The Fiddler’s
Companion
© 1996-2010 Andrew Kuntz
_______________________________
HOME ALPHABETICAL
FILES REFERENCES
MAC |
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] |
MAC... See also Mc...
MAC A' BHAILLIDH A
UIST. AKA and see "Darling of the Uist Lasses."
MAC-ALLA, AN. AKA and see "The Echo."
MAC AN PIOBAIRE. AKA and see "The Piper's Son."
MAC AOIDH. AKA and see "Lord Reay."
MAC ARDLE’S FAVOURITE. AKA and see “The Maidens of
Tir Eoghain.” The tune appears in O’Neill’s Music of Ireland as “McArdle’s
Favorite.”
MAC DHOMHNUIL MOR
MAC MHIC AILEIN. AKA and see "Clanranald."
MAC MHIC ALASTAIR. AKA and see "Glengarry."
MAC MORIN’S JIG. Canadian, Jig.
MAC SHIMI MOR A
BASACHADH. AKA and see "Lord Lovat Beheaded."
MAC SUIBHNE'S REEL. Irish, Reel.
MACALISTER WEARS A
DIRK (Biodag Air Mac
Alasdair).
Scottish, Reel. E Dorian ('A' part) & A Mixolydian ('B' part). Standard
tuning. AAB. MacDonald (The Skye
Collecton), 1887; pg. 15.
X:1
T:Biodag Air Mac Alasdair
T:MacAlister Wears a Dirk
M:C|
L:1/8
R:Reel
S:MacDonald – Skye Collection (1887)
Z:AK/Fiddler’s Companion
K:A
B(ee)d cA B2|cA AB =GA B2|B(ee)=g
dgBd|cA A/A/A ^GEE:|
e|cA A/A/A d=GdB|cAAc dB=GB|cA A/A/A
d=GdB|cAAB =GEEe|
cA A/A/A d=GdB|cAAc dB=GB|cA A/A/A
(dB) B/B/B|[cf]A A/A/A =GEE||
MACALISDRUM'S MARCH (“Máirseáil Alasdroin” or “Máirseáil Alasdruim”). AKA and see “Allistrum’s March [1],” "Alasdruim's March," "The Church Hill [2]," "Kitty the Rag, I'm in
Love with You,” "MacDonnell's March,”
“Máirseáil Alasdruim [1],
[2], [3],” “Ollistrum Jig"
(O’Neill). Irish, Scottish; March (6/8 time).
***
Alaster or Alexander MacDonnell,
also known as Alasdair Mac Allisdrum/MacAllistrum or Colkittu (Colkitto), was a
commander who was killed at the battle of Knockinoss (Cnoc na nDos, or Shrub
Hill), near Mallow, County Cork, in the south of Ireland, in September, 1647.
The famous martial hero was a Scotsman, a brave and skilful warrior who
commanded Lord Antrim's Irish in
***
Why, it is harder, Sirs, than Gordon,
Colkittor, or MacDonnall, or Galasp.
***
Flood (1906) states: “We may form
some idea of the desperate courage which inspired these men from the impetuous
energy and wild shrilly fervour of this strain, which is undoubtedly the same
pibroach (pipe tune) that they marched to on the morning of their last
battle…This march was played at his funeral by war‑pipers when his
remains were interred in the ancestral tomb of the O'Callaghans at Clonmeen
(near Kanturk), County Cork, and ever since has been called "Máirseáil
Alasdroim." Breathnach (1966) believes that Flood’s statement that the
piece was a death-march especially composed by the Irish warpipers at the time
is almost certainly untrue, and notes Flood now has a reputation for repeating
some extremely questionable assertions.
***
In 1750 Dr. Charles Smith (in his History of Cork, volume II, pg. 159)
noted the tune was "well‑known in
***
Croker goes on to say: “The
estimation in which it is held in
***
…(It) contains in addition to the March, the Gathering, the
the shouts on the fall of Allisdrum, and the cries, first of the mother,
the Munsterwoman, then that of his nurse, a Leinsterwoman, with
the lament of his wife, the Ulsterwoman, and the piece concludes
with the old jig ‘Cnocán an Teampuill’ which she is said to have
struck up so soon as she ascertained that her husband was really dead.
***
A variant of the piece is called “Sarsfield’s Quickstep” and appears
in Haverty’s Three Hundred Irish Airs (1858-1859).
See also the Kerry variant “Micky
"Cumbaw" O’Sullivan’s.” Sources for notated versions: Bunting
noted the piece from "a piper at Westport (Co. Mayo), 1802"; Willie
Clancy (Miltown Malbay, County Clare), who had his version from an old piper,
Mickey McMahon, who lived at Kilcororan (County Clare) and called it
“Alexander’s March” [Breathnach]. O’Neill (1913), pg. 124 (appears as
“Allistrum’s March”). Breathnach (Ceol
II, 3), 1966. Breathnach (The Man and His
Music), 1997; pg. 18. Bunting (Ancient
Music of Ireland), 1840 (appears as “Allistrum’s March”). Heymann (Off
the Record), 1990; pgs. 10-11. Johnson (The
Kitchen Musician No. 5: Mostly Irish Airs), 1985 (revised 2000); pg. 17.
O’Neill (Music of
See also listings at: Jane Keefer’s Folk Music Index: An
Index to Recorded Sources Alan Ng’s Irishtune.info |
X:1
T:MacAllistrum's March
R:march
D:Chieftain's - Celtic Harp
Z:Michael Hogan
M:6/8
L:1/8
K:D
|:Fdd fee|fdd dBA|Fdd fee|fdd B2A:|
|:~F2E FDD|Fdd dBA|~F2E FDD|Fdd
B2A:|
|:d2f e2f|ded dBA|d2f e2f|ded B2A:|
|~B2A B2E|~B2A BAF|(3Bcd B c2F|(3Bcd
B cAF|
~B2A
B2E|~B2A BAF|BdB c2F|Bdc BAG||
X:2
T:Máirseáil
Alasdruim
M:6/8
L:1/8
S:Breathnach
(Man and His Music, 1997)
K:G
c|ABG
AGF|G2g fdc|ABG AGF|Ggf d2c|
ABG AGF|Ggg
fdc|ABB cBc|dgf d2c:|
|:Aff
Agg|age fdc|Aff Agg|age (3dedc|
Aff Agg|bag fde|fef g3|age d2:|
MACALLAN. Scottish, Strathspey. A Major. Standard tuning. AAB. Composed by J. Scott Skinner. Skinner (The Scottish Violinist), pg. 10.
X:1
T:MacAllan
M:C
L:1/8
R:Strathspey
Z:AK/Fiddler’s Companion
K:A
D | C<E {G}(A>B) (c/B/).A/.G/
({G}A>)c | d>ef>e (d/c/).B/.A/ G<B |
(C<E) [AA>]B (c/B/).A/.G/
A>a | f/g/a/f/ ea {c/d/}cA[EA] :|
|| g | ({g}a>)A .c/.d/.e
(f>a)(e>a) | (d>a)(c>a) ({B/c/}B>)A G<B |
({g}a>)A .c/.d/.e
(f>a)(e>a) | d>fB>e ({B/c/}c>)A[EA>]g |
({g}a>)A .c/.d/.e
(f>a)(e>a) | (d>a)(c>a) ({B/c/}B>)A G<B |
(3.A/.B/.c/ (3.d/.e/.f/ (3.c/d./e/
({g}a>)g | (f/g/a) (e>a) ({c/d/}c)A[EA] ||
MACALLISTRUM'S MARCH (Mairseail Alasdroim). See "Mac Alisdrum's March."
MACANIRISH. AKA and see “Innis Dhombs’
Ca’l Cadal.” Scottish, Strathspey.
MACARONI. English, Country Dance Tune (2/4
time). D Major. Standard tuning. AABB. Macaroni was 18th century
slang for a dandified young gentleman; a preening aristocrat. The melody also
appears in Straight & Skillern’s Two Hundred and Four Favourite Country
Dances, vol. 1 (London, 1775) and Longman, Lukey and Broderip’s Bride’s
Favourite Collection of 200 Select Country Dances, Cotillions (London,
1776). Thompson (Compleat Collection of 200 Favourite Country Dances,
vol. 3), 1773; No. 8.
X:1
T:Macaroni, The
M:2/4
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:D
df/(g/ a)f|dAFA|(BG)(GE)|(BG)(GE)|df/(g/ a)f|dAFA|(AF)(FD)|(AF)(FD):|
|:EA/(B/
c)A|(ec)(cA)|(fd)(dB)|(fd)(dB)|g(e/f/ g)e|f(d/e/ f)d|e(c/d/ e)c|d2 D2:||
X:1
T:
R:reel
D:Four Men and a Dog: Barking Mad
C:
Dave RIchardson
Z:id:hn-reel-497
Z:transcribed by henrik.norbeck@mailbox.swipnet.se
M:C|
L:1/8
K:E
B2GB Bcef|~g3e fece|~f3e fece|fage fece|
B2GB Bcef|~g3e fece|~f3g fece|[1 Beef ~e3c:|[2 Beef e2ga||
|:be~e2 bec'e|be~e2 fece|~f3g fece|fage fece|
|[1 be~e2 bec'e|be~e2 fece|~f3g fece|Beef efga:|
|[2 ~B3G Bcef|~g3e fece|~f3g fece|Beef e2ec||
MACARTHUR’S TUNE (Port ‘ic Artair). AKA and see “Arthur Murray’s Reel,” “Hills of Cape Mabou,” “Lord Murray’s Strathspey.”
MACBETH. English? Scottish?. Chappell (1859) says that, while the air is
sometimes claimed as Scottish, it is in fact of English composition. It appears
in the Leyden Manuscript of c. 1692.
MACBETH’S STRATHSPEY. AKA and see “Lady
MacKenzie of Seaforth.” Scottish, Strathspey. A Mixolydian. Standard
tuning. AA’B. A traditional pipe tune known under the above title by pipers.
Source for notated version: learned by the late Cape Breton fiddler Jerry
Holland (
MACCALLUM’S. AKA and see “The Chapel Bell.”
Irish, Jig. Bulmer & Sharpley (Music
from Ireland), 1974, vol. 3, No. 66.
MACCRAE’S FANCY.
Scottish, Country Dance Tune (cut time). D Major. Standard tuning. AABB. Aird
(Selections), vol. 2, c. 1786; Pg. 5,
No. 12.
X:1
T:MacCrae’s
Fancy
M:C|
L:1/8
S:Aird,
vol. II (1786)
Z:AK/Fiddler’s Companion
K:D
A/G/ | FA dd d2 cB | cdec A2 AG | FG dg fedc | d2 AF D3 :|
|: G | GFED FAAF | GFGA B3A | dcde gfed | fgab a2A2 |
GFED
FAAF | GFGA B2d2 | AFdA BGFE | D2 DD D3 :|
MACCRIMMONS LAMENT [1] (Cumha MhicCriomain). AKA and see "Cha Till Mi Tuille"
(Never More Shall I Return), "Cha Till MacCruimen
(Macrimmon Will Never Return)." AKA and see "Cha Till
MacCruimen." Scottish, (very) Slow Air (4/4 time). Scotland, Isle of Skye.
A Dorian. Standard tuning. AA'BB'. A note in Keith MacDonald's Skye Collection notes the setting of
this tune is particular to the Island of Skye. Neil (1991) identifies the air
(which originally was in Gaelic, though has a rhyming English version also) as
a bagpipe lament and a pibroch (píobaireachd) theme which can be found in
numerous versions, originally composed to honor the head of the legendary
Macrimmon family. One story (related by Neil) goes that it was the work of a
Macrimmon sister, written on the eve of her brother’s departure for the camp of
Bonnie Prince Charlie in the mid‑18th century. Another story (from Pulver
and Collinson, 1975) is that the MacCrimmons did not support the Jacobite cause
and that “MacCrimmon’s Lament” was composed by Domhnall Bàn MacCrimmon when he
left Skye, the chorus of the song predicting that he would never return. The
luckless piper was the only person on either side killed at the rout of Moy in
1745, when he was travelling in the company of the MacLeods and Lord Loudon who
had hoped capture the Prince. The story goes that their plan, well executed up
to a point, was foiled by the bravery and cunning of five or six men who were
retainers of Lady MacKintosh of Moy Hall, with whom the Bonnie Prince Charlie
was staying. It came to the Lady’s
attention that a body of men were moving to waylay him, and she entrusted
Charlie’s defense to this nameless smith, who stationed his few comrades in
concealed stations along the line of advance. The men would in turn fire their
muskets and call upon the (non-existent) Camerons, Frasers, MacDonalds and
other clans to advance, sending Loudon’s forces into a panic. The luckless
MacCrimmon (sometimes spelled McCrummen) was the only casualty.
***
Donald Báin was one of the two sons
of Patrick Og MacCrimmon, the other being Malcolm MacCimmon, also a famous
piper. So great was Donald Bain’s reputation, however, that when he was
captured by the Jacobites at the Battle of Inverurie, two months before his
death, pipers in the Jacobite army (many of whom had been trained by Donald himself)
went on strike and refused to play until he was given his freedom.
***
The Macrimmon family, through
several generations, achieved the inherited position of pipers to the lairds of
MacLeod of Dunvegan in the Isle of Skye, from 1570 to 1825. They were famous as
composers and exponents of the art of pibroach playing, and some say the form
originated with them, though the origins of piobraireachd are obscure. They
were also associated with a school of piping whose founding has been credited
to Patrick Macrimmon (Padruig Mor) around 1664, and which existed until 1770.
It was situated in Boreraig in Skye (where the MacCimmons held land, just
across the water from Dunvegan castle) and attracted pipers from all over the
Highlands. The story is told that the course at one time lasted seven years
(Collinson, 1975; Neil, 1991).
***
Source for notated version: Miss
Jessie Macleod Gesto (Isle of Skye) [Skye]. MacDonald (The Skye Collection), 1887; pg. 182. Neil (The Scots Fiddle), 1991; No. 160, pg. 207 (appears as "Cha
Till MacCruimen").
X:1
T:MacCrimmon’s Lament
M:4/4
L:1/8
R:Air
S:MacDonald – Skye Collection (1887)
Z:AK/Fiddler’s Companion
K:A Dorian
A>A e2 d2 {d}e2 | A2 {bag}f2
e>deA |1 G2 (3GBd {e}dB dA :|2
G2 (3GBd e2 dB | G>G B2 e2 d>A
|: g>feA g>feA | g>feA g>feA |1 g>edG g>edG |
g>edG d>B A2 :|2 G2 (3GBd e2
dB | G2 (3GBd e2 dA ||
MACCRIMMON'S LAMENT
[2] (“Cumha Mhic
Criomain” or “Cha tìl Mac Crimman”). Scottish, Slow Air (6/8 time). A Minor.
Standard tuning. One part (Martin/1988): AB (Martin/2002): AABBCCDD (Morison).
The melody is a 6/8 setting of version #1. Martin (Ceol na Fidhle), vol. 2, 1988; pg. 37. Martin (Traditional Scottish Fiddling), 2002; pg. 62. Morison (Highland Airs and Quicksteps, vol. 1),
c. 1882; No. 31, pg. 16.
X:1
T:MacCrimmon’s Lament [2]
T:Cha tìl Mac Crimmnan
M:6/8
L:1/8
R:March
N:”Slowly”
S:Morison – Highland Airs and Quicksteps, vol. 1 (c. 1882)
Z:AK/Fiddler’s Companion
K:Amin
A | e2d e2A | e2d e<AB | d2G d2G
| B2d BAA :: A{A}a2g a2A | a2g aAB |
d2G d2G | B2d BAA :: {A}eA (3f/e/d/
eA (3f/e/d/ | eA (3f/e/d/ eAB | dG (3e/d/B/ dG (3e/d/B/ |
dGB BAz :: e2 d/B/ A2 ^f/d/ | e2
d/B/ eAB | B2 e/A/ G2 e/d/ | B2 e/d/ BAz :|
MACDERMOT ROE. Irish, March (6/8 time). F Major. Standard tuning. AB. Credited to Turlough O’Carolan (1670-1738) by O’Neill. The MacDermot Roes were a powerful family from County Roscommon. Donal O’Sullivan records that the MacDermott Roe family, were, "one of the two branches of the ancient Connacht clan, the MacDermotts, Princes of Moylurg. They were also Catholic. O’Neill (1922) remarks: “Among Carolan's many distinguished friends and patrons, no one was more generous and loyal than Mrs. McDermot Roe, of Alderford House, County Roscommon. At the outset of his professional career in 1693, it was she who equipped him with a horse and an attendant harper; and it was to her hospitable home he directed his feeble footsteps in his declining days. Exceptionally honored in death, Carolan's remains were interred near the family vault of his benefactress.” A later MacDermot Roe figures in a story related by the blind harper Arthur O’Neill (1734-1818). O’Neill related in his memoirs meeting many different itinerant harpers in his wanderings, one of whom was named Andrew Victory, a blind harper from County Longford. “He told me once in the County of Roscommon at the house of a Mr. MacDermot Roe, who said to him one day, ‘Th’anam ‘un deabhail’ [damn you], where were you the day the Battle of Culloden was fought?’ (an allusion the harper’s name, Victory, juxtaposed with the defeat of the Jacobite Bonnie Prince Charlie, an Irish and Scottish hope). ‘Och sir,’ says Andrew, ‘it was well for the Duke of Cumberland I was not, otherwise he would not have the honour of being called Billy the Butcher.” The Duke of Cumberland, William, son of George III, was indeed called Butcher Cumberland for his harsh repression of the Jacobite rebels, and Andrew boasts had he been there the outcome would have been different. Source for notated vesion: copied from the Hibernian Muse (1787) [O’Neill]. O’Neill (Waifs and Strays of Gaelic Melody), 1922; No. 72.
X:1
T:McDermot Roe
M:6/8
L:1/8
S:Carolan - Hibernian Muse 1787
Z:Paul Kinder
R:Air
K:F
c|AFF Acc|f2 F fed|e/2f/2gc dcB|Acc f2 g|
ab/2a/2g ab/2a/2g|fdd d2 e/2f/2|gcg ga/2g/2f|ec/2d/2e f2 c|
AFF cA/2B/2c/2A/2|FA/2B/2c/2A/2 F2 f|ecc dB/2c/2d/2B/2|
c/2B/2A/2B/2c/2A/2 G>AG|FAf fFf|gcg afa|agf ece|fFF F3||
GCC GCC|AF/2G/2A/2F/2 BGG|A/2B/2cc d/2e/2ff|e/2f/2gg ece|
fc'b a/2b/2c'/2b/2a/2g/2|fcf fcf|bg/2a/2b/2g/2 fd/2e/2f/2d/2|
Bc/2d/2g ece|f2 F fed|c2 A BAG|A/2B/2cc fg/2f/2e|f3-f2||
MACDONAHUE'S HORNPIPE. American, Hornpipe or Reel. D Major. Standard tuning. AB. Source for
notated version: Mrs. Sarah Armstrong, (near)
MACDONALD. Scottish, Strathspey (Slow when not danced). C Minor (Gow): E Minor
(Johnson). Standard tuning. AAB. Composed by Scottish fiddler-composer Niel Gow
(1727-1807). Carlin (The Gow Collection),
1986; No. 127. Johnson (Kitchen Musician
No. 10: Airs and Melodies of Scotland’s Past), 1991 (revised 2001); pg. 11.
X:1
T:MacDonald
M:C
L:1/8
R:Strathspey
S:Gow
Z:AK/Fiddler’s Companion
K:Cmin
E/D/|CGEc GCEc|B<dF<B D>B, D/E/F/D/|CGEc
GCE>g|e>c (e/d/)c/B/ “tr”c2 c:||
e/f/|g<c e>c gceg|f>B
(e/d/)c/B/ fBdf|g<c e>c gcf(a|g>ef>d ({=B}”tr”c2) (c/d/)e/f/|
g<c e>c gceg|f<B (e/d/)c/B/
fBd(f|g>ef>d e>cd>B|G>c =B/c/d/B/ “tr”c2 c||
MACDONALD MARCH, THE. Canadian, Scottish; March (2/4 time). A
Mixolydian. Standard tuning. AABBCC. Kerr (Merry
Melodies), vol. 3; pg. 47. Messer (Way
Down East), 1948; No. 98 (appears as "The MacDonalds"). Messer (Anthology of Favorite Fiddle Tunes),
1980; No. 180, pg. 124.
X:1
T:Macdonald's
March
M:2/4
L:1/16
Z:Transcribed
by Bruce Osborne
K:A
ed|c2Bc
A2A2|cAce a2ef|=g2ae =g2de|=gdBA =GAB=G|
c2Bc
A2A2|cAce a2ef|=gdBA =GABd|c2A2 A2:|
|:e2|AAa2
=g2ea|=gefe a2ef|=g2ae =g2de|=gdBA =GAB=G|
AAa2
=gea2|=gefe a2ef|=gdBA =GABd|c2A2 A2:|
|:E2|ABcd eaec|ABcd
ecA2|=GABc d=gdB|=GABc dB=G2|
ABcd eaea|=gefe a2ef|=gdBA
=GABd|c2A2 A2:|
MACDONALD, LORD OF THE
ISLES (Mac Dhomhnuill mòr
nan Eilean). Scottish, Slow
Air (3/4 time). B Minor. Standard tuning. AB. This tune "is, perhaps, the
most ancient air in this volume, and was communicated through the gentlemen
mentioned in the Prospectus. It is remarkable that the first measure of it is
the air sung in the North to the very ancient Scottish ballad of 'Sir James the
Rose'" (Fraser). Fraser (The Airs and
Melodies Peculiar to the Highlands of Scotland and the Isles), 1874; No.
217, pg. 89.
X:1
T:MacDonald Lord of the Isles
T:Mac Dhomhnuill mòr nan Eilean
M:3/4
L:1/8
R:Slow Air
S:Fraser
Collection (1874)
Z:AK/Fiddler’s Companion
K:Bmin
F B>d|[^A2c2] F/z/ A B>d|c2 zf d>c|(B2 c/)z/ d c>B|A F>z A F>E|
(F B/)z/ c d>B|(c B>)z||c d>e|(f2 g/)z/ f e>d|c2 zf d>c|(B2 c/)z/ d c>B|
A F>z A F>E|(F2 A/)z/ B A>E|F2 zA F>E|F2 zA F>E|(F2 B/)z/ c d>c| (c B>)z||
MACDONALD
OF THE ISLES MARCH TO HARLAW. AKA and see “March of Donald Lord
of the Isles to the Battle of Harlaw (1411).” Scottish, March (6/8 time). A
Mixolydian. Standard tuning. AABBCCDD. The melody commemorates the Battle of
Harlaw, fought in 1411, and is popular as both a pipe and fiddle tune. Martin (Ceol na Fidhle), vol. 4, 1991; pg. 17.
Martin (Traditional Scottish Fiddling),
2002; pg. 70. WMT002, Wendy MacIsaac – “That’s What
You Get” (1998?).
MACDONALD OF THE
ISLES' SALUTATION. Scottish. From Daniel Dow's 18th century publication
"Ancient Scots Music". "MacDonald of the Isles is a poetic title
for the MacDonalds of Sleat, the
southerly part of the Isle of Skye" (Williamson). Flying
Fish FF 358, Robin Williamson ‑ "Legacy of the Scottish Harpers,
vol. 1."
MACDONALDS, THE. See "MacDonald
March."
MACDONALD'S MARCH, THE. Scottish, March (2/4 time) or Reel. A
Mixolydian. Standard tuning. AABB’ (Perlman): AABBCC (Kerr): AA’BBCC’ (Hart
& Sandall). The melody entered French-Canadian tradition through Cape
Breton sources, especially fiddler Joseph Cormier. Hart & Sandall call it
“a recent arrival.” Sources for notated versions: Johnny Morrissey (1913-1994,
Newtown Cross & Vernon River, Queens County, Prince Edward Island)
[Perlman]; accordion and piano player Denis Pépin {Breakeyville, near Québec
City} [Hart & Sandell]. Hart & Sandall (Danse ce Soir), 2000; No. 69, pg. 104 (appears as “MacDonald’s”).
Kerr (Merry Melodies), vol. 3; No.
423, pg. 47. Perlman (The Fiddle Music of
X:1
T:MacDonald’s March, The
M:2/4
L:1/8
R:March
S:Kerr – Merry Melodies, vol. 3, No. 423
(c. 1880’s)
Z:AK/Fiddler’s Companion
K:A
(e/A/)|c(B/c/) AA|c/A/c/e/
a(e/f/)|=g(a/e/) g(d/e/)|=g/d/B/A/ =G/A/B/G/|c(B/c/) AA|
c/A/c/e/ a(e/f/)|=g/d/B/A/
=G/A/B/d/|cAA::e|A/A/a =ge/a/|=g/e/f/e/ a(e/f/)|
=g(a/e/) g(d/e/)|=g/d/B/A/
=G/A/B/G/|A/A/a =g/e/a|=g/e/f/e/ a(e/f/)|=g/d/B/A/ =G/A/B/d/|
cAA::E|A/B/c/d/ e/a/e/c/|A/B/c/d/
(e/c/)A|=G/A/B/c/ d/=g/d/B/|=G/A/B/c/ (d/B/G)|
A/B/c/d/ e/a/e/a/|=g/e/f/e/
a(e/f/)|=g/d/B/A/ =G/A/B/d/|cAA:|
MACDONALD'S MARCH TO
THE WAR. Scottish, March (6/8 time). A
Mixolydian. Standard tuning. AAB. Gatherer (Gatherer’s
Musical Museum), 1987; pg. 45. Scottish
Pipers' Society Book of Tunes (1912).
MACDONALDS OF HAMILTON, THE. Canadian, Jig. Canada, Cape Breton. F Major.
Standard tuning. AABB. Composed by fiddler Jerry Holland (Inverness, Cape
Breton). Cranford (Jerry Holland’s),
1995; No. 255, pg. 73.
MACDONALD’S OF CLANRANALD’S GATHERING TO SHERIFFMUIR. Scottish, Pipe Pibroch. The tune was composed following
the Jacobite rising of 1715.
MACDONALD’S QUICKSTEP. AKA and see "Charlie, If You Would Only
Come,“ “Charlie’s Welcome [2],”
“Flora MacDonald,” “MacDonald’s Reel [2],” “Miss Flora McDonald’s
Reel,” “Miss
Macdonald’s (Reel) [4],” “Thearlaich! Nan Tigeadh Tu
[1],"
MACDONALD'S RANT. Scottish, Country Dance Tune (4/4 time). This melody appears in the Bodleian Manuscript (in the Bodelian Library,
Oxford), inscribed "A Collection of the Newest Country Dances Performed in
Scotland written at Edinburgh by D.A. Young, W.M. 1740."
MACDONALD'S REEL. See "Lord
MacDonald('s Reel) [4]." Canadian, Shetland; Reel. G Major. Standard
tuning. AAB. This reel was originally Scottish and imported to other areas,
where the "Lord" part of the title was often dropped. Jarman (The Cornhuskers Book of Square Dance Tunes),
1944; pg. 15. Olympic 6151, The Shetland Fiddlers'
Society ‑ "Scottish Traditional Fiddle Music" (1978). Rounder
7004, Joe Cormier ‑ "The Dances Down Home" (1977).
MACDONALD’S REEL [2]. AKA
and see "Charlie,
If You Would Only Come,“ “Charlie’s
Welcome [2],” “Flora MacDonald,”
“Miss Flora McDonald’s Reel,” “Miss Macdonald’s (Reel)
[4],” “Thearlaich! Nan
Tigeadh Tu [1].” Scottish, Reel. D Major. Standard tuning. AABB. The melody
appears under this title in the 1770 music manuscript of Northumbrian musician
William Vickers, about whom unfortunately nothing is known.
X:1
T:MacDonald’s Reel [2]
M:C|
L:1/8
R:Reel
S:William Vickers’ music manuscripts
(Northumberland, 1770)
K:D
D|E2 EF BEEF|E2 EF dFDF|E2 EF
EFGA|Bc/d/ AF dDD:|
|:F|Eeef eEEF|Eeef dDDF|Eeed
Bcde|fg/a/ ec dDD:|
MACDONNELL'S MARCH (Mairseail Alasdroin). AKA and see "MacAlisdrum's March."
MACDOUGALLS (POLKA), THE. Canadian, Polka. A Major ('A' part) & E
Major ('B' part). Standard tuning. AABB. Messer (Way Down East), 1948; No. 58. Fretless
Records 132, "Ron West: Vermont Fiddler." RCA Victor LCP 1001, Ned
Landry and his New Brunswick Lumberjacks ‑ "Bowing the Strings with
Ned Landry."
X:1
T:Macdougall's
Polka
R:Polka
M:4/4
L:1/8
Z:Transcribed
by Bruce Osborne
K:A
E2|AAEA
c2Ac|eece a3e|g2f2 fede|f2e2 edcB|
AAEA
c2Ac|eece a3e|g2f2 edcB|A2c2 A2:|
K:E
GA|B2g2
g3B|A2f2 f3e|e2d2 d2A2|c2B2 BAGA|
B2g2 g3B|A2f2 f3e|e2d2 a2d2|e4 e2:|
MACDOUGALL'S JIG. Scottish, Jig. A Mixolydian. Standard tuning. AABB. Neil (The Scots Fiddle), 1991; No. 140, pg.
179.
MAC
EOGHAN SHEAIN AGUS INION JOHN CHIT. Polka.
MACFARLANE'S RANT. See “MacFarlane’s Reel [1].”
MACFARLANE'S REEL [1]. AKA – “MacFarlane’s Rant.” Scottish, Reel. D Major. Standard
tuning. AB (Surenne): AABB (Stewart-Robertson): AABBCDE (McGlashan). The melody appears in the 1734 Drummond Castle Manuscript (in the
possession of the Earl of Ancaster at
X:1
T:MacFarlane’s Reel
M:C|
L:1/8
R:Reel
S:McGlashan – Reels (c. 1786)
Z:AK/Fiddler’s Companion
K:D
e|fA AA/A/ e>dBe|fA A/A/A e2 de|fA A/A/A e>dBg|aefd e2d:|
|:e|fdfd e>dBe|fdfd e2 de|fdfd e>dBg|a>efd e2 d:|
g|b/a/g/f/ gd BGGB|c>AB>G A>GEg|b/a/g/f/ gd BGGB|c>Ad>B G/G/G Gg||
b/a/g/f/ gd B>GGB|c>aB>g A>GEg|b/a/g/f/ gd B>GGB|c>Ad>B G/G/G G||
g|dgg>e dgb>a|g>edB A>GEA|Ggge dgb>a|g>ed>B G/G/G Gg|Ggg>e dgb>a|
ge/g/ dB/d/ A>GEg/a/|b/a/g a/g/e dg/a/b>a|gedB G/G/G G2||
X:2
T:MacFarlane’s Rant
L:1/8
M:C|
R:Reel
B:Stewart-Robertson – The
Athole Collection (1884)
K:D
e|fA A/A/A edBe|fA A/A/A e2de|fA A/A/A edBg|aefd e2d:|
|:e|fdfd
edBe|eded e2de|fdfd edBg|aefd e2d:|
MACFARLANES (REEL) [2], THE. Scottish, Reel. Composed by Pipe Major Donald
MacLeod. Piper Major Donald MacLeod
Collection. Green Linnet GLCD1182, The Tannahill
Weavers - “Choice Cuts 1987-1996.”
MACFOSSETT'S FAREWELL. AKA and see "MacPherson's Lament."
MACGILLAMUN'S ORAN
MOR. Scottish,
Slow Air (6/8 time). A Major. Standard tuning. AA. Composed by George
MacIlwham, a piper and flautist with the BBC Scottish Symphony Orchestra.
Hunter (Fiddle Music of Scotland),
1988; No. 32.
MACGILLYCUDDY’S. Irish, Polka. G Major. Standard tuning. AABB. Source for notated
version: learned from session musicians in Newmarket, County Cork [Sullivan].
Sullivan (Session Tunes), vol. 3; No.
42, pg. 18.
MACGREGOR O’ RUARI. See “Mac Griogair a Ruaro.”
MACGREGOR JIG. AKA and see “The Inverness Jig
[2],” “March
of Donald Lord of the Isles to the Battle of Harlaw (1411),” “O’Reilly’s Jig,” “The Rover’s Return,” “The Victor’s Return.” PLP-1057,
Joe Cormier - “The Cheticamp Connection Phase II” (1986).
MACGREGOR MURRAY IN THE CELTIC
CHAIR. Scottish, Air (whole time). D Major.
Standard tuning. AAB. Composed by famed Inver, Perthshire, fiddler-composer
Niel Gow (1727-1807). The Clan MacGregor chief in Gow’s time was John Murray of
Lanrick, also known as John MacGregor Murray, who had strong connections with
the Highland Society in Edinburgh and London. He served as a general in the
East India Company’s army and as auditor-general of Bengal. He died in 1822,
the same year he changed his name to MacGregor. He brought back from India an
important piping manuscript written by Joseph MacDonald, a young piper who died
there also in service to the Company. It was a study of piping at a time when
it was in its early-modern phases, and still an aural and hereditary tradition.
MacGregor Murray was a fluent native speaker of Gaelic, and held an interest in
piping throughout his life. Gow (Sixth Collection of Strathspey Reels),
1822; pg. 36.
X:1
T:MacGregor Murray in the Celtic
Chair
M:C
L:1/8
R:Air
N:”Slowly. Bold”
C:Niel Gow (1727-1807)
B:Gow – Sixth Collection of
Strathspey Reels (1822)
Z:AK/Fiddler’s Companion
K:D
A2 DF/G/ ADFA|G>=C C>E
{F}(G2B2)|A2 DF/G/ ADFA|dD DF (A2.f2):||
d/e/f/g/ a>g fd f/g/a/f/|g=cce g2
a/g/f/e/|d/e/f/g/ a/b/a/g/ fd f/g/a/f/|a/g/f/e/ d/e/f/g/ a2 a/g/f/e/|
d/e/f/g/ a/b/a/f/|g/a/g/e/
f/g/f/d/|e/=f/g/e/ =c/d/e/f/ g/f/e/f/ g/^f/g/e/|f/g/a/f/ e/f/g/e/ d/e/f/d/
c/d/e/c/|dD DF (A2.f2)||
MACGREGOR’S GATHERING (Cruuinneach nan Griogarach). Scottish, Pipe Pibroch. The tune
was copied by Alexander Campbell in 1815 for his book Albyn’s Anthology from Captain Neil McLeod of Gesto’s manuscript
collection of pibrochs, as performed by the famous piping dynasty of the
MacCrimmons of Skye. Clan Gregor claims descent from Grigar, third son of
Kenneth MacAlpin, first king of Scotland.
Glenorchy was the clan’s original seat but as they prospered lands in
Glengyle, Glen Lyon, Glen Straye and Balquidder came under their control. The
clan’s prospects waned in response to increasing power of the Campbells,
however, resulting in their retreat into the Balquidder area, and at one point
they became known as “The landless clan.”
MACGREGGOR’S HIGHLAND FLING. Scottish (?), Highland Fling. G Major. Standard tuning. AB. White’s Unique Collection, 1896; No. 164, pg. 20.
X:1
T:MacGreggor’s Highland Fling
M:C|
L:1/8
R:Highland Fling
S:White’s Unique Collection (1896), No. 164
Z:AK/Fiddler’s Companion
D2 | G2 d>B G2 d>B | (c<A) (B>G) A>GF>D | G2 d>B G2 d>B | c>AG>F G2D2 |
G2 d>B G2 d>B | (c<A) (B>G) A>GF>D | G2 d>B G2 d>B | c>AG>F G2 ||
d2 | “tr”g2 (e>g) d>gB>g | “tr”g2 (f>g) a>fe>d | “tr”g2 e>g d>gB>g | e>c A>c (B<G) d2 |
“tr”g2 (e>g) d>gB>g | “tr”g2 (f>g) a>fe>d
| “tr” g2 (e>g) d>gB>g | (e<c) (A>c) (B<G) ||
MACGREGOR'S
LAMENTATION. See "Mac Griogair a Ruaro."
MACGREGOR'S MARCH. AKA and see “Kit White’s No. 2,”
“Maurice O’Keeffe’s [5],"
“Rob Roy’s March.” Scottish, March
(2/4 time). D Major. Standard tuning. AABB. Clan Gregor claims descent from
Grigar, third son of Kenneth MacAlpin, first king of Scotland. Glenorchy was the clan’s original seat but
as they prospered lands in Glengyle, Glen Lyon, Glen Straye and Balquidder came
under their control. The clan’s prospects waned in response to increasing power
of the Campbells, however, resulting in their retreat into the Balquidder area,
and at one point they became known as “The landless clan.” In Ireland the tune
is set as a polka, called “Maurice O’Keefe’s” and “Kit White’s No. 2.” The song
“Donal Don” from Ford's Vagabond Songs
and Ballads of Scotland (1899 & 1901) uses the melody. Kerr (Merry Melodies), vol. 3; No. 418, pg.
46.
X:1
T:MacGregor's March
S:Howard & Co's Melodion Tutor,
Z:Nigel Gatherer
N:Transposed from C for comparison
M:2/4
L:1/8
K:D
AA/B/ AA/B/|Ad d2|BB/c/ BB/c/|Be
Bc|AA/B/ AA/B/|
Ad d2|Be Bc|d z d2::f2 f2|fB B2|
BB/c/ Bc|dA A2|f2 f2|fB B2|Be Bc|d z
d2:|]
MACGREGOR'S SEARCH. Scottish. From Daniel Dow's
"Ancient Scots Music." Dow was a teacher of music in
MAC GRIOGAIR A RUARO (Lamentation for MacGregor of Roro). AKA ‑ "MacGregor's
Lamentation." Scottish, Slow Air and Waltz. A Major. Standard tuning. One
part. From Daniel Dow's Ancient Scots Music. Clan Gregor claims
descent from Grigar, third son of Kenneth MacAlpin, first king of
Scotland. Glenorchy was the clan’s
original seat but as they prospered lands in Glengyle, Glen Lyon, Glen Straye
and Balquidder came under their control. The clan’s prospects waned in response
to increasing power of the Campbells, however, resulting in their retreat into
the Balquidder area, and at one point they became known as “The landless clan.”
Gow (1802) says: “Very slow with much expression.” Morison also indicates a
slow tempo and says the composition is “Old”. Carlin (The Gow Collection), 1986; No. 594. Gow (Complete Repository), Part 2, 1802; pg. 2. MacDonald (The Skye Collection), 1887; pg. 153.
Morison (Highland Airs and Quicksteps,
vol. 2), c. 1882; No. 25, pg. 14. Flying Fish FF358,
Robin Williamson, "Legacy of the Scottish Harpers, vol. 1" (appears
as "MacGregor's Lamentation").
X:1
T:Lamentation for Mac Gregor of Roro
T:Mac Griogair a Ruaro
M:3/4
L:1/8
R:Air
Q:80
S:MacDonald – Skye Collection (1887)
Z:AK/Fiddler’s Companion
K:A
E>F|A2 A2 BA/B/|(c2E) z E>F|A2
~A2 {c}B(A/B/)|(c2E2) (A,/C/E)|c2 ~c2 e>c|
B2A2F2|E2 C>B,CE|F2 A,z E>F|A2A2
BA/B/|(c2E2) ~E>F|A2A2 BA/B/|
c2 E2 (A,/C/E/A/)|c2 ~c2
{c}e>c|{c}B2 A2 A>F|(E2C2) E>C|B,2 A,2||
X:2
T:Macgregor o’ Ruari
M:3/4
L:1/8
R:Air
N:”Slow”
S:Morison – Highland Airs and Quicksteps, vol. 2 (c. 1882)
Z:AK/Fiddler’s Companion
K:A
EF | A2A2 BA/B/ | c2E2 EE | A2A2
BA/B/ | c2E2 A,/>C/E | c2c2 e>c |
{c}B2A2E2 | E2 CB,CE | {E}F2A,2 EF |
A2A2 BA/B/ | c2E2 EF |
A2A B{c/B/}A/B/ | c2E2 A,/C/E | c2c2
ec | {c}B2A2 AF | {F}E2C2 EC | (B,2A,2) ||
MACGUIRE’S KICK [1]. Irish, March (6/8 time). C Minor. Standard tuning. AB. Stanford/Petrie
(Complete Collection), 1905; No. 409,
pg. 103.
X:1
T:MacGuire’s Kick [1]
M:6/8
L:1/8
R:March
S:Stanford/Petrie (1905), No. 409
Z:AK/Fiddler’s Companion
K:Cmin
B | cde f2g | {d/f/}e2d {B/d/}c2B | cde
f2g | e3 c2B | cde f2g | {d/f/}e2d {B/d/}c2B |
BGF FGB | e2f g2 || e/c/ | BGF
{E/G/}F2F | GFE {E/F/}E2G | BGF FGB | e2f gec |
BGF F2F | GFE E2G | BGF FGB | “tr”c3
e2 ||
MACGUIRE’S KICK [2]. Irish, March (6/8 time). G Minor. Standard tuning. AB. Petrie notes
this is “The rebels’ march in 1798" [Stanford/Petrie], referring to the
rebellion by the largely Catholic Irish against the occupying English in that
year. Stanford/Petrie (Complete
Collection), 1905; No. 410, pg. 104.
X:1
T:MacGuire’s Kick [1]
M:6/8
L:1/8
R:March
S:Stanford/Petrie (1905), No. 410
Z:AK/Fiddler’s Companion
K:Gmin
B/>F/ | D2C C>B,C | D2B, B,A,B, | D2C CDF | ~B2c dBF | D2C C>B,C |
D2B, B,>A,B, | D2C CD~F | G3B2 ||
F | (FG)B c2d | {c}B2A G2F |
(FG)B c2d | B3 G2F | (FG)B c>Bc |
dBG GFD | FDC CDF | B3 (dB)F |
D2C CB,C | D2B, B,A,B, | D2C CDF |
“tr”B2c dBF |
D2C CB,C | D2B, B,2D | F>DC (CD)F
| ~G3 B2 ||
MACHINE WITHOUT HORSES, THE. Canadian, Jig. Canada, Cape Breton. G Major. Standard
tuning. AA’BB’. Source for notated version: Winston Fitzgerald (1914-1987, Cape
Breton) [Cranford]. Cranford (Winston
Fitzgerald), 1997; No. 207, pg. 80.
MACHYNLLETH. Welsh. From Robin Huw
Bowen's Blodau'r Grug.
MACINTOSH OF MACINTOSH. AKA and see “The Bridge of
Inver." Scottish, Reel. B Flat Major. Standard tuning. AAB. Composed
by James MacIntosh. James Macintosh (1791-1879) was, according to J. Murray
Neil (The Scots Fiddle, 1991), a
member of a musical family that produced six skilled fiddlers in three
generations. James’ father was a contemporary, friend and neighbour of the
famous Scots fiddler Niel Gow’s in Inver, Dunkeld, Perthshire, and played in
the latter’s band. James and his brother Charles took lessons from Niel and
remained close to the family. James attempted a career as a joiner, explains J.
Murray Neil, but, when invited to Edinburgh by the Gow sons to play in their
band (the ‘Reel players of Scotland’, a celebrated string band of up to 20
skilled musicians), he at once departed for the city. In addition to his
professional playing, Macintosh established a reputation as a music teacher in
Edinburgh and had several compositions printed by Lowe (1844) and later Kerr.
Lowe (A Collection of Reels and
Strathspeys), 1844. MacDonald (The
Skye Collection), 1887; pg. 129.
X:1
T:MacIntosh of MacIntosh
M:C
L:1/8
R:Reel
S:MacDonald – Skye Collection (1887)
Z:AK/Fiddler’s Companion
K:Bb
d|B2 FE DB,B,D|ECCE DFFA|B2 FE
(DF)BF|GEcA B2B:|
f|dBdf gabg|fdcB Acce|dBdf gabg|fdec
B2 Bf|
dBdf gabg|fdcB Accd|BGFE DFBF|GEcA
B2B||
MACINTOSH’S LAMENT. See “McIntosh’s Lament.”
MACINTYRE’S
FAREWELL [1]. Scottish, Air (whole time). G Minor. Standard
tuning. AAB. “By Himself” (Gow). Duncan MacIntyre (c. 1765-1807) was a
contemporary of publisher, composer and performer Nathaniel Gow (1763-1831).
Several of his tunes appear in the later Gow collections. Gow (Sixth Collection of Strathspey Reels),
1822; pg. 36.
X:1
T:MacIntyre’s Farewell [1]
M:C
L:1/8
R:Air
N:”Slow”
C:”By Himself” (Gow)
B:Gow – Sixth Collection of
Strathspey Reels (1822)
Z:AK/Fiddler’s Companion
K:Gmin
d|(BG) ~G.A .G/.A/.B/.c/
.d/.=e/.^f/.g/|d>e c>d BFFd|(BG) ~G>A .G/.A/.B/.c/ .d/.=e/.^f/.g/|d>e
c>d BGG:||
g>a {ga}bg (d<g)
B2|(A<c)c>d BFFd|”tr”g>a bg d<g B2|(A<d)cd BGGd|
”tr”g>a {ga}bg (d<g)
B2|(A<c)c>d BFFd|B<G (G/B/)(A/c/) B>d c>e|d<b “tr”c>d
BGG||
MACINTYRE’S FAREWELL [2].
Canadian, Pipe March (2/4 time). A Mixolydian. Standard tuning. AABB. Composed
by piper Barry W. Shears in memorium of Duncan MacIntyre, Amherst, formerly of
French Road, Cape Breton. Shears (Gathering
of the Clans Collection, vol. 1), 1986; pg. 35.
MACISSAC’S REEL. AKA and see “John o’ Badenyond,” “Old Time Wedding Reel [1].”
MACIVAR'S. Scottish, Strathspey. C Major. Standard tuning. AABB'. Kerr (Merry Melodies), vol. 2; No. 86, pg. 12.
X:1
T:MacIvar’s
M:C
L:1/8
R:Strathspey
B:Kerr – Merry Melodies, vol. 2, No. 86
(c. 1880’s)
Z:AK/Fiddler’s Companion
K:C
c|G<EE>c G<EE>c|G<Ec>
|e|c(e/f/g>)e
c<ge<a|g<cg>e d2 (d>e)|c(e/f/ g>)e c<ge>d|c<A c>
c(e/f/g>)e c<ge<a|g<cg>e
d2 (d>e)|g>ef>d e>c d>B|c<A G>E D3||
MACKENNA'S DREAM. AKA and see "Captain
Rock(e's) [1]," "John Doe,"
"The Grand
Conversation of Napoleon," "Greenfields of America [1],"
"Pretty Molly Bralligan,"
"Molly Brallaghan [1]."
Irish, Air (4/4 time). D Mixolydian. Standard tuning. AB. "The air of this
song, which I remember from my childhood, was otherwise called 'John Doe,' and
also 'The Grand Conversation', from a song about Napoleon, of which every verse
ended in this, which is the only verse I remember:‑‑
***
As Mars and Apollo were viewing some implements,
Bellona stepped forward and asked them what news;
That had been got rusty for the want of being used.
The actions of Napoleon that made the money fly about,
Until the powers of Europe they did him depose;
But the All‑Seeing Eye would not let him run through the world:
This grand conversation was under the rose.
***
The air may be compared with two
others:‑‑ 'The Greenfields
of America' and 'Purty (Pretty) Molly Brallagan.' All are evidently varied
forms of the same original; but this‑‑which has not been printed
until now‑‑is by far the finest of the group. The words of
MacKenn'a Dream, in their original form, as they came from MacKenna's own
brain, and as I give them here, have not been hitherto published. But a version
is given in 'Ballads, Popular Poetry and Household Songs,' by 'Duncathail,'
with much literary polishing up; and this, with some further literary
alterations, is published by Mr. Halliday Sparling in his 'Irish Minstrelsy'.
But somehow when these simple old peasant songs are altered in this manner,
they are seldom improved; and they always lose the fresh racy flavour. I have
taken my version, partly from memory, and partly from a ballad‑sheet copy
in my collection, printed in Cork some seventy years ago. But I have other and
later printed ballad‑sheet copies with some differences, and all much
corrupted. MacKenna, in his vision, sees advance many historical Irish warriors
and patriots, from Brian Boru down to the heroes of Ninety‑eight"
(Joyce). Joyce (Old Irish Folk Music and
Song), 1909; No. 373, pgs. 176‑178.
X:1
T:MacKenna’s Dream
T:Captain Rock
L:1/8
M:C
S:Joyce – Old Irish Folk Music and Songs (1909)
Z:AK/Fiddler’s Companion
K:D
AG|FD FG AG E C2|D2 DD GE =CD|FE FG
A2 GE|E2 DD D3E|FE FG AG EC|
D2 DD GE =C2 D|FE FG A2 GE|E2 DD
D3||D|DE FG AG AB|=cB cA GE D>C|
DE FG AB =cA|dB GB A2 (3ABc|d2 ec dc
AG|FE FD E D2 =C>D|
FE FG A2 GE|E2 DD D2||
MACKENZIE AND MACPHEE. American, Reel. Composed by fiddler Frank Ferrel in honor of two of
Cape Breton’s most famous musicians, fiddler Carl Mackenzie and pianist Doug
MacPhee. Flying Fish FF70572, Frank Ferrel – “Yankee
Dreams: Wicked Good Fiddling from New England” (1991).
MACKENZIE FRASER. Scottish. Topic 12T280, J. Scott Skinner “The
Starthspey King.”
MACKENZIE HAY. Scottish, Strathspey. D Mixolydian. Standard tuning. AB. Composed by J. Scott Skinner, who recorded it himself on a wax
cylinder in
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: MacKenzie Hay
C: J.S.Skinner
R: strathspey
B: Christine Martin "Ceol na Fidhle" v.2 p.15 1988
D: J.S.Skinner 1906 (wax cylinder)
Z: 2008 John Chambers <jc:trillian.mit.edu>
M: C
L: 1/8
K: D
G \
| "D"F<D F>A {c}d2 d>f | "A"e>c "E"d>B "A"c<A A>=c \
| "G"B<G d>B "D"A2 F>D | "A"E>A "E7"^G>B "A"(3ABA "A7"=GFE |
y2 \
| "D"F<D F>A {c}d2 d>f | "A"e>c "E"d>B "A"c<A A>=c \
| "G"(3BGB (3dcB "D"(3Afe (3dcB | "A7"(3ABA (3GFE "D"F<D D |]
g \
| "D"f<d "A7"g>e "(D)"{^g}a2 "D"f>d | "A"e>c "E7"d>B "A"c<A "A7"A>g \
| "D"f>d "A"g>e "D"a>f "G"b>g | "D"a>f "A"g>e "D"f<d d>g |
y2 \
| "D"f<d "A7"g>e "(D)"{^g}a2 "D"f>d | "A"e>c "E7"d>B "A"c<A "A7"A>=c \
| "G"(3BGB (3dcB "D"(3Aag (3fed | "A7"(3cBA (3GFE "D"F<D D |]
MACKENZIE HIGHLANDERS. Scottish, March (2/4 time). A Mixolydian. Standard tuning. AABB’.
Martin (Ceol na Fidhle), vol. 4,
1991; pg. 34.
MACKENZIE'S FAREWELL. See "Mackenzie's
Farewell to Sutherland."
MACKENZIE’S FAREWELL
TO ROSS-SHIRE. Scottish, March (2/4 time). A
Mixolydian. Standard. AABB’. Martin (Ceol
na Fidhle), vol. 4, 1991; pg. 34.
MACKENZIE'S FAREWELL
TO SUTHERLAND. AKA - "Mackenzie's
Farewell." Scottish, Slow Air (6/8 time). D Major. Standard. AABB. Kerr (Merry Melodies), vol. 1; No. 5, pg. 47
(appears as "Mackenzie's Farewell"). Martin (Ceol na Fidhle), vol. 1, 1991; pg. 8.
MACKENZIE'S RANT. Scottish, Strathspey. A Dorian. Standard. AAB (
X:1
T:MacKenzie’s Rant
M:C|
L:1/8
R:Strathspey
B:Stewart-Robertson – The
Athole Collection (1884)
Z:AK/Fiddler’s Companion
K:A Minor
e|A<A c>d e>A c>e|G<G B>A G2 G|A<A c>d e>Ac>e|a>e g>B A2A:|
e|c>BA>^g a<e g>B|GGB>A G2 G>B|c>B Af/^g/ a>eg>B|a>egB A2 A>e|
c>BA>^g a>eg>B|G<G B>A
G>AB>G|A>Bc>e d>eg>a|g<e g>B A2A||
MACKILMOYLE REEL. AKA and see "Galop de
Malbie," “Galope de la Mal Baie.” French Canadian, New
X:1
T:Mackilmoyle Reel
M:C|
L:1/8
K:D
DFAd fdfd|cdec dBAF|DFA=c BGBG|FGAF E2FE|
DFAd fdfd|cdec dBAF|DFA=c BGBd|cdec d2d2:|
|:cdef gfg2|Ace^g aga2|Acef gfge|dfed cBA2|
cdef
gfg2|Ace^g aga2|Acef gfge|cdec d2d2:|
MACKINNON WEDDING, THE. Canadian, Reel.
MACKINNON'S
BROOK [1]. Canadian, Strathspey.
X:1
T:MacKinnon's Brook
M:C
L:1/8
Q:144
R:Strathspey
K:ADor
B|A/2A/2A A>G E/2E/2E
E>D|E<GE>D C>DE>G|
A/2A/2A A>B c>d e<a|g>e
d<B A2 A:|!
G|A/2A/2A A>B c>d
e<a|g>d e<g d<g B<G|
A<AA>B c>d e<a|g>e
d<B A2 A:|
MACKINNON’S BROOK [2]. Canadian, Reel.
MACKINNON’S OTHER RANT. Canadian, Reel. Canada, Cape Breton. A Dorian. Standard. AAB. Dunlay
& Greenberg (1996) report that master
MACKINNON'S RANT. AKA and see “Thro’
the World Wou’d I Gang Wi’ the Lad that Loves Me [2]." Canadian, Rant
or Reel. Canada; Cape Breton, Prince Edward Island. A Dorian (Dunlay/MacMaster,
Dunlay/Gillis, Perlman): A Mixolydian (Dunlay/MacDonald). Standard. AB
(Dunlay/MacDonald): AAB (Dunlay/MacMaster, Dunlay/Gillis, Perlman). Paul
Cranford suggests that “MacKinnon’s Rant” is related to the strathspey “Craig O’ Barns,” while John Shaw (in
the booklet to Topic 12TS354) attributed it to the 18th century Scottish
composer Robert MacKintosh. In the
William Christie Collection (1820) the melody is printed under the title “Thro’
the World Wou’d I Gang Wi’ the Lad that Loves Me.” Sources for notated
versions: Buddy MacMaster (Cape Breton) [Dunlay and Reich]; Alex Gillis and
Mary MacDonald (Cape Breton) [Dunlay & Greenberg]; George MacPhee (b. 1941,
Monticello, North-East Kings County, Prince Edward Island) [Perlman]. Dunlay
& Greenberg (Traditional Celtic
Violin Music from Cape Breton), 1996; pg. 62. Dunlay and Reich (Traditional Celtic Fiddle Music from Cape
Breton), 1986; pg. 44. Perlman (The
Fiddle Music of Prince Edward Island), 1996; pg. 89. Culburnie Records CUL 102, Alasdair Fraser & Jody
Stecher – “The Driven Bow” (1988. From the playing of Buddy MacMaster). Decca
14024 (78 RPM), Alex Gillis‑ "The Inverness Serenaders" (c.
1930's). DMP 6‑27, Doug MacPhee‑ "Cape Breton Piano II"
(1979. Appears as "Traditional Reel”). Sea-Cape Music ACR4-12940, Buddy
MacMaster - “Judique on the Floor” (1989. Appears as “Traditional Reel”). Topic
12TS354, Mary MacDonald‑ "Cape Breton Scottish Fiddle" (1978.
Appears as "Untitled" after “Crubach”). WMT002, Wendy MacIsaac –
“That’s What You Get” (appears as “The Craig of Barns Reel”). WRCI-4772, Unity
Gain U-1002, Dave MacIsaac - “Celtic Guitar” (1986. Appears after “The
Mystery).
MACKINNON’S REEL. Scottish, Reel. John Glen (1891) finds the earliest printing of the
tune in Robert Ross's 1780 collection
(pg. 36).
MACKINTOSH’S LAMENT. Scottish, Pibroch (3/4 time, "very slow"). A Mixolydian (for
fiddlers; it is played by pipers in the key of D). Scordatura (AEAC#).
AABB'CCDDEEGGGGHHII. This pibroch (originally a bagpipe tune) was supposed to
have been written in the year 1526; Johnson states it is still part of the pipe
repertory today. It was one of the tunes Niel Gow played for Robert Burns when
the latter visited him at his home in Dunkeld in October 1787.
***
Nigel Gatherer found the following passage in
an old book called The Fiddle in Scotland (n.d.) by Alexander G.
Murdoch, from an account by Peter Stewart, who accompanied Niel Gow during the
Burns visit:
***
Arriving at Dunkeld, [Burns]...put up at the
principal inn...[He] was
fortunate in making the acquaintance of Dr Stewart, an enthusiastic
amateur violin player. At the dinner table he quoted to his guests the
well-known local ditty-
. Dunkeld
it is a little toon,
. An' lies intil a howe;
. An' if ye want a fiddler loon,
. Spier ye for Niel Gow.
Burns expressed much delight at the proposal...a visit was at once
agreed to.
***
The greeting was a cordial one on both sides, and the meeting of Burns
and Gow - both geniuses of the first order in their respective lines -
was mutually worthy of each other. The magician of the bow gave them a
selection of north-country airs mostly of his own spirited composition.
The first tune was "Loch Erroch Side" which greatly delighted the
poet,
who long afterwards wrote for the same melody his touching lyric "Oh,
stay, sweet warbling woodlark, stay!"
At Burns's request, Niel next gave them his
pathetic "Lament for
Abercairney" and afterwards one of the best-known compositions in the
Highlands, "McIntosh's Lament". "Tullochgorum" was also
duly honoured,
after which the whole party adjourned to the little old-fashioned inn
at Inver, where there was a famous deoch, or parting friendly drink.
***
Source for notated version:
Macdonald's 1784 Highland Vocal Airs,
pg. 40. Johnson (Scottish Fiddle Music in
the 18th Century), 1984; No. 56, pgs. 134‑135. Greentrax CDTRAX 9009, Donald MacDonell (1888-1967) -
“Scottish Tradition 9: The Fiddler and his Art” (1993).
MACKINTOSHES REEL, THE. Scottish, Pipe Reel. A Mixolydian. Standard.
AABB'. Neil (The Scots Fiddle), 1991;
No. 135, pg. 174.
MACK'S BREAKDOWN. Old‑Time, Breakdown. Named for fiddler Mack Blalock. Rounder 0175, James Bryan ‑ "Lookout Blues"
(1983).
MACK’S HORNPIPE. Old-Time, Breakdown. B Flat Major. A version of “Niagara Hornpipe.”
MACK'S RAG. In the repertory of Buffalo Valley, Pa., region dance fiddler Ralph
Sauers.
MACK’S RAMBLES. Irish, Polka. G Major. Standard tuning (fiddle). AABB’. Mallinson (100 Polkas), 1997; No. 84, pg. 32.
MACKWORTH. Scottish, Slow Strathspey. B Flat Major. Standard tuning (fiddle). AB.
Composed by J.S. Skinner. Hunter (Fiddle Music of Scotland), 1988; No. 172
(arranged by J.M. Hunter). Martin (Traditional
Scottish Fiddling), 2002; pg. 140. Olympic 6151,
Arthur Robertson ‑ "Scottish Traditional Fiddle Music" (1978).
MACLACHLAN'S REEL. Scottish, Strathspey. C Major. Standard tuning (fiddle). AAB. John Glen
(1891) finds the earliest appearance of the tune in print in Angus Cumming's 1780 collection (pg. 16).
Glen notes similarities with Henry Playford’s “Cronstoune”, printed in 1700. Glen
(The Glen Collection of Scottish Dance
Music), vol. 1, 1891; pg. 11.
X:1
T:MacLachlan’s Reel
M:C
L:1/8
R:Strathspey
S:Glen Collection, vol. 1 (1891)
Z:AK/Fiddler’s Companion
K:C
E>G G<c G/G/G c2|c>de>c
d2 D2|(EGG)g e>gd>e|c>AG>E C/C/C C2:|
(G/F/E/D/) C>E G>Ac>G|A>cE>c
d2 d>e|g>ec>g a>eg>d|e>cg>e c/c/c cg|
a>eg>d e>cg>e|fage d2
D2|(EGG)g e>gd>e|c>AG>E C/C/C C2||
MACLACHLAN'S RANT. Scottish, Strathspey. D Mixolydian. Standard tuning (fiddle). AABBCC.
John Glen (1891) finds the earliest appearance of the tune in print in Neil Stewart's 1761 collection (pg. 29). McGlashan (Collection of Strathspey Reels), c. 1780/81; pg. 18.
X:1
T:MacLachlan’s Rant
M:C
L:1/8
R:Strathspey
S:McGlashan – Strathspey Reels (c. 1780)
Z:AK/Fiddler’s Companion
K:Dmix
A|F>EDg a/g/f/e/ fd|e/f/g f/g/a
eEEA|F>EDg a/g/f/e/ fd|f/g/a e/e/f dDD:|
|:A|F>EDA D/D/D F>D|ECCE
G/F/E/D/ CE|F>EDA D/D/D F>D|
ECCE G/F/E/D/ CE|F>EDA D/D/D
FD|f/g/a e/e/f dDD:|
|:e|f>df>d f>df>d|ecce
g/f/e/d/ ce|f>df>d f>df>d|f/g/a e/e/f dDD:|
MACLACHLAN'S SCOTS
MEASURE. AKA ‑ "MacLauchlane's
Scotch Measure." Scottish, Scottish Measure. D Major. Standard tuning
(fiddle). AABB. The melody appears in the McGlashan Collection of Scots Measures (late 18th century). Emmerson (1971)
believes it likely that MacLachlan was a dancer or a musician, otherwise the
honorific "Mr." would have been inserted in the title. Stewart-Robertson
(The Athole Collection), 1884; pg.
152.
X:1
T:MacLauchlane’s
Scotch Measure
M:C|
L:1/8
R:Country
Dances
B:Stewart-Robertson
– The Athole Collection
(1884)
Z:AK/Fiddler’s Companion
K:D
F>E|D2
DF EDEF|A2 (E2E2)F>E|D2 DF EDEF|AFED d2 d>e|
f>edf edBe|dBAF
E2 F>E|DEFG ABdA|F2D2D2:|
|:f>d|d2a2
fgaf|b2 (e2e2)f>e|d2a2 fgab|agfe d2d>e|
f>edf e>dBe|dBAF E2
F>E|DEFG ABdA|F2D2D2:|
MACLAINE OF LOCH
BUIE'S REEL.
AKA and see: "The Highlander's Rant,"
"Greetings to
the Beatons of Mabou," “Mabou
Reel [2]," "MacLean of Loch Ban,”
"Wildcat Reel" (a similar
tune), “Willy McKenzie’s.” Canadian,
Reel. Canada, Cape Breton. A Mixolydian. Standard tuning (fiddle). AAB. The
melody appears in Ross’s Collection of
Pipe Music (1885). Donald Angus Beaton (Mabou, Cape Breton) [Dunlay and
Reich]. Dunlay and Reich (Traditional
Celtic Fiddle Music of Cape Breton), 1986; pg. 40. Canadian
Broadcasting Corp. NMAS 1972, Natalie MacMaster - "Fit as a Fiddle"
(1993). Celtic 13 Rodeo (Banff) 1257, The MacLellan Trio‑ "The Music
of Cape Breton" (appears as "Wildcat Reel"). Celtic CX11, John
A. MacDonald‑ "Scottish Fiddling" (appears as "The
Highlander's Reel"). DAB4‑1985, Donald Angus Beaton‑ "A
Musical Legacy" (appears as "A Mabou Reel"). PLP4‑1012,
Joe Cormier‑ "The Cheticamp Connection" (appears as
"Greetings to the Beatons of Mabou"). Rounder 7003, John Campbell‑
"Cape Breton Violin Music" (appears as "Traditional Reel").
STEPH 1-94, Stephanie Wills - “Tradition Continued” (1994). University College
of Cape Breton UCCBP 1007, Dan Joe MacInnis‑ "Celtic Music of Cape
Breton, Vol. I" (various artists){appears as "MacLean of Loch
Ban"}.
X:1
T:MacLaine of Loch Buie’s Reel
M:4/4
L:1/8
R:Reel
K:Amix
e2 de AAAB | g2 fg BGBd | e2 de edea |1gedB BAAA :|2gedB A3 e :|
|: a2 ag aeef | gage fdcd | eaag aeea | gedB BAAA |
a2 ag aeef | gage fdcd | g2 ag geea | gedB A4 |:
MACLAUCHLANE'S SCOTCH
MEASURE. AKA and see "MacLachlan's Scots Measure."
MACLEAN OF LOACH BAN. See "MacLaine of Loch
Buie's Reel."
MACLEAN OF PENNYCROSS. Scottish, March. A Major. Standard tuning (fiddle). AABB’CCDD’.
Composed by Pipe Major A. Ferguson. Christine Martin (2002) says this Highland
pipe march has crept into the North East fiddle tradition, albeit rendered with
different bowings and style to West Coast Scottish playing. Source for notated
version: the Inverness Fiddlers [Martin]. Martin (Traditional Scottish Fiddling), 2002; pg. 118. Olympic 6151, Arthur Robertson ‑ "Scottish
Traditional Fiddle Music" (1978).
MACLEAN SCOTS MEASURE. Scottish, Scottish Measure. The melody appears in the Blaikie MS., and
the title is the earliest use of the term "Scots Measure" (Emmerson,
1971). There was a noted dancing master in Edinburgh named Maclean; Emmerson
(1971) points out that 'Maclean' must have been a musician or dancer, otherwise
the honorific "Mr." would have been inserted in the title.
MACLEAN'S FAVORITE. AKA and see “McLean’s Favorite.”
Irish, Reel. E Minor ('A' part) & D Major ('B' part). Standard tuning
(fiddle). AA'BB'. O'Neill (Krassen), 1976; pg. 177. O’Neill (Dance Music of
Ireland: 1001 Gems), 1907/1986;
No. 579, pg. 106.
X:1
T:MacLean’s Favorite
M:C|
L:1/8
R:Reel
S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 579
Z:AK/Fiddler’s Companion
K:Emin
gf|:edBA GABc|dGBG dGBe|edBA GABA|1
Beed efgf:|2 Beed e2||
e2|defg afdf|faec BAFE|Aceg a2
ae|gbeg afec|
Aceg a2 ae|faec BAFE|Aceg a2 ge|fefg
agaf||
MACLEAN’S WELCOME.
See “Come Over the Stream to Charlie.”
MACLEOD OF MACLEOD’S
CHORUS SONG (Luinneag Mhic
Leoid).
Scottish, Air (6/8 time). D Major. Standard tuning (fiddle). AABB. “This is another
of the genuine compositions of M’Leod’s female bard, formerly mentioned, and
patronimically called, Mairi nighean
Alastair Ruaidh, being a lullaby to her patron Sir Roderick.” Fraser (The Airs and Melodies Peculiar to the
Highlands of Scotland and the Isles), 1874; No. 65, pg. 23.
X:1
T:Macleod of Macleod’s Chorus Song
T:Luinneag Mhic Leoid
M:6/8
L:1/8
R:Air
S:Fraser Collection (1874)
Z:AK/Fiddler’s Companion
K:D
(3d/4c/4B/4|A2D F2A|F2E F2
(3d/c/B/|A2D F2A|E2D D2 (3d/c/B/|
A2D F2A|F>(G/F/E/) F2A|d>ef
F2A|[C2E2][DF][D2F2]:|
|:A,|D>EF (G>FG)|AGF
G>AB|(B>A)d A>G/(F/G/)|AFD E2 (D/A,/)|
D>EF (G>FG)|AGF G>A z/B/|B>Ad A>G/(F/G/)|AA,D (E2 D/)||
MACLEOD OF MULL. Scottish, March (6/8 time). B Minor. Standard tuning. AABB'CC'.
Composed by Pipe Major D. MacLeod. Martin (Ceol
na Fidhle), vol. 1, 1991; pg. 22.
MACLEOD'S DAUGHTER (Nighean Thormaid). Scottish, Slow Air (4/4 time). G Minor.
Standard tuning. ABCD. "There are words of various merit to this air,
often imperfectly sung. Those which bear the name given in this work suit it
best, and relate to some occasion the Macleod family had for recruiting men,
when the heir was a minor, and a lady the active instrument. The words profess
the warmest attachment to her and the family interests" (Fraser). Fraser (The Airs and Melodies Peculiar to the
Highlands of Scotland and the Isles), 1874; No. 65, pg. 23.
X:1
T:Macleod’s Daughter
T:Nighean Thormaid
M:C
L:1/8
R:Air
S:Fraser Collection
(1874)
Z:AK/Fiddler’s Companion
K:Gmin
A|B>AG>^F d2 =F2|F<B D>=E F3A|B>AG>^F d2 F2|G<B D>^F G3A|
B>AG>^F d3 ^f|g>b=f>g d>fcd|B>ABc d>BA>c|B>GA>^F G2 G||A|
B<G G>^F d3 g/4^f/4g/4a/4|b>ag>=f d2 cB|c>=Bc>e d>_Bc>A|
B>GA^F G2 GA|B<G G>^F d3 g/4^f/4g/4a/4|b>ag>=f d2 cB|c>=Bce dg f/e/d/c/|
B>GA>^F G3||A|B>AG>^F d2 =F2|F<B D>=E F3A|B>AG>^F d2F2|
G<B D>^F G3A|B>AG>^F d3^f|g>b=f>g d>fcd|B>AB>c d>BA>c|B>GA>^F G2G||
b/a/|g>fd>e f<b d>e|f>d B/c/d/e/ (f2 f)b/a/|g>fd>e f<b d>c|
B>d c/=B/c/d/ e>(3g/4f/4e/4 d>e|d>cB>c d<f
F2|F<B D>=
G>AB>c d>Bc>A|B>GA>^F G2G||
MACLEOD'S FAREWELL. Scottish, Composed by D. Shaw. Green Linnet SIF‑1094, Capercaillie ‑
"Sidewaulk" (1991).
MACLEOD’S QUICKSTEP. Scottish, March (2/4 time). A Mixolydian. Standard tuning. AABB.
Composed by Scots fiddler-composer J. Scott Skinner
(1843-1927). Skinner (Harp and Claymore),
1904; pg. 45.
X:1
T:MacLeod’s Quickstep
M:2/4
L:1/8
R:March
C:J. Scott Skinner (1843-1927)
S:Skinner – Harp and Claymore (1904)
Z:AK/Fiddler’s Companion
K:A Mix
.c/.B/ | Ac/e/ ag/a/ | ({a}f)e/c/
({c}e2) | fe/c/ eA | gG B/c/d/B/ | Ac/e/ ag/a/ | fe/c/ ({c}e2) |
d/c/B/A/ gB/d/ | ({d}e)(AA) :: A |
aA c/d/e/A/ | ee/c/ ({c}e2) | fe/c/ eA | gG B/c/d/B/ |
aA c/d/e/A/ | fe/c/ ({c}ea |
d/c/B/A/ “tr”gB/d/ | ({c}e)(AA) :|
MACLEOD'S REEL [1]. AKA and see "Miss
McLeod's/MacLeod's Reel [1]."
MACLEOD’S REEL [2]. Scottish, Strathspey. D Major. Standard tuning. AABB. McGlashan (Collection of Strathspey Reels), c. 1780/81; pg. 8.
X:1
T:MacLeod’s Reel
M:C
L:1/8
R:Strathspey
S:McGlashan – Strathspey Reels (c. 1780)
Z:AK/Fiddler’s Companion
K:D
B|A>BAF A>BdB|AfdF E/E/E B2|A>FD>F A/A/A a>g|f>def d/d/d d:|
f/g/|a>fd>f a>gf>d|g>bf>a e/e/e ef/g/|a>fdf a>baf|g>ea>f d/d/d df/g/|
a>fd>f
d>AF>D|F>Ad>F E/E/E B2|F>AG>B F>AD>g|f>def d/d/d d||
MACLELLANS’ STRATHSPEY, THE. Canadian, Strathspey. Canada, Cape Breton. A
Major. Standard tuning. AB. Composed by Cape Breton fiddler Dan R. MacDonald
(1911-1976). Cameron (Trip to Windsor),
1994; pg. 4.
MACMAHON'S HORNPIPE. Irish, Hornpipe. G Major. Standard tuning. AABB. Miller & Perron (Traditional Irish Fiddle Music), 1977;
vol. 2, No. 32. Leader LER 2086, "The Boys of the
Lough."
MACMURRAY OF AUCHIMEYERS REEL. Scottish (?), Reel. F Major.
Standard tuning. AABB. Source for notated version: the music manuscript book of
Ellis Knowles, a musician from Radcliffe, Lancashire, England, written c.
1845-1847 [Plain Brown]. Plain Brown Tune Book, 1997; pg. 13.
X:1
T:Mac Murray of Auchimeyers Reel
M:C|
L:1/8
K:F
B | A/B/c fc dcfc | A/B/c fc dcdf |
A/B/c fc cf/g/ ag | fdcA F3 :|
|: A/B/ | cFAF cFBd | cF d/c/B/A/ G3
A/B/ | cFAF faga | fdcA F2 :|
MACMURROUGH, THE. Scottish?, Jig. C Major. Standard tuning.
AABB. Harding’s All Round Collection,
1905; No. 60, pg. 18.
X:1
T:MacMurrough, The
M:6/8
L:1/8
R:Jig
B:Harding’s All-Round Collection, No. 60 (1905)
Z:AK/Fiddler’s Companion
K:C
G|cGE Cce|dBG Gdf|edc gfe|e3 d2G|cGE
Cce|
dBG Gdf|ege fdB|(d3 c)z::e|gec
ceg|afc cfa|gec gec|
e3 d2e|gec ceg|afc cfa|gec GAB|(d3
c)z:|
MACNAMARA’S JIG, THE. Canadian, Jig. Canada, Cape Breton. A Major.
Standard tuning. AA;BB. Composed by fiddler Brenda Stubbert (b. 1959, Point
Aconi, Cape Breton, Nova Scotia). Cranford (Brenda
Stubbert’s), 1994; No. 86, pg. 32.
MACNEILS OF UGADALE, THE. Canadian, March (6/8 time). Canada, Cape
Breton. Composed by John M. MacKenzie. Canadian
Broadcasting Corp. NMAS 1972, Natalie MacMaster - "Fit as a Fiddle"
(1993).
X:1
T:MACNEILS OF UGADALE
R:march
M:6/8
L:1/8
K:Hp
a|c>dB A2A|c<ee e>cA|f>ec e>fa|a>ec B2a|!
c>dB A2A|c<ee e>cA|c<dB e>fc|A3 A2:||!
e|a>gf e2a|e>fe e3/2c/A|a>gf e2a|a>ec B2e|!
a>gf e2a|e>fe e3/2c/A|c<dB e>fc|A3 A2e|!
a>gf e2a|e>fe e3/2c/A|a>gf e2a|a>ec B2a|!
c>dB A2A|c<ee e>cA|c<dB e>fc|A3 A2||!
a|c3 A3|c<ee e3/2c/A|f3 d2a|a>ec B2a|!
c3 A3|c<ee e3/2c/A|c<dB e>fc|A3 A2 :||!
e|f2a d2a|e>fe e>cA|f2a d2a|a>ec B2e|!
f2a d2a|e>fe e>cA|c>dB e>fc|A3 A2e|!
f2a d2a|e>fe e>cA|f2a d2a|a>ec B2a|!
c<dB e>fc|a>gf e2a|c<dB e>fc|A3 ||
MACPADDIN’S FAVORITE. AKA and see “The Priests Leap
[1].”
MACPHERSON OF
STRATHMASHY (Strath-Mhathaisidh). Scottish, Slow Strathspey. E Flat
Major. Standard tuning. AB. "The editor never heard, but from his father,
this choice air, to which he could sing but one verse, by MacPherson of
Strathmashy. The world is so much and so unconsciously indebted to this
gentleman's recitations of Ossian, and urging his friend to the publication of
that celebrated work, that every memorial of him is worthy of preservation. The
genuine humour of many of his songs, requiring an astonishing rapidity of
utterance, by being associated with several strathspeys and reels now in
circulation, and known as his composition, would entitle him to this notice,
were his merits otherwise less" (Fraser). Fraser (The Airs and Melodies Peculiar to the Highlands of Scotland and the
Isles), 1874; No. 216, pg. 89.
X:1
T:Macpherson of Strathmashy
T:Strath-Mhathaisidh
M:C
L:1/8
R:Strathspey
S:Fraser Collection
(1874)
Z:AK/Fiddler’s Companion
K:C Minor
e|B>GG>F E>C C<E|B,<G, E>G, B,3 e|B<G G>F E>C C<E|=B,<G, G>B, C2 C<e|
B<G G>F E>C C<E|B,<G, E>G, B,3e|B>GG>F E>C D<G|=B,<G, G>B, (C2C)||
G|c>de>^f g>GG>=A|B<e G>_A B2 (3Bed|c>de>^f g>GG>c|G<c d>B c2 cd|
~e>fg>e
f<d b>d|B<G e>G B2 Ba|g>fe>d c>de>g|G<c d>B c2c||
MACPHERSON'S BLADE. Scottish, Marching Air. E Minor. Standard tuning. AAB. Composed by J. Scott Skinner, first appearing in his Harp and Claymore collection. Skinner (The Scottish Violinist), pg. 41.
MACPHERSON’S CAVE. Scottish, Air (4/4 time). A
Major. Standard tuning. AAB. Composed by J. Scott
Skinner (1843-1927). Skinner (Harp
and Claymore Collection), 1904; pg. 17.
X:1
T:MacPherson’s Cave
M:C
L:1/8
C:J. Scott Skinner
R:”Pastoral” Air
N:”Fiercely”
Q:112
S:Skinner – Harp and Claymore (1904)
Z:AK/Fiddler’s Companion
K:A
({^e}f2) .F/.G/.A/.B/ cC .F2 |
d>cBA GF ^Ec | ({g}a2) A/B/c/d/ eEAc | fg/a/ g({g}a) f2f :|
c | (fg/a/) g({b}a) f2 f>B |
(ef/g/) fg e2 e>c | (fg/a/) g({b}a) f/g/a/f/ c’c | f/c/A/F/ c^e f2 f>c |
(fg/a/) g({b}a) f2 f>B | (ef/g/)
fg e2 ef/g/ | (a/g/).f/.e/ ({g}aA B/c/d/B/ c^e | f/c/A/F/ cC F2F ||
MACPHERSON'S FAREWELL. See "Macpherson's Lament."
An alternate title for “MacPherson’s Lament.” "M'Pherson's Farewell"
is the title poet Robert Burns's used in his famous reworking of the
traditional verses.
MACPHERSON'S LAMENT. AKA and see "Antarctic Ice," "Macpherson's Rant," "Macpherson's Farewell,"
"McFarsance's Tes(ta)ment," "MacFossett's Farewell," "The Freebooter." Scottish (originally),
English; Air, Country Dance or Lament. England, Northumberland. F Major (Gow,
Neil): G Major (Hardie, Johnson, McGibbon, Skinner): D Major (Lerwick): A Major
(Carlin). Standard tuning. AB (Skinner): AAB (Johnson): ABCD (Hardie): AABBCCDD
(Gow, McGibbon, Neil): ABCDEF (Lerwick). Though there is no proof, the melody
is popularly thought to have been composed by one of Scotland's first so called
fiddle composers, the legendary James Macpherson, "on the eve of
execution, by Himself, 1700" (Skinner). It appears in a manuscript by an
anonymous publisher, c. 1730, under the title "MacFossett's
Farewell," and, still earlier, in the
Margaret Sinkler Manuscript (1710) under the title "McFarsance's
Tes(ta)ment." MacPherson was born in Banffshire about 1675, the son, it is
said, of a beautiful gypsy woman and a Highland laird, MacPherson of
Invershire, Inverness‑shire. He was raised by his father who
unfortunately died young, at which time he went to live with his mother (whose
good looks he had inherited, though perhaps he acquired his immense physical
presence and strength from his father).
As MacPherson grew to adulthood he was lured to the wilder life and
became the leader of a lawless gypsy roving band, and he developed a reputation
as a freebooter who operated in the counties of Aberdeen, Banff and Moray. Highwaymen were not rare in Scotland, and
once he was captured and condemned it is likely he would have been forgotten,
but MacPherson insured his lasting fame with a grand gesture on the cold
November morning of his execution (11/7/1700) on the scaffold at Market Cross
in Banff.
***
Though various legends differ in the
details the main thread has MacPherson, with his fiddle in his hand, stepping
onto the platform whereupon he took up his bow and proceeded to play his last
communication to the world, his rant (or sometimes three tunes:
"MacPherson's Rant," "MacPherson's Pibroch" and "MacPherson's Farewell"). At the
conclusion of his performance he offered his violin to the assembled spectators
(or, as one version goes, "to anyone in the crowd who would think well of
him"), but either no one was brave enough to take it from the hands of a
condemned man, or he had no well-wishers in attendance, or no one wished to
implicate themselves by receiving the instrument. He looked around scornfully,
lifted the fiddle and broke it over his knee in a grand gesture of contempt,
though (as if the shattering were not dramatic enough) some versions have him
dashing the instrument over the head of his executioner and flinging himself
headlong off the scaffold and into oblivion.
At least one version has him throwing the pieces of the instrument into
his awaiting grave, though the broken remains of the fiddle he supposedly
played that day can be seen in the Macpherson Clan Museum at Newtonmore.
***
It seems the best legends are those
that embroider true facts, and that a freebooter named MacPherson was hanged in
Banff in 1700 is a matter of record. It
is a matter of belief, however, that he composed and played the rant which now
bears his name. Alburger (1983) finds that there is no contemporary evidence
that the outlaw was a fiddler, much less a composer:
***
Turning to the trial records, published in 1846, one finds this sole
reference
to MacPherson and anything musical: 'M'Pherson...wes one night in the
house at that tyme, and drunk with the res, and danced all night.' The
only
musician mentioned in this account is Peter Broune, who 'went sometymes
to Elchies, and played on the wiol' and 'got money sometyms for playing
on
the wiol...' (He may have been one of the 'Browns of Kincardine'
referred to
later in this chapter as early strathspey players and composers.) Nor is the
earliest broadside helpful. 'The Last Words of James Macpherson,
Murderer',
printed about 1705, contains nothing about the dramatic gesture with
which
he is thought to have ended his life, and nothing about fiddling.
Apparently
there is a later version, which adds to the title the words 'To its own
proper
tune'. It is quite likely that the tune was written after the event to
suit the
broadside, for it fits the words perfectly...It may be that over the
years
tradtional memory fused MacPherson's story with the musical facts about
Peter Broune, who was on trial at the same time.
***
There is another legend also
connected with the execution which states that the local powers that were,
being cognisant that a reprieve was on the way, moved the town clock ahead one
hour so that it would arrive only after the hanging. Neil (1991) reports that
the magistrates of the town were punished for this perfidious act for many
years in that they were forced to keep the town clock 20 minutes behind the
right time, and remarks that even to this day jests are still made about the
veracity of the time in Banff. Collinson (1966, pgs. 210‑211) also gives
a similar thorough treatment of the legend of the highwayman and his melody.
***
The title appears in Henry Robson's
list of popular Northumbrian song and dance tunes ("The Northern
Minstrel's Budget"), which he published c. 1800. Robert Burns also wrote a
famous song to the tune, called "MacPherson's Farewell," which begins
***
Farewell, ye dungeons dark and strong,
The wretch's destinie!
MacPherson's time will not be long
On yonder gallows‑tree.
Sae rantingly, sae wantonly,
Sae dauntingly gaed he,
He play'd a spring, and danc'd it round
Below the gallows‑tree.
***
D.K. Wilgus, in his article
"The Hanged Fiddler Legend in Anglo-American Tradition," finds
evidence of an earlier MacPherson in Ireland with an almost identical story. He
cites a chapbook called The Lives and
Actions of the Most Notorioius Irish Highwaymen Tories and Rapparees, from
Redmond O'Hanlon to Cahier Na Gappul, printed in Dublin in the early 19th
century which contains a section entitled "Some Passages of the Life of
Strong John Macpherson, a notorious Robber." The chapbook relates that the Irish highwayman, at the age of
nineteen inherited:
***
A pretty little income¼which he made a shift to spend in the company of
pert women and gamesters, in less than three years, during which he was
always a leading man at hurlings, patrons, and matches of foot-ball¼He
was accounted in his time the strongest man in the nation; he could hold
a hundred weight at arms' length in one hand, and would make little or
nothing of twisting a new horse-shoe round like a gad; yet
nothwithstanding
all this activity he was soon reduced to poverty, and so, from one step
after
another, brought to the gallows¼He was never known to murder anybody;
nay he was very cautious of striking unless in his own defence; though
in
his time he committed more robberies single handed by far than
O'Hanlon did, with whom he was acquainted, but with none of his gang.
However, he was at last taken by treachery, and after being tried and
found
Guilty was despatched by the common finisher of the law about 1678. As
he was carried to the gallows, he played a fine tune of his own
composing
on the bagpipe, which retains the name of Macpherson's tune to this day.
***
Source for notated version: Dr. John
Turner, director of the Jink and Diddle School of Scottish Fiddling, held
yearly in Valle Crucis,
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:MacPherson’s Lament
L:1/8
M:C
S:Gow – 1st Repository (1799)
Z:AK/Fiddler’s Companion
K:F
(C/D/E)|F3G F2A2|GFGA {A}G2FE|F3G
(AG)(FE)|{E}D4 D2 (C/D/E)|F3G F2A2|
{A}G>FGA {A}G2FE|F2 ED
(GE)(FD)|C4 C2::d2|c2F2c2d2|c3A (GA)Bd|c2F2(c2d2)|
D4 ~D2d2|c2F2c3A|{A}c3A (GB)AG|F2 ED (GE)(FD)|C4 C2::(c/d/e)|f3g f2a2|{a}gfga {a}g2 fe|
f3g (ag)fe|d4 d2 (c/d/e)|f3g f2a2|{a}gfga {a}g2fe|f2 ed (ge)(fd)|c4c2::a>g|
f2F2 (BA)(GF)|{AB}c2 F2F2 a>g|f2 F2 (c2d2)|D4 ~D2 a>g|
f>F (F2 {EF}A>)F (F2{EF})|{=B}c3A G2A2|F2 EF (GF)(ED)|C4 C2:|
X:2
T:McPherson’s farewell
M:C
L:1/8
N:”Lively”
S:McGibbon - Scots Tunes, book III, pg. 92 (1762)
Z:AK/Fiddler’s Companion
K:G
(D/4E/4F/) | G>AGB “tr”(A/G/A/)B/ A(G/F/) | G/B/A/)G/ (F/A/G/)F/ “tr”(E2 E)D/E/ |
G>AGB “tr”(A/G/A/)B/ A(G/F/) | G(F/E/) (A/F/)(G/E/) (D2D :: “tr”(f/e/) | dGeG c>BA”tr”(g/e/) |
dGeG (E2 E)”tr”(f/e/) | dG e/f/g/B/ “tr”c>BAB | GF/E/ A/F/G/E/ (D2D) :: (d/4e/4f/) |
g>agb “tr”(a/g/a/)b/ a”tr”(g/f/) | (g/b/a/g/) (f/a/g/f/) “tr”(e2 d)(d/4/e/4f/) | g>agb “tr”a/g/a/)b/ a(g/f/) |
g(f/e/) (a/f/)(g/e/) (d2d) :: “tr”(f/e/) | (d/G/)(e/G/) (d/G/)(e/G/) c>B A”tr”(f/e/) | (d/G/)(e/G/) (f/G/)(g/G/) (E2 E)”tr”(f/e/) |
d/(g/”tr”f/e/) (d/c/B/)d/ (c/B/A/)c/ (B/A/)(G/F/) | (G/F/G/)E/ A/F/G/E/ (D2D) :|
MACPHERSON'S RANT. AKA‑ "MacPherson's Lament,"
"Macpherson's Testament."
Scottish, English; Slow Air, Rant, Reel or Strathspey. England, Northumberland.
F Major (Emmerson, Gow, Vickers): C Major (Johnson): G Major (Martin, Skinner).
Standard. AB (Martin, Skinner): AABB (Emmerson/Gow): AABBCC (Vickers): ABCB
(Johnson). Essentially the same tune as that entitled "MacPherson's
Lament;" see notes for that tune. The melody appears in the Bodleian Manuscript (in the Bodleian
Library,
X:1
T:MacPherson’s Rant
M:C
L:1/8
S:Skinner – Harp and Claymore (1904)
Z:AK/Fiddler’s Companion
K:G
D | G>AGB | A/G/A/B/ AG/F/ |
G>A (B/A/).G/.F/ (E2 E) D | G>A GB A/G/A/B/ A(G/F/) |
G>E (A/F/G/E/) (D2D) || B |
.d.G.d.e .B.A.A.B | dG de E2 E2B | dG de BAA (G/F/) |
G>E A/F/G/E/ (D2D) | d | g>agb
a/g/a/b/ a(g/f/) | g>a (b/a/g/f/) (e2e) d |
g>agb a/g/a/b/ a(g/f/) | g>e
(a/f/g/e/) (d2d) ||
MACPHERSON'S TESTAMENT. AKA and see "MacPherson's Rant."
MACRIMMON'S FAREWELL. See "The Piper's Weird."
MACRIMMON'S WEIRD. Scottish. One of the tunes included by J. Scott Skinner in his 1921 concert
set romantically entitled "Warblings From the Hills." It is, perhaps,
an amalgamation of the alternate titles "Macrimmon's
Farewell" and "The Piper's
Weird."
MACROOM LASSES, THE ("Na Cailinide Ua Mag-Cromp" or
"Cailini Mag-Crompa"). AKA and see "Farrell O'Gara's Favorite
Reel," “Last Night in
Leadville,” "Last Night's
Fun [1]," “More Power
to Your Elbow,” "Old
Joe Sife’s Reel," “Pretty
Jane’s Reel,” “Stick it in the
Ashes.” Irish; Reel, Highland or Fling. A Major. Standard tuning. AAB. The
‘B’ part requires playing in third position on the fiddle. A member of the
“Farrel O’Gara” family of tunes (see note under that title). Philippe Varlet
identifies the tune as a highland from the Scottish tune “Farrell O’Gara’s
Favourite.” The great New York/County Sligo fiddler Michael Coleman recorded
the tune under the title “The Killarney Wonder
Schottische [1].” “Stick it in the Ashes” and “More Power to Your Elbow”
are related tunes. O'Neill (O’Neill’s
Irish Music), 1915/1987; No. 233, pg. 124. O'Neill (Music of Ireland:
1850 Melodies), 1903/1979; No. 1219, pg. 230. O'Neill (Dance Music of
Ireland: 1001 Gems), 1907/1986;
No. 496, pg. 94. CEF
057, “Jackie Daly & Seamus Creagh.”
X:1
T:Macroom Lasses
M:C|
L:1/8
R:Reel
S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 496
Z:AK/Fiddler’s Companion
K:A
AF | EAAc BAaf | ecBd cAFA | EAAc
BAaf | ecBc A2 :|
|| (3efg | agaf eace | dBcA BAfg |
agaf eac’a | babc’ a2 ab |
c’afa eace | dBcA BAFA | EFAB cAaf |
ecBc A2 ||
MAC'S FANCY. AKA and see “The Inverness Jig
[2],” “MacGregor Jig,” “March
of Donald Lord of the Isles to the Battle of Harlaw (1411),” “O’Reilly’s Jig,” “The Rover’s Return,” “The Victor’s Return.” Irish, Jig. A
Mixolydian. Standard tuning. AABB. A
version of a Scottish tune entitled “March of Donald Lord of the Isles to the
Battle of Harlaw.” Black (Music’s the
Very Best Thing), 1996; No. 203, pg. 108. Green
Linnnet SIF 3037, Silly Wizard - "Golden, Golden" (1985). Shanachie
79005, De Dannann - “The Mist Covered Mountain” (appears as 1st tune on album).
X:1
T:Mac's Fancy
M:6/8
L:1/8
R:Jig
Z:Transcribed by Caroline Foty
K:AMix
|: eAA fed|eAA Bcd|eAA gfe|dBG
Bcd|eAA fed|eAA Bcd|~g3 gfe|dBG Bcd:|
|:A2a aga|aga aga|A2a aga|gfe
dBG|A2a aga|aga agf|~g3 gfe|dBG Bcd:|
X:2
T: Mac's Fancy
S: De Danaan
Q: 325
R: jig
Z:Transcribed by Bill Black
M: 6/8
L: 1/8
K: Dmix
ADD BAG | ADD EFG | ADD c2 A | GEC CEG |
ADD BAG | ADD EFG | AdB cBA | GEC CEG :|
Add ^cdd | Add dAB | c2 c cBA | GEC CEG |
Add ^cdd | Add dAB | cde dcA | GEC CEG :|
MACSWAIN’S REEL. Canadian, Reel. Canada; Nova
Scotia, Cape Breton Island. D Major. Standard tuning. AABB. The tune comes from
the whistling of Prince Edward Island accompanist Charlie MacSwain’s father,
who learned the tune in Nova Scotia. Source for notated version: Archie Stewart
{from the elder MacSwain’s whistling} (b. 1917, Milltown Cross, South Kings
County, Prince Edward Island) [Perlman]. Perlman (The Fiddle Music of Prince Edward Island), 1996; pg. 80.
MACSWEENEY’S MARCH. Irish, March. A tune played by the great Donegal piper Tarlach Mac
Suibhne, the Piobaire Mor, who was one of seven pipers who performed at the
first Feis Ceoil in Dublin, 1897 (as recorded by the Evening Telegraph). Caoimhin Mac Aoidh (1994) thinks it must be the
tune of the same name published by Mac Suibne’s brother Padraig in Songs of Uladh. It is a MacSweeney
chieftain who is depicted in a famous 1581 woodcut by John Derricke, sitting at
a feast being entertained by a bard and a harper, one of the most famous Tudor
images of Ireland. The MacSweeney family derived from the Mac Sween’s of
Scotland, a Norse-Scots clan who emigrated to Ireland as galloglasses (from the
Gaelic word Gallaglach, meaning
‘foreign soldiers’) to help in the wars against the English. In Scotland the
Sweens had entered into a treaty in 1310 with the Plantagenet king Edward II,
against John, Earl of Menteith, in a bid to regain their ancestral lands in
Knapdale. This attempt failed and the family fled to Ireland where they
established themselves in Ulster, Munster and Connaught, particulary in Tir
Connell (Donegal) where they became lords of a quarter of the region (Sanger
& Kinnaird, Tree of Strings,
1992).
MACTON REEL. Canadian, Reel. D Major. Standard tuning. AABB. Composed by one-time
Canadian Champion fiddler Ward Allen. GRT Records
9230-1031, “The Best of Ward Allen” (1973). Sparton Records SP 213, “Ward Allen
Presents Maple Leaf Hoedown, vol. 3.”
X:1
T:Macton
Reel
C:Ward Allen
R:reel
M:4/4
L:1/8
Z:Transcribed
by Bruce Osborne
K:D
(3A,B,C|D2
DC DEFG|EDEF G2 FG|AFGE FEDB,|CFED CA,B,C|
D2 DC
DEFG|EDEF G2 FG|AFGE FEDB,|CDEC D2:|
|:(3ABc|d2 dc
dAFA|dfed cABc|d2 cd BdAF|GBAG FDCE|
D2 DC DEFG|EDEF G2 FG|AFGE
FEDB,|CDEF D2:|
MACVICAR'S. Scottish, Strathspey. C Major. Standard tuning. AABCCD. Stewart-Robertson
(The Athole Collection), 1884; pg.
68.
X:1
T:MacVicar’s
M:C|
L:1/8
R:Strathspey
B:Stewart-Robertson – The
Athole Collection (1884)
Z:AK/Fiddler’s Companion
K:C
c|G<E E>c G<E E>c|G<E c>E D2 D>e|G<E E>G c>de>d|c>AG>E D2 D:|
e|ce/f/ g>e c<ge<a|g<c g>e d2 d>e|ce/f/ g>e c<g e>d|c>Ac>E D2 D>e|
ce/f/ g>e c<ge<a|g<c g>e d2
de/f/|g>ef>d e>cd>B|c>AG>
|:E|C>GE>c G>cE>c|C>GE>c D2 D>E|C>GE>G c>de>d|c>Ac>E D2D:|
e/f/|g>ce>c g<cf<a|g>cg>e d2 de/f/|g<c e>d c>de>d|c>AG>E D2 De/f/|
g<c e>c g<c f>a|g<c g>e d2
d^c/d/|e>cd>B c>AG>E|F>dE>c D2D||
_________________________
HOME ALPHABETICAL
FILES REFERENCES
© 1996-2010 Andrew Kuntz
Please help maintain the viability of the Fiddler’s
Companion on the Web by respecting the copyright.
For further information see Copyright and Permissions Policy or
contact the author.