C>F E/D/C/B,/ [G,2E2] [G,2E2]||
LADY O'BRIEN'S REEL. AKA and see "Frieze
Kneebreeches," "Fuiseog
an tSleibhe," "The
Mountain Lark [4]," "The Gauger,"
"Father Henebry's Reel,"
"The Connacht Rangers,"
"O'Connell's Reel [1],"
"An Colamo(i)r Sugach."
Irish, Reel.
LADY O’BRIEN’S REEL [2].
AKA and see “The Honeymoon
(Reel) [2],” “Maid Who
Left the Country [1].” Irish, Reel. G Major. Standard tuning. AB. The
melody appears in Church of Ireland cleric James Goodman’s mid-19th
century music manuscripts. Goodman (1828-1896) was an uilleann piper, and an
Irish speaker who collected locally in County Cork and elsewhere in Munster. He
also obtained tunes from manuscripts and printed collections. Shields/Goodman (Tunes of the Munster Pipers), 1998; No.
96, pg. 41.
X:1
T:Lady O’Brien’s Reel [2]
M:C|
L:1/8
R:Reel
S:James Goodman manuscripts (mid-19th
century)
B:Hugh Shields – Tunes of the Munster Pipers, No. 96
(1998)
K:G
dc|BGGG DGGG|BGBd g2 dc|BGGG
DGGG|BGdB A2 dc|
BGGG DG G2|BGBd g2 ga|bgaf gfed|egdB
A2||
Bd|efed e2 dB|d2 ef g2 dc|BGGG
DGGG|BGdB A2 Bd|
e2 ef e2 dB|d2 ef g2 ga|bgaf
gfed|egdB A2||
LADY OF THE DESERT, THE. Irish, Air (3/4 time). G Major. Standard
tuning. AABBCDEFGHIJK. O'Neill (O’Neill’s
Irish Music), 1915; No. 47, pgs. 31‑32.
X:1
T:Lady of the Desert, The
M:3/4
L:1/8
R:Air
S:O’Neill’s Irish Music (1915)
Z:AK/Fiddler’s Companion
K:G
de/f/ | g2d2 g>a | f2 ed ef | g2
gb ag | f4 ed | e2 eg fe | d4 e/f/g | {g}fedcBA | G4 :|
|: G/A/B | d2d2 e/d/B/d/ | e2 d/B/G
G2 | g2g2 b/a/g | f4ed | e2e2e/d/B | d4B>d |
E2 dB A>G | G4 :| G/A/B | d2d2
e/d/B/d/ | B/d/e e/d/B/G/ G2 | g2g2b/a/g | f2f2ed |
e2e2e/d/c | d2d2Bd | B/d/e2 {e}dB
A>G | G6 || g>dgbag | fedefgd | gdgbag |
fefgfg | edefge | dBABde |
gedBA>G | G6 || {e}dcBcde | dcBcdG | gdgbag |
fefgfg | edefge | dBABde |
gedBA>G | G6 || G2G2 G/4F/2<E | {E}F2F3 F/4E/2>D |
{F}G2G2 G/4F/2<E | {E}F2F2
F/4E/2<D | {D}E2E2 E/4D/2<B, | D2D2B,D |
E2B,2 A,G, | G,4 || G,/A,/B, | D2D2
E/D/B,/D/ | B/D/E E/D/B,/G,/ G,2 | G2G2 B/A/G |
F2F2 F/E/D | E2E2E/D/B, | D2D2B,D |
B,/D/E E/D/ B, A,G, | G,6 || GAGFGE |
FGFEFD | GAGFGE | FGFEFD | EFEDEC |
DB,A,B,DE | GE DB, A,>G, | G,6 ||
D/C/B,/CDE | DCB,CDG, | GDGBAG |
FEFGFG | DCDFGE | DB,A,B,DE |
GEDB, A,>G | G,6 || G2g2g2 |
A2a2a2 | B2b2b2 | A2a2a2 | E2E2E/=D/B, | D2D2B,>D |
B,/D/E E/D/B, A,>G, | G,4 ||
G,/A,/B, | D6 | D6 | G2G2G/F/E | F2F2E>D | E2E2E/D/B, |
D2D2B,>D | B,/D/E DB, A,/>G, |
G,6 ||
LADY OF THE HOUSE (Maighstreas an Ti). Irish, Reel. Related in parts to "Bummer's Reel [1]," "The Cows Are A‑Milking,"
"Woman of the House [1]"
(Bean an Tighe ar Lar). Breathnach (CRÉ
II), 1971; No. 71. Green Linnet GLCD 1187, Cherish
the Ladies – “One and All: the Best of Cherish the Ladies” (1998).
LADY OF THE LAKE [1]
(Bean Uasal an Loca). AKA and see “Billy the Barber (Shaved His Father).” English, Irish; Single Jig. England,
Northumberland. G Major (most versions): A Major (Kerr). Standard tuning. ABB'
(Kerr): (Shields/Goodman): AABB' (Hall & Stafford, Kennedy, Raven). The
title (and tune) is at least as old as Church of Ireland cleric James Goodman’s
mid-19th century music manuscripts. Goodman (1828-1896) was an
uilleann piper, and an Irish speaker who collected locally in County Cork and
elsewhere in Munster. He also obtained tunes from manuscripts and printed
collections. The melody (and title) appears in English and Scottish
publications later in the 19th century. There is a country dance
also called Lady of the Lake, but this tune was not associated with it in New
England in the early 20th century (see version #5). In fact, there are several
unrelated tunes called “Lady of the Lake,” a situation which stems presumably
from association with the dance of the same name. Hall & Stafford (Charlton Memorial Tune Book), 1974; pg.
10. Kennedy (Fiddler’s Tune Book),
vol. 1, 1951; No. 95, pg. 47. Kerr (Merry
Melodies), vol. 3; No. 223, pg. 25. O'Neill (Dance Music of Ireland: 1001 Gems), 1986; No. 402, pg. 80. Raven
(English Country Dance Tunes), 1984;
pg. 113. Shields/Goodman (Tunes of the
Munster Pipers), 1998; No. 187, pg. 77. Stewart Robertson
(The Athole Collection), 1884;
X:1
T:Lady of the Lake [1]
M:6/8
L:1/8
R:Country Dance
B:Stewart-Robertson – The
Athole Collection (1884)
Z:AK/Fiddler’s Companion
K:G
c|BcA G2D|E2D G2c|BcA G2B|Add d2c|BcA G2D|
E2D G2c|BcA Bce|d2F G2:|A|:B>cB B2A|B2c def|
g2f e2d|dcB A2G|BcB B2A|B2c def|g2e a2g|fge dec:|
X:2
T:Lady of the Lake [1]
M:6/8
L:1/8
R:Single Jig
B:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 402
Z:AK/Fiddler’s Companion
K:G
A|B/c/BA G2D|E2D G2A|B/c/BA G2A|Bcd edc|
B/c/BA G2D|E2D G2A|B2d A2c|BGG G2:|
|:A|B3 B/c/BA|Bdd def|g2f e2d|dBG ABc|
B3
B/c/BA|Bdd def|g2e a2g|fdd d2:|
LADY OF THE LAKE [2]. AKA and see "Spitfire." Reel.
LADY OF THE LAKE [3]. AKA and see "Durang's Hornpipe."
LADY OF THE LAKE [4]. AKA and see "Cincinnati Hornpipe."
LADY OF THE LAKE [5]. AKA and see “Gypsy Hornpipe [4],” “Miss Johnson’s Hornpipe,” “Old Towser,” “Portsmouth Hornpipe,” American,
Reel. USA, New England. G Major. Standard tuning. AB (Silberberg): AA'BB'
(Phillips). The New England contra-dance Lady of the Lake is set to this
melody, although other tunes have also been used as vehicles for the steps.
Linscott (Folk Songs of Old New England,
1939) thought the dance itself was derived from the Weavers' Guild, although he
could find no specific citations regarding its origins. He notes, however, that
there is an old tune "Launcelot du Lake" attached to a ballad founded
on the romance of Sir Launcelot du Lake, and speculates it may be the dance and
tune originated from that source. Regarding the music itself, “Lady of the
Lake” is a wide-spread melody whose melodic material crops up often: the first
strain of the tune also appears in Ryan/Coles as “You
Bet Reel” and “Silver Cluster
Reel.” A Missouri title is “Gypsy Hornpipe.” See Bayard Hill Country
Tunes “Buttermilk and Cider”
and the first strain of his No. 35. See also Irish variants in O’Neill—“Off to California,” and “Whiskey You’re the Devil.” Gary
Stanton of Fredricksburg, Va., has sleuthed the dissemination of the tune in modern
old-time circles, finding that it is originally sourced to two unnamed
renderings (one as a schottische, one as a polka) in the key of G recorded and
transcribed from the playing of Glen Lyn, Va., fiddler Henry Reed. Alan Jabbour visited Reed in the 1960’s and
researched much of his repertoire, teaching it to others. Bertram Levy picked
up the tune, still unnamed, from Jabbour when they both lived in Durham, N.C.
in the 1960’s and took it with him when he moved to Palo Alto in 1968, teaching
it to Marty Somberg around 1970. Somberg was Seattle accordion player Laurie
Andres source, who in turn taught it to New Hampshire fiddler Rodney Miller
(see recording cited below). Stanton wrote to Jabbour in the course of his
research on the tune, and received the reply:
***
Your account of the likely evolution of the
"Lady of the Lake" tune
sounds right. I didn't know about it till I was at the Lady of the Lake
dance camp in northern Idaho, and they asked me (Tommy Thompson was with
me, but not Bertram) to play their theme tune. I responded with a
different "Lady of the Lake" (in A, like Henry Reed's "Ducks on
the
Pond") and they looked quite crestfallen. Then Tommy and I hit on
the
unnamed Henry Reed tune in the course of just playing all our old
repertory, and they exclaimed, "That's it!" The year, by the
way, was
about 1990 or 1991… (posted to
Fiddle-L, 1/07/2004)
***
Jabbour suspects the name “Lady of
the Lake” became attached to the tune either through confusion with “Lady of
the Lake [6],” also played in Durham in the 1960’s, or by association as a
vehicle for the dance of the same name, as often occurs. Vermont fiddler Pete
Sutherland learned the tune from Laurie Andres and also had a part in
popularizing the tune, albeit played with a Southern inflection.. Paul Mitchell
notes that the melody is the third change of “Ticknor’s Quadrille,” recorded by
the Henry Ford Orchestra in the 1926, named for the grandfather of Clayton Perry (the fiddler in the group),
whose name was George Ticknor, or Ashtabula, Ohio. Sources for notated versions: Donna Hebert (Amherst, Mass.)
[Reiner & Anick]; Bill Christopherson (Conn.) [Phillips]; Cathie
Whitesides [Silberberg]. Phillips (Traditional American Fiddle Tunes), vol.
1, 1994; pg. 134. Reiner & Anick (Old
Time Fiddling Across America), 1989; pg. 50. Silberberg (Tunes I Learned
at Tractor Tavern), 2002; pg. 87. Songer (Portland Collection), 1997; pg. 123. Alcazar
Dance Series FR 204, Rodney Miller ‑ "New England Chestnuts 2"
(1981. Learned from accordian player Laurie Andres). Smithsonian Folkways SFW
CD 40126, Northern Spy – “Choose Your Partners!: Contra Dance & Square
Dance Music of New Hampshire” (1999). Mellie Dunham.
See also listing at: Jane Keefer’s Folk
Music Index: An Index to Recorded Sources |
LADY OF THE LAKE [6]. AKA and see "Ducks in the Pond." Old-Time,
Breakdown. USA, Virginia. D Major/A Mixolydian. Standard tuning. AABB
(Phillips, Songer, Wilkinson): AA’B (Silberberg).The melody appears under this
title in George P. Knauff's Virginia
Reels, volume III (Baltimore, 1839) and was played by J.H. Chisholm in the
Wilkinson Manuscript collection of Virginia
Tunes. This is a melody that is known as an old Virginia tune, a distinct
and unusual version of which was collected from Parley Parsons of Galax, Va.,
by Paul Brown, Alice Gerard and Andy Cahan. Hillsville, Virginia, fiddler Norman
Edwards also played a version. Alan Jabbour learned the tune from Joe Anglin,
in Martinsburg, Virginia, in the 1960’s, and consider’s Henry Reed’s “Ducks on
the Pond” a variant. In fact, many of the old-time versions span wide degrees
of variations, and it was fairly common among fiddlers in the Upland South.
John Hartford points out that Sir Walter Scott’s poem “Lady of the Lake” was
popular on the American frontier. Tonality of this tune varies: different
versions emphasize either the A mixolydian or D major chordal underpinning for
the tune. Sources for notated versions: Pete Sutherland (Vt.) [Phillips]; Greg
Canote (Seattle) [Silberberg]. Phillips (Traditional
American Fiddle Tunes), vol. 1, 1994; pg. 135. Silberberg (Tunes I
Learned at Tractor Tavern), 2002; pg. 87 (two versions). Songer (Portland Collection), 1997; pg. 122.
Wilkinson (Southern Folklore Quarterly),
vi, I, pg. 10. Epact Music, Pete Sutherland - “Eight
Miles from Town” (1982). Flying Fish 415, Bruce Molsky – “A. Robic and the
Exertions” (learned from Norman Edwards). Rounder CD 0392, John Hartford –
“Wild Hog in the Red Brush and a Bunch of Others You Might Not Have Heard”
(1996. Learned from J. H. Chisholm in the Wilkinson Manuscript collection of
Virginia Tunes). Hart & Blech (Parley Parson’s version).
X:1
T:Lady of the Lake [6]
L:1/8
M:2/2
S:James H. “Uncle Jim” Chisholm,
Greenwood, Albermarle County, Va.
K:Ador
A2B2c2d2|egf>a g2 (d>c)|B2GB
d2G2|B2GB d2G2|A2B2c2d2|
edfa g2f2|gage
d2B2|(A8||A2)B2c2d2|egf>a g2 d>c|B2ge d2G2|
BAGB dB
G2|AGBd cBcd|edfa g2f2|gage d2B2|A8||
|:a2e2 a2 ab|a2e2 e2ef|g2gg
(g//a//g)fga|b2g2d2fg|
a2ab a2ba|(g//a//g)fga b2a2|gbge
d2B2|A8:||
X:2
T:Lady of the Lake [6]
M:2/4
L:1/8
R:reel
B:George P. Knauff – Virginia
Reels, vol. III (Baltimore, 1839)
Z:AK/Fiddler’s Companion
K:Ador
Ae
(e/^f/e/d/)|e^f g>e|dG BG/B/|(dG) G>B|Ae (e/^f/e/d/)|
e^f g>a|(b>a) ge/d/|BA Az::ae
(a/b/c’/b/)|ae e>^f|
gd (g/a/b/a/)|gd dz|g>a
(b/a/g/^f/)|(g/^f/g/a/) b>a|ge ed/B/|BA Az:||
LADY OF THE LAKE [7]. Old-Time, Breakdown. USA; Missouri,
Kentucky. D Major (Phillips): A Mixolydian (Molsky). Standard or ADae (Molsky)
tunings. AA'BB'. Fairly widely disseminated. This is perhaps the version
referenced by John Hartford as having been played for years by old time bands
on the Grand Old Opry, and known around Middle Tennessee. Eastern Kentucky
fiddler Ed Haley
(Ashland, Ky.) played a tune by this title; perhaps this one. Massachusetts
fiddler Donna Hebert [Fiddle-L 3/29/06] claims that “Lady of the Lake [7]” was
also in the repertoire of Ottawa Valley, Ontario, fiddler Graham Townsend.
Closely related to “Lady of the Lake [6].” Sources for notated versions: Art
Stamper and Cyril Stinnett (Mo.) [Phillips]; Bruce Molsky [Lamancusa]; Lonnie
Robertson (1908-1981, Springfield, Mo.) [Beisswenger & McCann]. Beisswenger
& McCann (Ozark Fiddle Music), 2008; pg. 118. Phillips (Traditional American Fiddle Tunes), vol.
1, 1994; pgs. 134 & 135 (two closely related variants). Caney Mountain CLP-233, Lonnie Robertson – “Fiddle Tunes –
Ozark Style, vol. 2” (1979). County Cd2712, Art Stamper (Ky.) - "The Lost
Fiddler" (c. 1982). County 727, John Ashby (et al) – “Old Virginia
Fiddling.”
See also listing at: Jane Keefer’s Folk
Music Index: An Index to Recorded Sources |
X:1
T:Lady of the Lake [7]
M:4/4
L:1/8
Q:180
S:John Hartford's "Wild Hog in
the Redbrush"
Z:transcribed by Llarry Brandon
K:D
|"D"A2 B2 =c2 d2|egfa g2.
d=c|"C"BAGA B=c d2| B=cBc dcBc| !
"D" ABAB =cBcd|egfa
gfef|"C" gbge d=cBc|"D"AF D6| !
"D"ABAB =c2 cd|egfa g2
d=c|"C" BAGA B=c d2|B=cBc d=cBc| !
"D"ABAB =cBcd| egfa
gfef|"C"gbge d=cBc|"D"AF D4 eg || !
"D"a4 a4 |abag e2
ef|"C"gfge dega| bagf e2 eg|
!
"D"a2 a2 a2 a2| abag
edef|"C" gedg edBd|"D" AF D4 eg| !
"D"a2 a2 a4|abag e2
ef"C"|gfga gede|bagf e2 eg| !
"D"a2 a2 a2 a2|abag
edef|"C"gedg edBd|"D" AF D6|| !
X:2
T:Lady of the Lake [7]
M:C
L:1/8
R:Reel
S:Bruce Molsky
N:ABC’s from a transcription by John
Lamancusa, by permission http://www.mne.psu.edu/lamancusa/tunes.htm
Z:AK/Fiddler’s Companion
K:Amix
e/g/ | “A”ae/a/ ab/a/ (a/b/)(a/g/) ed
| “G”(g/f/)e ga g(e e)e/g/ | “A”ae/a/ ab/a/ (a/b/)(a/g/) ed |1
“G”(g/f/)e “D”dB A>(B
“A”A)e/g/:|2 “G”(g/f/)e “D”dB A>(B “A”A)(A ||
|: A)cAc ee/f/ g(3A/B/c/ | d)BGG
B/A/B/(G/ A)(A | “A”A/)(B/c/B/) Ac e(e/f/ g)(g/a/ |1
“G”g/)(f/e) “D”dB A>(B “A”A)(A :|2
“G”g/(f/e) “D”dB “A”A>(B A2 ||
LADY OF THE LAKE [8]. American, Jig. D Major. Standard
tuning. One part. Collected from dances in the Woodland Valley, Catskill
Mountains, New York. Cazden (Dances from
Woodland), 1945; pg. 24.
X:1
T:Lady of the Lake [8]
M:6/8
L:1/8
R:Jig
K:D
F2G|A2^G A2B|A2G F2G|A2^G A2B|A2z
E2F|G2F G2A|G2F E2F|G2F G2A|
GFG =c2B|A3 d3|A3 F3|G2F G2A|B3
z3|A2B c2B|A2B c2B|ABA GFE|D2F A2A|
ABA F2d|ABA F2A|GAG E2F|GFG =c2B|ABA
F2d|BcB G2B|A2A ABc d2z:|
LADY OF THE LAKE [9]. American, Hornpipe. G Major.
Standard tuning. AABB. Howe (1000 Jigs
and Reels), c. 1867; pg. 59.
X:1
T:Lady of the Lake [9]
M:4/4
L:1/8
R:Hornpipe
S:Howe – 1000 Jigs and Reels (c. 1867)
Z:AK/Fiddler’s Companion
K:G
BdBG BdBG | cBAG FA A2 | BdBG cBAG | FDEF G2G2 :|
|:
d2 dB e3e | c2cA d3d | BdBG cBAG | FDEF G2G2 :|
LADY ON A STEAMBOAT.
See “Ladies on the/a
Steamboat.”
LADY ON THE BOAT. New England, Jig. D Major. Standard tuning. AABB. Miller & Perron (New England Fiddlers Repertoire), 1983;
No. 38.
X:1
T:Lady on the Boat
L:1/8
M:6/8
K:D
dfA d2A|dfA d2f|A2f fed|efe ecA|dfA d2A|dfA d2f|a2f efe|d3 d2A:|/
|:f3
gfg|a3 f2g|a2f fed|efe ecA|f3 gfg|a3 f2g|agf gec|ded d3:|
LADY ON THE GREEN. AKA and see "Hell on
the Wabash [1]," "Hell
on the Potomac [1]," "Hell on the Rappahannock," "Wake Up Susan [1]," "Picnic Romp," "The Night We Paid the Rent,"
"Jack of Diamonds [1],"
"The Cottage By the Sea."
Old‑Time, Breakdown. USA, Nebraska. A Major. Standard tuning. AABB.
Source for notated version: Bob Walters (Burt County, Nebraska) [Christeson].
R.P. Christeson (Old Time Fiddler’s
Repertory, vol. 1), 1973; pg. 4.
LADY ON THE ISLAND (An Bhean Uasal ar an Oileán). AKA - "Lady of the
Island." Irish, Reel. D Major. Standard tuning. AB (Breathnach, Flaherty,
Miller & Perron, Mulvihill, Tubridy): AAB (Brody, O'Neill, Taylor). Ciaran
Carson, in his book Last Night’s Fun
(1996), eloquently describes flute player Seamus Tansey’s playing of this tune,
then comments: “’The Lady’ is very rarely used as a first tune, because it’s so
handy for going into from another tune, or for tacking on to the end of a set
if you can think of nothing else. It’s a kind of floating tune which gets
promiscuously attached to other tunes; come to think of it, it’s a variant of ‘Rolling on the Ryegrass’”. It
has been suggested, without any evidence whatsoever, that the title refers to
the Statue of Liberty, in New York Harbor, built in 1884. Sources for notated
versions: Seán Keane with the Chieftains (Ireland) [Brody, Miller &
Perron]; flutist Eamonn de Stabaltun (Ireland) [Breathnach]; fiddler Jimmy
Murphy (b. 1938, Meelick, near Swinford, County Sligo) [Flaherty]; fiddler
Brendan Mulvihill (Baltimore, Md.) [Mulvihill]. Breathnach (CRÉ I), 1963; No. 188, pg. 73. Brody (Fiddler’s Fakebook), 1983; pg. 162.
Flaherty (Trip to Sligo), 1990; pg.
41. Miller & Perron (Irish
Traditional Fiddle Music), 1977; vol. 1, No. 43. Miller & Perron (Irish Traditional Fiddle Music), 2nd
Edition, 2006; pg. 82. Mulvihill (1st
Collection), 1986; No. 205, pg. 55. O'Neill (O’Neill’s Irish Music), 1915/1987; No. 303, pg. 151. Taylor (Crossroads Dance), 1992; No. 21, pg. 16.
Tubridy (Irish Traditional Music, vol. 1),
1999; pg. 18. Coleman Music Center CHC 009, Dick
Brennan & Tommy Hunt – “The Coleman Archive, vol. 2: The Home Place” (2003.
Reissue recording by various artists. The cut was originally recorded in
Ireland c. 1932). Green Linnet SIF 1018, Joe Heaney (with Gave O'Sullivan) -
"Joe & the Gabe." Island 9379, Chieftains‑ "Chieftains
3" (1971). Shanachie 79006, Mary Bergin‑ "Feadoga Stain/Traditional
Irish Music." Shanachie 79023, "Chieftains 3" (1971/1982). Tara
3001, Planxty - "After the Break." Kilfenora Ceili Band - "Irish
Traditional Fiddle Music." Shaskeen ‑ "My Love is in
America." Dale Russ - "Jody's Heaven." Paddy O'Brien (Co.
Offaly) - "The Paddy O'Brien Collection." Various artists - "The
Pride of Erin."
See also listings at: Jane Keefer’s Folk Music Index: An
Index to Recorded Sources Alan Ng’s Irishtune.info |
X:1
T:Lady on the Island
M:C|
L:1/8
R:Reel
K:D
dB|BAFB AFEF|D2 FA BAdB|BAFB
AFAB|defd efdB|BAFB AFEF|D2 FA BAdB|
BAFB AFAB|defd e2||A/B/c|d2 fd
efge|afdf eB B2|defd efge|afdf e2 A/B/c|
d2 fd efge|afdf eB B2|defg afbf|afdf
e2||
LADY ON THE LAKE (Spéirbhean an Locha). Irish, Reel. E Minor. Standard. AB.
Breathnach (1996) states another name for the tune is “The Speedy Roasted
Fadge,” where fadge means small
roasted cakes made of potato. Source for notated version: fiddler William Jones
(County Fermanagh), via the William Donnelly (County Tyrone and Belfast)
collection [Breathnach]. Breathnach (CRE
IV), 1996; No. 125, pg. 63.
LADY ON THE RAILROAD. AKA and see "Rolling
on the Ryegrass," "The
Ladies Tight Dress," "The Ladies Top Dress," "The Brown Red Girl," "Love among the Roses," "The Kilfinane Reel," "The Listowel Lasses," "Boil the Kettle Early,"
"Kitty
Got a Clinking (coming from the races) [1]," "Punch for the Ladies [2],"
"The Telegraph," "Old Molly Ahern," "Maureen Playboy," "The Piper's Lass," "The Rathkeale Hunt," "The Shannon Breeze [1]," "What the Devil ails you [2].”
Irish, Reel. D Major. Standard. AABB. Source for notated version: “As played by
Jimmy Norton, the Boss Jig Player,” states Howe. Norton was presumably a
band-leader or principal instrumentalist in the Boston, Massachusetts, area in
the mid-19th century. Howe (1000 Jigs and Reels), c.
1867; pg. 49.
T:Lady on the Railroad
L:1/8
R:Reel
S:Howe – 1000 Jigs and Reels (c. 1867)
Z:AK/Fiddler’s Companion
K:D
A/G/ |: F(A/F/) D/F/A/F/ | G(B/G/) d/G/B/G/ | F(A/F/) D/F/A/d/ | B/G/F/G/ ED |
F(A/F/) D/F/A/F/ | G(B/G/) d/G/B/G/ | FG/F/ D/F/A/d/ | B/G/F/G/ ED :|
|: A/c/d/e/ f(f/a/) | g/e/f/d/ e/d/B/d/ | A/c/d/e/ f/d/f/g/ | b/f/d/f/ e2 |
A/c/d/e/
f(f/a/) | g/e/f/d/ e/d/B/d/ | A/c/d/e/ f/e/f/g/ | a/f/d/f/ ed :|
LADY
OWEN'S DELIGHT. Welsh, Air. G Major. Standard
tuning. AAB. "The pedigree of the Owen family weaves intricately back and
traces itself in a family tradition to Canaanite lords of Shechem, the seed of
the god Baal. (Beli, the Celtic god, was a form of Baal.) It is curious the number
of links that can be found between ancient Britain and the shere of the Old
Testament. The tune here is probably late eighteenth century, a harper's air
which survived as a tune for songs (Williamson, 1976). The first Welsh
publications of the melody appear in the works of Blind Parry, where it is
included in his first collection of twenty-four ‘Arias’ (an un-named
publication), and in Twelve Airs for one
and two Guitars (c. 1760-65). A later edition of the latter work (1781)
gives the title as “Difyswch Arglwyddes Owne’s.” Williamson (English, Welsh, Scottish and Irish Fiddle
Tunes), 1976; pg. 42.
X:1
T:Lady
Owen’s Delight
M:3/8
L:1/8
R:Air
S:Parry – Twelve Airs for one and two Guitars c.
1760-65
Z:AK/Fiddler’s
Companion
K:C
g/f/|e>fg|ABc|dec|B2g|ecf|dBe|cdB|c2:|
|:g/f/|efg|a2g|adc|B2
g/f/|efg|adg|c’a^f|g>ag/f/|
efg|a/b/c’g|a/g/f/e/d/c/|Bdg/f/|ecf/e/|dBe/d/|cdB|c2:|
LADY PADGET’S FANCY. Scottish, Reel or Highland. G Major. Standard tuning. AABB. Kennedy (Traditional Dance Music of Britain and
Ireland: Reels and Rants), 1997; No. 98, pg. 25.
LADY PEEL. Scottish, Strathspey ("Moderately Slow"). E Flat Major.
Standard tuning. 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.
X:1
T:Lady Peel
M:C
L:1/8
R:Strathspey
S:Marshall – 1845 Collection
Z:AK/Fiddler’s Companion
K:Eb
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 PEGGIE STEWART'S
MINUET. Scottish, Minuet. The melody
appears in the Gillespie Manuscript of
Perth (1768).
LADY PERT’S REEL. See “Captain White(‘s
Jig) [1],” “Rockeby.”
LADY RACHAEL RUSSELL. Scottish, Strathspey. F Major. Standard tuning. 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.
X:1
T:Lady Rachel Russell
M:C
L:1/8
R:Strathspey
S:Marshall – 1845 Collection
Z:AK/Fiddler’s Companion
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 RADCLIFFE. Scottish, Reel. F Major. Standard tuning. AAB. Composed by Alexander
Walker. Walker (A Collection of
Strathspeys, Reels, Marches, &c), 1866; No. 148, pg. 50.
LADY RAMSEY [1]. AKA and see "Lady Mary
Ramsay('s Strathspey)."
LADY RAMSEY'S REEL [2]. AKA and see "Miss
Ramsay [2]."
LADY ROTHEMAY'S LILT. Scottish, Air (4/4 time). G Major. Standard tuning. AAB. The air
appears in the Skene Manuscript (a
lute MS, c. 1615‑1620) and Dauney's Ancient
Scottish Melodies (1838). Emmerson (Rantin’
Pipe and Tremblin’ String), 1971; No. 12, pg. 117.
LADY ROTHES MINUET. AKA and see "Lord Mark Kers Minuet." Scottish, Minuet. The
air appears in the Gillespie Manuscript
of Perth (1768).
LADY ROTHESSE'S NEW
(REEL). Scottish, Reel. Directions for this
reel were written down in 1752 by John McGill, dancing master in Girvan
(Ayrshire), for his dance students.
LADY ROUND THE LADY. AKA and see "Swannee River."
LADY SALISBURY'S WHIM. English, Jig. North‑West
England. G Major. Standard tuning. AABB. Knowles (Northern Frisk), 1988; No. 103.
LADY SHAFTSBURY('S
STRATHSPEY). AKA – “Lady Shaftsbury Reel.” AKA
and see "Greenend Park," "Kelly's Goat." Scottish, Slow
Strathspey. E Flat Major (Gow, Howe, MacDonald, Stewart-Robertson): B Flat
Major (Wilson): A Major (Kennedy). Standard tuning. AB (Surenne): AAB (most
versions). Composed by Nathaniel Gow
although first published by Malcolm
McDonald, reprinted in the latter's Second Collection of 1797 under
the title "Greenend Park." McDonald was the bass player in Gow's band
at the time and probably heard him playing the tune, perhaps not realizing it
was composed by him. John Glen (1895), however, believes it was Gow who stole
the tune. “Lady Shaftsbury’s Strathspey” appears, set in the key of D major, in
the music manuscript book of John Rook (1840, pg. 196). The melody surfaced in
America as a fife air called "Kelly's Goat" (Bayard, 1981; No. 148,
pg. 82‑83), but was included under the “Lady Shaftsbury” title in the
music copybook manuscript of William Patten or around 1800 (probably from
Philadelphia). Howe prints the tune set as a reel. Carlin (The Gow Collection), 1986; No. 105. Gow (Third Collection of Niel Gow’s Reels), 1792; pg. 15. Howe (1000 Jigs and Reels), c. 1867; pg. 146.
Kennedy (Traditional Dance Music of
Britain and Ireland: Reels and Rants), 1997; No. 99, pg. 25. MacDonald (The Skye Collection), 1887; pg. 131. Stewart-Robertson
(The Athole Collection), 1884; pg.
271. Surenne (Dance Music of Scotland),
1852; pgs. 14-15. Wilson (Companion to
the Ballroom), 1815; pg. 61 (appears as “Old Scotch”).
X:1
T:Lady Shaftesbury
M:C
L:1/8
R:Strathspey
B:Stewart-Robertson – The
Athole Collection (1884)
Z:AK/Fiddler’s Companion
K:E_
G/F/|E<B, G,>B, E>F G<c|B<G F>E D<F FG/F/|E<B, G,>B, E>F G<c| B<G F>G E3:|
B|e>dc>B e2 E>c|B>GF>E D<F F>B|e>dc>B e2 E>c|B<G F>G E3B|
e>dc>B B/=A/B/c/ d/c/d/e/|f<F F>G
F>GB>c|B>c B<G F>E F<G| E/F/G/F/ E>B, E3||
X:2
T:Lady
Shaftsbury’s Strathspey
M:2/4
L:1/8
R:Strathspey
C:Nathiel
Gow
B:Gow – 3rd Collection of Niel Gow’s
Reels, 3rd ed., pg. 15
(orig. 1792)
Z:AK/Fiddler’s Companion
K:Eb
G/F/|EB,G,B,|”tr”E>FGc|BG”tr”F>E|DFFG/F/|.D.B,.G,.B,|”tr”E>FGc|BG”tr”F>G|E3:||
B|(ed).c.B|{d}e2 E>c|BG”tr”F>E|DFFB|(ed).c.B|{d}e2 E>c|BG”tr”F>G|E3 B|
(ed)cB|”tr”(B/=A/B/).c/ “tr”(d/c/d/).e/|fFFF|”tr”F>GAc|”tr”B>cBG|{G}”tr”FEFG|E/(F/G/)F/ EB,|E3||
LADY SHEARBROOK. Irish, Air or Country Dance Tune (2/4 time). B Flat Major. Standard
tuning. AB. Stanford/Petrie (Complete
Collection), 1905; No. 715, pg. 179.
X:1
T:Lady Shearbrook
M:2/4
L:1/8
S:Stanford/Petrie (1905), No. 715
Z:AK/Fiddler’s Companion
K:Bb
B/c/ | dd e/d/c/B/ | A>B cd/e/ |
d/B/c/d/ BB | B3 B/c/ | dd e/d/c/B/ |
A>B cd/e/ | d/B/c/d/ BB | B3 ||
d/e/ | ff g/f/e/d/ | e>c f/e/d/c/ |
d>B c/B/A/G/ | A F3 B/c/ | dd
e/d/c/B/ | A>B cd/e/ | d/B/c/d/ BB | B3 ||
LADY SHIRE’S FAVOURITE. AKA and see “Best in the Bag,” “The Happy Mistake,” “The King,” “King of Jigs,” “Miss/Mrs. Monroe’s Jig,” “Mrs. Spens Monroe.” Irish, Scottish; Jig.
G Major. Standard tuning. AABB. Kennedy (Jigs & Quicksteps, Trips
& Humours), 1997; No. 97, pg. 24.
LADY SINCLERS REEL. Scottish, Reel. The melody appears in the Gillespie Manuscript of Perth, 1768.
LADY SOPHIE HOPE'S
MINUET. AKA and see "Lady Binnie's Minuet."
Scottish, Minuet. Composed by Robert Mackintosh, c. 1771. In 1779
the tune was renamed "Lady Binnie's Minuet" when Ms. Sohie Hope
married a peer. The name change helped inform the public of the match the young
woman made, and helped keep her name in the public eye.
LADY SOUTH’S REEL. See note for “The Baltimore Girl.”
LADY SPELLOR. English, Country Dance Tune (6/8 time). D Major. Standard tuning. One
part. The melody was published by Playford in his English Dancing Master (1651). Raven (English Country Dance Tunes), 1984; pg. 39 (a facsimile copy of the
Playford original). Sharp (Country Dance
Tunes), 1994; pg. 34.
X:1
T:Lady Spellor
M:6/8
L:1/8
S:Sharp – Country Dance Tunes (1909)
Z:AK/Fiddler’s Companion
K:D
(d | f>ga f>ed | e2c A2) (d |
f>ga f>ed | e3) e2(e |
f>ga f>ed | e2c A>G)(F |
GAB AB>c | d3) d2 :|
LADY SPENCER
CHICHESTER. AKA and see "Lord Spencer Chichester."
Scottish, Strathspey. F Major. Standard tuning. AABB'. Composed by Nathaniel Gow
(1763-1831). Kerr (Merry Melodies), vol. 2; No. 199, pg. 22. Stewart-Robertson
(The Athole Collection), 1884; pg.
229.
X:1
T:Lady Spencer Chichester
M:C
L:1/8
R:Strathspey
B:Stewart-Robertson – The
Athole Collection (1884)
Z:AK/Fiddler’s Companion
K:F
C|~F>GF>C D<F F2|F>GA>C D<G G2|~F>GA>c d>fc>f|c>AB>G A<FF:|
c|f>gf>c d<f ~f2|f/e/f/g/ f>c d<g g2|f>gf>c d<fc<f|c<AB>G A<F F>c|
f/e//f/g/
f>cd>f f2|f/e/f/g/ a>cd>g g2|f>ad>f c>dA>f|c>AG>c
A>FF||
LADY SPENCE'S REEL. Shetland, Reel. Culburnie Records CUL 121D,
Alasdair Fraser & Natalie Haas – “Fire and Grace” (2004).
LADY ST. JOHN. Irish, Planxty (3/4 time). G Major.
Standard tuning. AB. The tune is attributed to blind Irish harper Turlough
O'Carolan (1670-1738), thought Donal O’Sullivan, in his definitive work on the
bard could find no incontrovertible evidence of its origin. Complete Collection of Carolan's Irish Tunes,
1984; No. 158, pg. 107.
LADY SUSAN GORDON'S
REEL. Scottish, Reel. B Flat Major.
Standard tuning. AAB. Composed by William Marshall
(1748-1833), first appearing in print in his 1781 collection. Lady Susan
(1774-1828) was the third of the beautiful daughters of the 4th Duke
and Duchess of Gordon, who married William Montague, 5th Duke of
Manchester, in 1793. Moyra Cowie (1999) records that Susan was a “wayward girl”
and later, after she had become the Duchess of Manchester, ran off with one of
her footman (according to a sharp-tongued Miss Grant of Rothiemurchus). She
left her husband the Duke in 1803, after bearing a number of children, and her
conduct was described years later by Lady Jerningham in 1813 as having been
“most notoriously bad.” Montague had financial difficulties, fairing poorly,
and finally secured an appointment as Governor of Jamaica, a post held for some
twenty years, during which he prepared the colony for the emancipation of
slaves, and dealt with the aftermath of hurricanes and a disastrous fire in
Port Royal. Despite the approbation of her aristocratic peers, other portraits
of Lady Susan are rather sympathetic (see Bulloch & Henderson’s Scottish
Notes and Queries, vol. XII, no. 3, Sept., 1898). She is described by one
who knew her as “one of the most vivacious and kind-hearted girls.” Arthur
Young, the agriculturalist and friend of the Duke and Duchess of Manchester,
fairly rhapsodised her:
***
The duchess pleases me as much or
more than any other woman I have met these
many years. Her character in every
worldly respect is most amiable. There is a native
ease, simplicity and naiveté of
character in her which delights me; and when I consider
the life of the Duchess of Gordon,
her mother the great patroness of every dissipation,
retired life, and is quite content
on a fortune very moderate for the rank of her husband.
She gave me her whole history, from
going one summer for weeks to drink goats’ whey
on the mountains many miles beyond
Gordon Castle, and running up and down the hills
barefooted, driving down the goats
and milking them, and being delighted with the place
and the life, though no human being
within many miles except the family and an old woman
of the solitary house. This was the
case with all of the girls. She never went to school, and
laid in a fine stock of health, and
with it a sweetness of temper and simplicity of character
which, joined with an excellent
understanding, contributed so much to form her as she is at
present, calculated to be a blessing
to her husband.
***
Young thought her happy in her
marriage, and in this he was mistaken. However the sketch in Scottish Notes
indicates only that she was unhappy and separated from the Duke, without even
hinting at anything so scandalous as a dalliance with a footman, which may have
been a bit of unfortunate slander. Still, Lady Susan’s two sons were sent away
to Eton, and her six daughters were raised in the home Susan’s mother-in-law,
the Dowager Duchess of Manchester, evidencing a family rift of some sort.
Susan’s eldest daughter, Lady Jane Montagu, managed to spend considerable time
with her other grandmother, Jane Maxwell, the Duchess of Gordon, “and used to
dance the Ghillie Callum and Shean Trews at the impromptu balls that her
grandmother used to get up at [her residence of ] Kinrara.” Unfortunately Jane
died young, of consumption. Lady Susan herself died in 1828 at Bedfont Lodge,
Middlesex, aged 54. She was interred at Kimbolton, attended by a son and
son-in-law. Her portrait in pastel, by Sir Thomas Lawrence, hung in Kimbolton
Castle (Cambridgeshire) as long as it was in the Montagu family (from 1615 to
1951, when it was sold to a school).
***
Cranford (Jerry Holland: The
Second Collection), 2000; No. 48, pg. 20. 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.
X:1
T:Lady Susan Gordon
M:C|
L:1/8
R:Reel
B:Stewart-Robertson – The
Athole Collection (1884)
Z:AK/Fiddler’s Companion
K:Bb
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||
LADY SUSAN HARRIET KER. Scottish, Reel. B Flat Major.
Standard tuning. AB. Surenne (Dance Music
of Scotland), 1852; pg. 124.
X:1
T:Lady Susan Harriet Ker
M:C
L:1/8
R:Reel
S:Surenne – Dance Music of Scotland, pg. 124
(1852)
Z:AK/Fiddler’s Companion
K:Bb
d | G3B FGBd | egfd {d}cBcd | G3B
FGBd | egfd {d}c2 Bd | G3B FGBd |
egfd {d}cBcd | G3B FGBd | egfd
{d}c2B || B | FBDB EBFB | GBEc AFFB |
FBDB EBFB | GBAe dBBf | dBdB eBfB |
gBcB AcfA | G3B FGBd | egfd {d}c2 B ||
LADY SUSAN
MONTGOMERY'S HORNPIPE. AKA and see “Jock and Tam,” “Punchanello(’s Hornpipe),” “Rusty Gulley [2],” “Three Case Knives,” “Three Sharp Knives,” “Three Rusty Swords.” Scottish,
Country Dance Tune (3/2 time). This melody, in the old hornpipe metre, appears
in the Drummond Castle Manuscript (in
the possession of the Earl of Ancaster at Drummond Castle), inscribed "A
Collection of Country Dances written for the use of his Grace the Duke of Perth
by Dav. Young, 1734."
LADY SUSAN STEWART’S. Scottish, Strathspey. G Major.
Standard tuning. AAB. The melody appears in the 2nd Collection of Malcolm
MacDonald of Dunkeld, who dedicated his volume to the Earl of Breadalbane.
MacDonald (A Second Collection of
Strathspey Reels), 1789; pg. 13.
X:1
T:Lady Susan Stewart’s
M:C
L:1/8
R:Strathspey
S:MacDonald – 2nd Collection of Strathspey Reels (1789)
Z:AK/Fiddler’s Companion
K:G
B | GDDE G>AGB | cA {c}B{A}G EAAB
| GDDE G>AGg | dB {c}BA/G/ DGG :|
B/c/ | “tr”d>edB “tr”g>agB |
cA (c/B/)A/G/ EAAB/c/ | “tr”d>edB “tr”g>agB |
cA (c/B/)A/G/ DGGB/c/ | d>edB
caBG | cA (c/B/)A/G/ EAAB | “tr”G>AGB, D>EDg | dB (c/B/)A/G/ DGG ||
LADY SUTHERLAND. Scottish, Reel. B Flat Major. Standard tuning. AAB. Honeyman (Strathspey, Reel and Hornpipe Tutor),
1898; pg. 26.
X:1
T:Lady Sutherland
M:C|
L:1/8
R:Reel
B:Honeyman – Strathspey, Reel and
Hornpipe Tutor (1898)
Z:AK/Fiddler’s Companion
K:Bb
d|{Bc}B2 (FB) GBFB|EBDB
C(c{d}cd)|{Bc}B2 (FB) ggfe|(df)ce (dB) B:||f|
(bf)df (eg)ce|(df)Bd (cF)Fa|(bf)df
(eg)ce|(df)ce (dB) Bf|
(bf)df (eg)ce|(df)Bd
(cF)Ff|{a}(gf)ga (bg)fe|(df)ce (dB) B||
LADY TEMPLETON'S. American, Clog. F Major. Standard tuning. ABCC. Cole (1000 Fiddle Tunes), 1940; pg 117. Ryan’s Mammoth Collection, 1884; pg.
156. Great Meadow Music GMM 2002, Rodney Miller &
David Surette – “New Leaf” (2000).
X:1
T:Lady Templeton’s
M:C|
L:1/8
R:Clog
S:Ryan’s Mammoth Collection (1883)
Z:AK/Fiddler’s Companion
K:F
(C>.B,) | A,>CF>A
c>fa>A, | B,>DF>B d>fb>d | c>fa>c =B>dg>f |
e>gf>d c2 C>B, |
A,>CF>A c>fa>A, |
B,>DF>B d>fb>d | (3cag (3fed (3cdc (3BAG | F2a2f2 e>f ||
g>af>d =B>GA>F |
E>Gc>e “tr”g4 | {^f/g/}a>^ga>=g f>dA>=B | c>d=B>d
c>dc>_B |
A>^ce>g c>eg>b |
a>de>f a>gf>d | c>=Ba>g f>dA>B | c>d_B>G
E>CD>B, |
A,>CF>A c>fa>A, |
B,>DF>B d>fb>d | c>fa>c =B>dg>f | e>gf>d c2
C>B, |
A,>CF>A c>fa>A, |
B,>DF>B d>fb>d | (3cag (3fed (3cdc (3BAG | F2A2F2 ||
|: (3CDE | F>cA>F D>BG>E
| F>GA>B c>de>f | g>fe>d c>BD>E | (3Fag (3fed (3cdc
(3BAG |
F>cA>F D>BG>E |
F>GA>B c>de>f | g>fe>d c>BA>G | (3FAB (3cde f2 :|
LADY TERFICHEN'S RANT. Scottish, English; Rant or Reel. England, Northumberland. E Minor.
Standard tuning. AAB. Printed by an anonymous publisher around 1730 (Alburger,
1983). Kennedy (Traditional Dance Music
of Britain and Ireland: Reels and Rants), 1997; No. 100, pg. 25. Kerr (Merry Melodies), Vol. 4; No. 124, pg. 15
(appears as “Lady Terfichen”). Seattle (William
Vickers), 1987, Part 2; No. 396. Wilson (Companion to the Ballroom), 1815; pg. 72.
X:1
T:Lady Terfichen(’s Rant)
M:C|
L:1/8
R:Rant
S:Kerr – Merry Melodies, vol.
4, No. 124
Z:AK/Fiddler’s Companion
K:Emin
EEGE A/A/A B2 | EGGB c/c/c (ce) |
dBgB A/A/A B2 | EcBA G2D2 :|
gdge agab | gadf g2d2 | gdge agab |
gadf ggab | gegB A/A/A B2 |
EGGB c/c/c e2 | dBgB A/A/A B2 | EcBA
G2D2 ||
LADY
TO HER HUSBAND WHO WAS KILLED AT THE BATTLE OF CULLODEN, A. AKA ‑ "Mo rùn geal og." Scottish, Slow Air (3/4 time).
E Minor. Standard tuning. AB. "This air, with the original Gealic words,
is an impassioned expression of grief by a lady of the name of Chisholm, in
Strathglass, for the fate of her husband, who was killed in Culloden, and to
whom she had been but recently married. A set of this air is attempted in the collection of the Reverend Patrick
MacDonald, but it will scarcely be recognized. It is, however, very generally
sung, and the editor is certain ot os now chastely communicated" (Fraser).
Fraser (The Airs and Melodies Peculiar to
the Highlands of Scotland and the Isles), 1874; No. 205, pg. 85.
X:1
T:A Lady to her Husband who was killed at the Battle of Culloden
T:Mo rùn geal og
M:3/4
L:1/8
R:Air
S:Fraser Collection
(1874)
Z:AK/Fiddler’s Companion
K:Emin
G>A|B2A2B2|(G2 E)z D>D|(B2d)2A2|B2dz e>e|e2d2e2|(d2B)z B>d|e2B2A2|
(G2E)z D>E|G2A2G2|e2dz g>f|e2E2F2|(E2D)z c>d|B2A2B2|(e2d)z d>B|A2G2A2|
(B2A)z zG|(E4D2)|[B,6E6]|[B,4E4]||E>F|G3FE2|DB,2 z G>B|d2B2[F2A2]|
(B2d)z e>f|g3f e2|dB2 z B>d|e2A2B2|(G2E)z D>E|G2A2G2|(e2d)z g>f|e2E2F2|
(E2D)z
c>d|B2A2B2|(e2d)z d>B|A2G2A2|(B2A)z zG|(E4D2)|([B,6E6]|[B,4E4])||
LADY TOWNSEND'S FANCY. English, Country Dance Tune (2/4 time). England, Yorkshire. G Major.
Standard tuning. AABBCC. See note for “Lady
Walpole’s Reel [1]” for a mention of the Townsend family. Source for
notated version: an MS collection by fiddler Lawrence Leadley, 1827-1897
(Helperby, Yorkshire) [Merryweather & Seattle]. Merryweather & Seattle
(The Fiddler of Helperby), 1994; No.
115, pg. 63.
LADY VEAUGH. Irish. Recorded by the Belfast
Northern Star of July 15th, 1792, as having been played by one of ten Irish
harp masters at the last great convocation of ancient Irish harpers, the
Belfast Harp Festival, held that week.
LADY VISCOUNTESS
DUNCAN. AKA – “Viscountess Duncan.”
Scottish, Strathspey. D Major. Standard tuning. AAB. The melody appears as
“Miss (Mrs.) Hunter of Blackness Strathspey” in the music manuscript of James
Webster, Alehouse Hill, New Deer, Aberdeenshire, begun in 1839. His manuscript
was in the possession of J. Murdoch Henderson, who made some comments and annotations.
Henderson indicates the tune was also in the published collection of Charles
Duff.
***
Viscountess
Duncan was born Henrietta Dundas, who married in 1777 Captain Adam Duncan
(1731-1804) of the Royal Navy—it was a fortunate match for him politically, as
Henrietta’s uncle became secretary of state for war under Pitt in 1794. The
couple had five daughters and two sons. She died in Edinburgh in December 1832,
and little is recorded about her life. Too typically, there is considerable
record of the males in her life. She was the second daughter of the Right
Honourable Robert Dundas (1713-1787), Esquire, 4th Lord of Arniston,
who was a Solicitor General for Scotland and later MP for Midlothian, and
finally, in 1760, Lord President of the Court of Session. He was the most
important person in public affairs in Scotland of his era. When he died Robert
Burns wrote a commemorative verse called “On the Death of Lord President
Dundas,” wherein he said:
***
O heavy loss, thy country ill could bear!
A loss these evil days can ne’er repair!
***
Burns was
a mature and well-respected writer when he penned the poem, which he
nevertheless admitted included some “commonplace” verses along with “others
rather hide-bound,” and he sent it off to the family, who ignored it. The poet
was incensed at being so slighted, and never forgave the insult. He later wrote
to a friend:
***
From that time, highly as I respect the talents of their
Family, I never see the name, Dundas, in the column of a newspaper, but my
heart seems straitened for room in my bosom; and if I am obliged to read aloud
a paragraph relating to one of them, I feel my forehead flush, and my lip
quivers. Had I been an obscure Scribbler, as I was then in the hey-day of my
fame; or had I been a dependent Hanger-on for favor or pay; or had the bearer
of the letter been any other than a gentleman who has done honour to the city
in which he lives, to the Country that produced him, and to the God that
created him, Mr Solicitor might have had some apology.
***
After his marriage to Henrietta, Adam Duncan went on to make a name for himself as a fighting commander. His most famous victory came at Camperdown in October 1797, when he helped foil the French plan to aid the rebels in Ireland. The French had leveraged their ally, Holland, into making a show of force with their fleet, capitalizing on unrest in the English fleet following the mutinies at the Nore and Spithead. The British North Sea Fleet was then commanded by Duncan, who managed to intercept the Dutch and in a sharp and bloody fight Duncan lost not a single vessel. The Dutch, meanwhile, lost nine ships of the line and a number of frigates. Duncan was named Admiral Duncan, 1st Viscount Camperdown, for his efforts and was feted by a grateful nation who saw his victory as one of the most famous naval actions in history. A pension of £3,000 was awarded to him by the government, the largest ever awarded. Finally, he was made Baron Duncan of Lundie, his family home on the Perthshire-Angus border. Adam Duncan, and presumably Henrietta, are buried in the little churchyard at Lundie. Her obituary in the Gentleman’s Magazine of 1832 reads in part: “Her many amiable qualities and her fascinating manners will long endear the memory of Lady Duncan. She continued in possession of all her faculties to her advanced age.”
***
Carlin (The Gow Collection), 1986; No. 106. Gow (Fifth Collection of
Strathspey Reels), 1809; pg. 25. Stewart-Robertson (The Athole Collection), 1884; pg. 122.
X:1
T:Lady Viscountess Duncan’s
Strathspey
M:C
L:1/8
R:Strathspey
B:Gow – Fifth Collection of
Strathspey Reels (1809)
Z:AK/Fiddler’s Companion
K:D
d/B/|A<D (B/A/).G/.F/ {F}E2
E>B|AD (B/A/).G/.F/ A<D d>B|A>D (B/A/).G/.F/ {F}E2 E>F|D<A,
“tr”A,>B, D3D:||
g|”tr”f>d f/g/a/f/ {f}e2
e>g|”tr”f>d f/g/a/f/ dafd|gb/g/ fa/f/ {f}e2 e>f|{c}d>B AF {F}A2
A>g|
“tr”f>d f/g/a/f/ {f}e2
e>g|f>d f/g/a/f/ {c}d>B AF|G/A/B/c/ d>F {F}E2 E>F|D<A,
“tr”A,>B, {B,}D2 D||
X:2
T:Viscountess
Duncan
M:C|
L:1/8
B:Stewart-Robertson
– The Athole Collection
(1884)
Z:AK/Fiddler’s Companion
K:D
d/B/|A>D
B/A/G/F/ E2 E>B|A>D B/A/G/F/ A<D d>B|A<D B/A/G/F/ E2
E>F|D<A, A,>B, D2D:|
g|f>d
f/g/a/f/ e2 e>g|f>d f/g/a/f/ d<af>d|gb/g/ fa/f/ e2
d>f|d>BA>F A2 A>g|
f>d
f/g/a/f/ e2 e>g|f>d f/g/a/f/ d>BA>F|G/A/B/c/ d>F E2
E>F|D<A, A,>B, D2D||
LADY WALLACE(‘S REEL)
[1]. Scottish, Reel. G Minor. Standard
tuning. AAB. The air was first published as "Lady Wallace's Reel" by Robert 'Red Rob' Mackintosh in his Airs, Minuets, Gavotts and Reels, c. 1783.
There is a report that Gow published it in his Repository, Part Second, 1802, as "Lady Wallace," but
without crediting Mackintosh, however, by the third edition of the work
(published by Purdie with corrections by Nathaniel Gow)
Mackintosh’s name appears with the tune. Carlin (Gow Collection), 1986; No. 451. Gow (Complete Repository), Part 2, 1802; pg. 14.
X:1
T:Lady Wallace [1]
M:C
L:1/8
R:Reel
S:Gow – 2nd Repository
(1802)
Z:AK/Fiddler’s Companion
R:Reel
K:Gmin
d|(B/A/G) (G,G)B,G G,d|cfdB
AFfc|B/A/G (G,G)B,G G,d|cD (d/c/B/A/) BGG:|
g|(b/a/g) (Gd) gdbg|afc>B
AFaf|(g^fg)d Bdgb|a^fdf g/g/g g>a|bgda gecg|
fBgB AFfc|d(BAG) e(cBA)|dD
(d/c/B/A/) BGG||
LADY WALLACE [2]. Scottish, Reel. F Major. Standard tuning. AAB. John Glen (1891) finds
the earliest appearence of the tune in print in John Riddell's 1782 collection (pg. 16).
Glen (The Glen Collection of Scottish
Dance Music), vol. 1, 1891; pg. 13. Honeyman (Strathspey, Reel and Hornpipe Tutor), 1898; pg. 25.
See also listing at: Alan Snyder’s Cape Breton Fiddle
Recording Index |
X:1
T:Lady Wallace [2]
M:C
L:1/8
R:Reel
S:Glen Collection, vol. 1 (1891)
Z:AK/Fiddler’s Companion
K:F
b|f2 (cA) FGAF|G(ABc) dcda|f2 (cA)
FGAF|D(BAG) F/F/F F2:|
c|(f>ga)g fdcf|dcdf
(gfg)a|(f>ga)g fdcf|dcag f/f/f fc|(f>ga)g fdcf|
dcdf gfga|fbag fdcA|BGcA F/F/F F2||
LADY WALLACE [3]. Scottish, Air (4/4 time). C
Minor. Standard tuning. AAB. Composed by the great Scots fiddler-composer J. Scott Skinner (1843-1927). Skinner (Harp and Claymore), 1904; pg. 160.
X:1
T:Lady Wallace [3]
M:C
L:1/8
R:Air
N:”Intensely sad.”
C:J. Scott Skinner (1843-1927)
S:Skinner – Harp and Claymore (1904)
Z:AK/Fiddler’s Companion
K:Cmin
G | (c>d) (ed/c/) (=B{d}c) G>G
| _BG ({G}F)E ED/C/ GG | (c>d) (ed/c/) (=Bc) GE | (FE/F/) GG {G}(C2C) :|
(G | g).e .d.c (=Bc) G({d}c) |
(GF/E/) FD (EC G)G | ge dc =Bc df | (ed/c/) G=B (c2 c>)G | ge dc (=B{d}c)
(Gc) |
(=Bc) ec (ed/c/) {=B}(gG) |
(c/d/e/c/ (d/e/f/d/) (e/c/G/=B/) (c/G/E/C/) | (F{G/F/}E/>F/) GG {G}(C2C) ||
LADY WALPOLE'S REEL [1].
AKA and see "Boston Fancy [1],"
"Ladies' Walpole Reel,"
"Massai's Favorite."
Scottish, American; Reel. USA; New England. B Flat Major (Howe, Phillips): G Major (Sweet). Standard
tuning. AABB. "Lady Walpole's Reel" is the name of a tune and a
country dance, known also as "Boston Fancy.” Linscott (Folk Music of Old New England, 1939)
says that it is "evidently a variety of Weavers' Dance belonging to the
craftsmen of the Weavers' Guild,” although he does not give any evidence to
sustain or further explain his claim. Tony Parkes and Steve Woodruff (1980)
note that it is one of the few dance melodies composed without a single
repeated measure, and the dance itself was one of the first contras in which
active couples crossed in the beginning, leading to the intermingling of sexes
through the dance. Curiously, in the course of the dance one swings every other
person in the set except one’s partner (who only gets a courtesy turn in the
‘ladies chain’ figure). Lore has it that this is because Lady Walpole hated to
dance with her husband! It has been
suggested (by, for one, Louie W. Attebery in his article "The Fiddle Tune:
An American Artifact" {1979}) that the name change from "Lady
Walpole's Reel" to “Boston Fancy" came about due to anti-British
sentiments during the War of 1812. The melody was apparently once quite popular, for it appears in White’s Unique Collection included in a
page of reels labelled “Six Favorite Reels,” in the company of such
still-familiar tunes as “Miss McLeod’s Reel,” “Arkansas Traveller,” “Devil’s
Dream,” “Old Zip Coon” and “Ned Kendall’s Favorite.” Howe prints
instructions for a contra-dance to the tune.
***
It is not known which Lady Walpole
to whom the title might refer. However, one, Dorothy Walpole (1686—1726), the
sister of Robert Walpole who became Prime Minister of England in 1722, has a
sad and poignant tale to tell. Dorothy fell in love with a man named Charles
Townsend, Second Viscount Townsend, whom she longed to marry. Unfortunately her
father forbade the union, and eventually Townsend married another, sending
Dorothy into a depression and an affair with a broke and profligate Lord Wharton.
Presently, in 1711, Townsend’s first wife died (of unknown causes), and he and
Dorothy resumed their relationship, marrying two years later. All seemed to be well until Townsend
discovered that Dorothy had not severed her relationship with Wharton after the
wedding, but had continued her affair.
Furious, he locked her in her apartments in Raynham Hall, isolated from
her family, her children and the outside world. She was still a prisoner when she died in 1726, at the age of 40,
of smallpox (although some say she died of a broken heart, or even from a
broken neck from a staircase ‘accident’). As tragic and distasteful as the
story is, however, it probably would have been forgotten save for subsequent
events. In the 19th century Raynham Hall was still in Townsend hands
when apparitions began to appear to a number of distinguished visitors, among
them King George IV, who reported having seen a ghostly apparition in a brown
satin dress, who stared down at him while he was a-bed. Soon after, a Colonel Loftus saw the same
apparition, with the added detail that the woman’s eyes sockets were
empty. Finally, a decade or so later
author Captain Frederick Marryat was invited to stay at the Hall. He patiently waited for several days until
he was rewarded with her apparition as he strolled down a hallway. Alarmed by a somewhat sinister grin on the
face of the ghost, he fired a pistol at her, and when he had recovered from the
shock, she had disappeared. The Brown Lady of Raynham, as the ghost came to be
called, was still occasionally seen by visitors well into the 20th
century.
***
Source for notated version: Rodney
Miller (N.H.) [Phillips]. Howe (1000
Jigs and Reels), c. 1867; pg. 80 (appears as “Massai’s Favorite, or Lady
Walpole’s Reel”). Linscott (New England
Fiddlers Repertoire), 1939; pg. 71. Miller & Perron (New England Fiddler’s Repertoire), 1983;
No. 110. Phillips (Traditional American Fiddle Tunes, vol. 1),
1994; pg. 136. Ryan’s Mammoth Collection,
1883; pg. 50. Sweet (Fifer’s Delight),
1965/1981; pg. 81. Tolman (Nelson
Music Collection), 1969; pg. 8. White’s
Unique Collection, 1896; No. 175, pg. 32. Alcazar
Dance Series FR 203, Rodney Miller ‑ "New England Chestnuts"
(1980). Front Hall Records FHR 029, "Fourgone Conclusions.” Rounder 7004,
Joe Cormier ‑ "The Dances Down Home.”
T:Lady Walpole’s Reel [1]
M:2/4
L:1/8
R:Reel
S:White’s Unique Collection (1896), No. 175
Z:AK/Fiddler’s Companion
|: F |.B.d d/e/c/d/ | BFF (F/E/) | D/F/B/F/ E/D/E/G/ | F/G/F/E/ .D.B, |
(B/F/)(d/B/) (f/d/)(g/f/) | .b/.a/.g/.f/ .e/.d/.c/.B/ | A/c/f/c/ B/A/B/d/ | c/B/A/G/ F :|
|: f | f/b/f/d/ B/d/B/F/ | E/D/E/F/ G/F/E/D/ | .C(g/f/) e/d/c/B/ | A/B/c/A/ F (3f/g/a/ |
b/f/d/f/ g/e/c/e/ | d/f/B/d/ (c/A/).F | f/g/f/e/ d/c/B/A/ | B[DB][DB] :|
LADY WALPOLE REEL [2]. American, Quadrille (2/4 time). USA, Arizona. G Major. Standard tuning. AB. Ruth (Pioneer Western Folk Tunes), 1948; No. 119, pgs. 41-42.
X:1
T:Lady Walpole Reel [2]
M:2/4
L:1/8
S:Viola “Mom” Ruth – Pioneer Western Folk Tunes (1948)
Z:AK/Fiddler’s Companion
K:G
(B/c/)|d/B/d/B/ d/g/f/e/|d/B/d/B/ d/g/f/e/|d/B/d/B/ e/d/c/B/|
cA A(B/c/)|d/B/d/B/ d/g/f/e/|d/B/d/B/ d/g/f/e/|d/e/c/d/ B/c/A/B/|GG G||
(B/c/)|d/c/B/c/ de/d/|c/B/A/B/ c(d/B/)|B/G/B/G/ c/B/A/G/|AA A(B/c/)|
d/c/B/c/ de/d/|c/B/A/B/ c(B/c/)|d/g/f/e/ d/c/B/A/|GG G||
LADY WARKWORTH'S REEL
[1]. AKA and see “George Carnegie’s Strathspey,”
“Inverara Rant.” English, Reel. England,
Northumberland. A Dorian. Standard tuning. AAB. See also the related “I Wish You Wou’d Marry Me Now,”
“Marry Me Now,” “The Proposal [2],” and “Morpeth Lasses.” Seattle (William Vickers), 1987, Part 2; No. 239.
X:1
T:Lady Warkworth’s Reel [1]
M:C|
L:1/8
R:Reel
S:William Vickers’ music manuscript
collection (Northumberland, 1770)
K:Ador
AE E/E/E c2 ce|dcBA GABG|AE E/E/E c2
ce|dBgB A/A/A A2:||
agea gfeg|{g}fedg dBGB| agea
gfeg|gfgB A/A/A A2|
agea gfeg|{g}fedg dBGB|cBdB ec
fd|geac A/A/A A2||
LADY WARKWORTH'S REEL
[2]. English, Reel. England
Northumberland. G Major. Standard tuning. AABB. Seattle, Great Northern Tune Book, Part 1; No. 13.
X:1
T:Lady Warkworth’s Reel [2]
M:C|
L:1/8
R:Reel
S:William Vickers’ music manuscript
collection (Northumberland, 1770)
K:G
GBdg ec e2|dBAG A/A/A A2|GBdg ec
e2|dBAB G/G/G G2:|
|:(3EFG (3EFG DGDG|B,/G,/B,/G,/ A,/A,/A,
A,2|(3EFG (3EFG DGDG|[G,2D2B2] AG G/G/G G2|
gbge dBAB|G/G/G gB A/A/A
A2|[G,3D3B3g3]b gedB|AGAB G/G/G G2:|
LADY WASHINGTON’S REEL. American, Reel. “Lady Washington’s
Reel” is a dance first appearing at the end of the 18th century. It was
retained in dance repertoire and was a staple New England contra dance of the
19th century. Dance instructions were published in J. Trumbull’s Gentleman’s
and Lady’s Companion; Containing, the Newest Cotillions and Country Dances, to
Which is Added, Instances of Ill Manners; to be carefully avoided by Youth of
both sexes. (1798) and Nathan Allen’s Select Country Dances (New
Hampshire, 1799). Trumbull suggests using “York
Fusiliers” as the vehicle for the dance.
Okeh Records 45073 (78 RPM), Plymouth Vermont
Orchestra.
LADY WELLINGTON’S [1]. English, Waltz. A Major.
Standard tuning. AABBCC. Kennedy (Fiddler’s
Tune-Book: Slip Jigs and Waltzes), 1999; No. 141,pg. 35.
LADY WELLINGTON’S [2]. English, Waltz. D Major.
Standard tuning. AABBCCDDEE. Kennedy (Fiddler’s
Tune-Book: Slip Jigs and Waltzes), 1999; No. 142, pg. 36.
LADY WEMYSS. AKA – “Lady Nellie Wemyss,” “Lady Nelly Wemyss.” Scottish, Jig. A
Mixolydian. Standard tuning. ABB. Scottish, Reel. John Glen (1891) finds the
earliest appearence of this tune in print in Robert Bremner's 1757 collection (pg.
13). Gatherer (Gatherer’s Musical Museum),
1987; pg. 20. Gow, Repository, Part
1. Kerr (Merry Melodies), vol. 3; No.
229, pg. 26.
X:1
T:Lady Wemyss
M:6/8
L:1/8
R:Jig
S:Kerr – Merry Melodies, vol. 3, No. 229
(c. 1880’s)
Z:AK/Fiddler’s Companion
K:A
B|cde eAa|cAc e2d|cde ef=g|B=GB
d2B|cde efg|agf edc|dbd cac|B=GB d2||
|: e|aec ecA|aec efg|aec ecA|B=GB
d2:|
LADY WESTMORELAND'S
FANCY. Irish, Air (6/8 time). F Major.
Standard tuning. AB. O'Neill (O’Neill’s
Irish Music), 1915; No. 83, pg. 48.
X:1
T:Lady Westmoreland’s Fancy
M:6/8
L:1/8
R:Air
S:O’Neill – O’Neill’s Irish Music (1915)
Z:AK/Fiddler’s Companion
K:F
C | F>GF c>Ac | d>Af cAF |
B>cB A>GF | G>AG GEC | F>GF cAc | dAf cAF |
dAf cAc | f>gf/e/ f2c || f>ga
def | g>age dc | d>ef cBA | G>AG GEC | a>gf gfe |
f>ed cAc | dAG FAc | f>gf/e/
f2 ||
LADY WHITEFORD(‘S
REEL). Scottish, Strathspey. D Major.
Standard tuning. AABBCCDD. John Glen (1891) finds the earliest appearence of
the tune in print in John Riddell's
1782 collection (pg. 38). McGlashan
(A Collection of Reels), c. 1786; pg.
6.
X:1
T:Lady Whiteford’s Reel
M:C|
L:1/8
R:Strathspey
S:McGlashan – Reels (c. 1786)
Z:AK/Fiddler’s Companion
K:D
F|D2 F>A d/c/B/A/ F>D|E<=C
C<c E/F/G/E/ C<E|D2 F>A d/c/B/A/ F>D|
E/F/G/E/ A/B/c/A/ d<D D :: f | f<df<g a<ef<d | e>=c c<g
e/f/g/e/ c<g | f<df>g a<ef<d |
e/f/g/e/ f/g/a/g/ f<d d :: F |
D<d A>F D<d A>F | E2 =C<c E/F/G/E/ C<E | D<d A>F D<d
A>F |
E/F/G/E/ A/B/c/A/ d>D D :: g |
f/g/a f<d f/g/a f2 | e2 =c<g e/f/g/e/ c<g | f/g/a f<d f/g/a f2 |
e/f/g/e/ f/g/a/g/ f<d d :|
LADY WILLIAMS’ DELIGHT. English, Country Dance Tune
(3/2 time). B Minor. Standard tuning. AABB. Composed in 1989 by Jonathan
Jensen. Barnes (English Country Dance
Tunes, vol. 2), 2005; pg. 72.
LADY WRIXON. AKA and see "Planxty
Lady Wrixon." Irish, Planxty (6/8 time). E Mixolydian. Standard
tuning. AB (Stanford/Petrie): AABB (Complete Collection). Composed by blind
Irish harper Turlough O'Carolan (1670-1738). Bulmer and Sharpley (Music from Ireland), No. 169. Complete Collection of Carolan's Irish Tunes,
1984; No. 169, pg. 114. Stanford/Petrie (Complete
Collection), 1905; No. 875, pg. 219.
LADYHILL. Scottish, Reel. E Flat Major. Standard tuning. 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.
LADYKIRK HOUSE. Scottish, Jig (9/8 time). A Major. Standard tuning. AAB. Composed by Nathaniel Gow
(1763-1831). Ladykirk
House, Monkton, Berwickshire, was a manor built in 1797 on the northern
(Scottish) side of the River Tweed, across from Norham, England. The area was a
favorite fording-place for warring armies back and forth. It was originally
called Upsettlington until James IV nearly drowned trying to cross the Tweed,
and, in thanks for his delivery, built a church near the spot (thus changing
the name to Ladykirk). The manor was demolished in 1966. Carlin (The Gow Collection), 1986; No. 343. Gow
(Fifth Collection of Strathspey Reels), 1809; pg. 22.
X:1
T:Ladykirk House
M:9/8
L:1/8
R:Jig
C:Nathaniel Gow (1763-1831)
B:Gow – Fifth Collection of
Strathspey Reels (1809)
Z:AK/Fiddler’s Companion
K:A
(ABA) Ace C3|~(ABA) Ace
{e}dcB|~A>BA Ace C3|dcB Bfe dcB:||
e>fe {f}edc {c}a3|e>fe edc
afc|efe {f}edc a3|”tr”f>ga {f}edc fdB|
efe {f}edc {c}a3|e>fe {f}edc
afc|efg agf edc|fdB BcB|{e}dcB||
LADY’S BONNET, THE. AKA and see “Tom Clair’s Maggie.” Irish, Reel. E
Dorian. Standard tuning. AB. See also the related “Drowsy Maggie.” Source
for notated version: piper Willie Clancy (1918-1973, Miltown Malbay, west
Clare) [Mitchell]. Mitchell (Dance Music
of Willie Clancy), 1993; No. 28, pg. 44.
LADY'S BREAST KNOTS. AKA and see "Ladies
Briest/Breast Knot(s)."
LADY’S CUP OF TEA, THE. AKA and see “The Cup of Tea/Tay [2].” Irish, Reel. A
Mixolydian. Standard tuning. AABB. Kennedy (Traditional
Dance Music of Britain and Ireland: Reels and Rants), 1997; No. 85, pg. 22.
LADY'S DISAPPOINTMENT, THE. American, Jig. USA, southwestern Pa. A Dorian.
Standard tuning (fiddle). AB. Bayard (1981) believes it is a possible variation
of "O Dear Mother My
Toes Are Sore", and thus perhaps related to the "Welcome Home [3]" tune family.
Source for notated version: Homer Edinger (elderly fiddler from Armstrong
County, Pa., 1954) [Bayard]. Bayard (Dance
to the Fiddle), 1981; No. 585, p. 516.
LADY'S EARRING, THE. Irish, Reel. D Major. Standard tuning (fiddle). AB. See also the related reel “Matt Peoples [3].” Source for notated version: manuscripts in the possession of Chicago Police Sergeant James O’Neill, originally from County Down; many from the playing of his father [O’Neill]. O’Neill (Waifs and Strays of Gaelic Melody), 1922; No. 258.
X:1
T:Lady's Earring, The
M:4/4
L:1/8
S:Sergt. James O'Neill's manuscripts
Z:Paul Kinder
R:Reel
K:D
FAAc dABG | FAdF GFED | FAAc d2 eg | fdec dABG |
FAAc dABG | FAdF GFED | FAAc d2 eg | fdec d2 ||
A2 | d2 dB ceAc | d2 df egce | d2 dB ceag | fdec d2 (3ABc |
d2
dB ceAc | d2 df egce | d2 dB ceag | fdec dABG ||
LADY’S EXPOSTULATION
WITH ROB ROY, THE (Aslachadh na
baintighearna).
Scottish, Slow Air (3/4 time). G Major. Standard tuning (fiddle). AABB. In May,
1751, the heiress of Edinbelly was abducted and forced to marry. The culprit,
according to Fraser, was Rob Roy MacGregor, although Fraser's editor noted that
it was not the famous outlaw but in fact was his youngest son Rob Og who was
involved. Like many an outlaw, Rob Roy had many more crimes attributed to him
than he could have possibly committed, but the real Rob Roy was pardoned and
died in his own house at Balquhidder while Rob Og was executed for the
kidnapping. Be that as it may, the ballad names Rob Roy and Fraser notes that
it "should have been placed before that of (the tune) "Rob Roy,”
being the lady's supposed expostulation with him, whilst he, regardless of her
entreaties, struck up with the voice of a ferocious ruffian, the sonorous
strathspey which follows, importing 'Come awa', Lady Fair,' &c."
(Fraser, 1874). See also "Rob Roy
MacGregor." Fraser (The Airs and
Melodies Peculiar to the Highlands of Scotland and the Isles), 1874; No.
192, p. 80.
X:1
T:Lady’s Expostulation with Rob Roy, The
T:Aslachadh na baintighearna
M:3/4
L:1/8
R:Air
S:Fraser Collection
(1874)
Z:AK/Fiddler’s Companion
K:G
d2|g4 d>c|B3 ABG|g4 d>B|c4e2|=fe d2c2|B3 ABG|B3 cdB|[B4g4]:|
|:d2|g3ab2|a2g2f2|g2d2B2|c4B2|=fed2c2|B3
ABG|B3 cdB|[B4g4]:|
LADY'S FALL. AKA and see "Peascod Time,"
"Chevy Chase." English, Air. The title comes from a ballad to the
tune of "Peascod Time," which became so popular that the air was
often called by that name.
LADY'S FANCY. See "Ladies Fancy [1]."
AKA and see "Say
Old Man Can You Play the Fiddle? [1]," "Rye Straw [1]."
LADY'S LAMENTATION. AKA and see "The Blackbird."
American. "The Blackbird" was collected under this title by Bayard
(1981) from Indiana County, Pa., fifer John Kirkpatrick‑‑it is the
title to the original 17th‑century broadside.
LADY’S PANTALOONS. See “Ladies
Pantalettes/Pantaloons.”
LADY’S PLAYTHING. AKA – “The Ladies Play Thing.” AKA and see “General Howe’s March.” English, Jig. G Major. Standard tuning.
AABB. The melody appears in Thompson’s Complete
Collection of 200 Favourite Country Dances, vol. 3 (1773) and James Aird’s Selection of Scotch, English, Irish and
Foreign Airs, vol. 1 (1782, pg. 2, where the alternate title “General
Howe’s March” is given—General Sir William Howe commanded the British army in
America during 1775-78). It also appears in the music manuscript copybooks of
Joshua Jackson (Harrogate, north Yorkshire, 1798), John Fife (Perthshire,
Scotland, 1780-1804), William Hall Lister (East Boldon, near Newcastle, mid-19th
century) and Rev. Robert Harrison (Brampton, Cumbria, 1820, in 40-bar
versions), and in William Vickers 1770 manuscript (Northumberland) in 32 bars.
In America the tune was printed in Norris & Sawyer’s Village Fifer (Exeter, N.H., 1808), and in James Hulbert’s A
Variety of Marches (1805, Northampton, Mass.) and his Compete Fifer’s Museum (Northampton, 1807). It also appears in the music copybook of Luther
Kingsley (Mansfield, Ct., 1795-c. 1815). It was entered into the 1788 music
manuscript copybook of flute player Ensign Thomas Molyneaux, 6th
Regiment (Shelburne, Nova Scotia). Callaghan (Hardcore English), 2007; pg. 60. Johnson (A Further Collection
of Dances, Marches, Minuetts and Duetts of the Latter 18th Century),
1998; pg. 12. Thompson (Compleat Collection of 200 Favourite Country
Dances, vol. 3), 1773; No. 73.
X:1
T:Lady’s Plaything
T:General Howe’s March
M:6/8
L:1/8
R:Jig
S:James Aird – Selection of Scotch, English, Irish and Foreign Airs, vol. 1 (1782,
pg. 2).
K:G
d/c/|B2B Bcd|A2A A2d|G2G GAB|B3
A2e|dgd BdB|
GBG Ddc|BcB AGA|G2G G2::d|dBd
dBd|e2e e2c|
cAc cAc|d2d d2c|BGB BGB|c2c cBA|Bcd
dcB|
B3 A2e|dgd BdB|GBG Ddc|BcB AGA|G2G
G3:||
X:2
T:Ladies Play Thing, The
M:6/8
L:1/8
B:Thompson’s Compleat Collection of 200 Favourite Country Dances, vol. 3 (London, 1773)
Z:Transcribed and edited by Flynn Titford-Mock, 2007
Z:abc’s:AK/Fiddler’s Companion
K:G
d/c/|B2B Bcd|A2A A2d|G2G GAB|A3 D2d|dgd BdB|GBG D2c|
BcB AGA|G2G G2::d|dBd dBd|e2e e2c|cAc cAc|d2d d2d|BGB BGB|
c2c
c2c|Bc(d d)cB|(B3 A2)d|dgd BdB|GBG D2c|BcB AGA|G2G G2:||
LADY'S TRIUMPH [1] and
[2]. See "Ladies Triumph."
LADY'S TRIUMPH [3]. AKA and see "Kitty's
Ramble{s}," "Dan the
Cobbler," "Rambles of
Kitty."
LADY'S WAIST RIBBON. AKA - "Waist Ribbon." Old‑Time, Breakdown. USA, West
Virginia. D Major. Standard tuning. AB (Krassen): AAB (Phillips). Very similar
to "Folding Down the
Sheets” (see note for that tune for more on the tune family) His father’s
playing of this tune late at night so moved fiddler Melvin Wine as a boy that
he would lie in bed crying. Wine remembered being deeply moved, though he could
identify no reason why this should be so, only that something in the music “touched
me all over” (Milnes, 1999, pg. 6). Sources for notated versions: Melvin Wine
(Braxton County, W.Va.) [Krassen]; Armin Barnett (Seattle) [Phillips]. Krassen
(Masters of Old Time Fiddling), 1983;
pg. 53‑54. Phillips (Traditional
American Fiddle Tunes, vol. 1), 1994; pg. 135. Poplar LP1, Melvin Wine‑ "Cold Frosty
Morning."
LADY’S GOWN THEIR’S
GAIRS UPON’T. Scottish. From The Piper’s Assistant (1877).
_______________________________
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