The Fiddler’s Companion

© 1996-2009 Andrew Kuntz

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MAIG - MAL

 

 

 

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]

 

 

 

MAIGDEAN AG RGANAD LE NA GRAD (The Maiden’s lament for her lover’s departure). Irish, Slow Air (4/4 time). D Dorian. Standard tuning. One part. Source for notated version: “Skull. P. McDowell” [Petrie]. Stanford/Petrie (Complete Collection), 1905; No. 1075, pg. 272.

           

MAIGDINE ALAINN, NA. AKA and see "The Fair Maidens."

           

MAIGHDEAN MHARA. Irish, Slow Air (3/4 time). D Major/Mixolydian. Standard tuning. One part. Ó Canainn (Traditional Slow Airs), 1995; No. 107, pg. 91.

           

MAIGHDEAN MHARA AN MHULLAIGH MHOIR. AKA and see "The Maid of Mullaghmore."

           

MAIGHDEAN MHARA MULLACH MHÓIR. AKA and see “The Maid of Mullaghmore.”

           

MAIGHDEAN MHUILE (The Maiden of Mull). Scottish, Air (6/8 time). B Flat Major. Standard tuning. AB. The Island of Mull lies off the Scottish coast. Neil (The Scots Fiddle), 1991; No. 168, pg. 217.

                       

MAIGHDEAN NA h-AIRIGH. Scottish, Slow Air (3/4 time). G Major. Standard tuning. AB. Martin (Ceol na Fidhle), vol. 4, 1991; pg. 22.

                       

MAIGHDEANNAN NA HIBIRIDH (The Sheiling Song). AKA – “Maighdeanan na hÁiridh.” AKA and see "Thug mi'n oidhche raoir san airidh." Scottish, Air (3/4 time). G Major. Standard tuning. AAB (Martin): AABB (Neil). The Gaelic title is pronounced ‘MY-juh-nun nuh HA-ree’. A sheiling was/is a rustic dwelling used by herders (usually the sons and daughters of the family) while they tended livestock in the high summer pastures. The air was composed by John MacGilvray, alias 'Alasdair Ruadh', the piper to Alexander Macdonald X of Glenaladale. He was responsible, relates Neil (1991), for the building of the Glenfinnan Monument in 1874 and later emigrated with his family to Nova Scotia. Martin prints the air under the title "Thug mi'n oidhche raoir san airidh." There is perhaps (?) a relation with the hymn "Beach Spring" pinted in The Sacred Harp, Philadelphia, 1844. Martin (Ceol na Fidhle), vol. 2, 1988; pg. 4. Neil (The Scots Fiddle), 1991; No. 138, pg. 178. SUR 014, Capercaille – “The Blood is Strong.”

           

MAIGHREAD DILIS BREATHNACH. Irish, Air. G Dorian. Standard tuning. AB. Roche Collection, 1982, vol. 3; No. 16, pg. 5.

           

MAIGHSTREAS AN TI (Lady of the House). AKA and see "Lady of the House." Irish. See also "Woman of the House." Breathnach (CRÉ II), 1971; No. 71.

           

MAIGISTIR-RINNCE, AN. AKA and see "The Dancing Master."

           

MAIGISTREAS NI DUNLAINGE. AKA and see "Mrs. Delaney [2]."

           


MAIGUE'S TIDE. AKA and see "Salamanca {Reel} [1]," "The Wild Salamanca," "The Coronation Reel," "The Salamander," "The Tartan Plaid."

           

MAILÍ BHÁN. AKA and see "Fair Molly."

           

MAILÍ MIC AILPÍN. AKA and see "Molly MacAlpin," "Poll Ha'penny."

           

MAILÍ NIG UIDHIR. AKA and see “Molly Maguire [3].”

           

MAILÍ ÓN LONGFORT. AKA and see “Molly from Longford.”

           

MAILIN GUIDEY UYAIN. Irish. This air was recorded by the Belfast Northern Star of July 15, 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.

           

MÁILLÉAD AN TUÍODÓRA.  AKA and see “The Thatcher’s Mallet.”

 

MAILLI NI MAOLUAIN. AKA and see "Molly O'Malone."

           

MAINS OF GARTLY. Scottish, Reel. E Minor. Standard. AAB.  Composed by J. Scott Skinner (1843-1927) after a place he visited in Scotland. It appears in his Logie Collection. Alburger (Scottish Fiddlers and Their Music), 1983; Ex. 112, pg. 188. Skinner (The Scottish Violinist), pg. 23. Skinner (Harp and Claymore), 1904; pg. 66.

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:Mains of Gartly

M:C|

L:1/8

C:J. Scott Skinner (1843-1927)

R:Reel

S:Skinner – Logie Collection

Z:AK/Fiddler’s Companion

K:E Minor

B | (gf)e^d e2 Bd | efga fddf | gfe^d e=dBg | fe^df e(EE) :|

F | G/G/G (BG) dG gG | D/D/D (FD) Ad dD | E/E/E (GE) BE ge | fe^df e(EE).F |

G/G/G (BG) dG gG | D/D/D (FD) AD df | .g.f  .e.^d .e.=d B.g | .f.b .B.b g(ee) ||  

           

MAIR ROZIT.  Scottish, Reel. E Minor. Standard. AAB. Composed by J. Scott Skinner (1843-1927). Skinner (Harp and Claymore), 1904; pg. 65.

X:1

T:Mair Rozit

M:2/4

L:1/8

R:Reel

C:J. Scott Skinner (1843-1927)

S:Skinner – Harp and Claymore (1904)

Z:AK/Fiddler’s Companion

K:E Minor

B,/ | E/4E/4E/ (G/E/) BA/G/ | F/A/d/B/ A/F/D/F/ | G/B/d/f/ g/d/B/G/ | A/c/B/A/ G/E/E/ :|

f/ | g/e/f/^d/ e/g/f/e/ | d/f/A/d/ F/A/D/f/ | g/e/f/^d/ e/c’/b/a/ | g/e/f/b/ g/e/e/f/ |

g/e/f/^d/ e/b/g/e/ | d/a/f/d/ A/F/D/F/ | G/E/A/F/ B/G/c/A/ | B/c’/b/a/ g/e/e/ ||

 

MAIRE A STOR (Mary My Treasure). AKA and see "Molly Asthore."

           

MAIRE ALBANAC. AKA and see "Scotch Mary."

           

MAIRE AN BRISTE. AKA and see "Breeches Mary."

           

MAIRE AN CUILFIONN. AKA and see "Fairhaired Mary."

                       

MAIRE AN LEAT-PINGEAN. AKA and see "Poll Ha'Penny."

           

MAIRE AN PHORTAIR. AKA and see "Cailleach an Tuirne," "Wreathe the Bowl," "The Wild Irishman [4]", "The Maid at the Spinning Wheel," "Kiss Me Darling," "Norah with the Purse," "The Road to Lurgan," "Norickystie."

           

MAIRI BHAN OG.  See “Mhairi Bhan Og.”

           


MAIRE BHAN’S WEDDING REEL. AKA and see “The Bonnie Bunch of Ferns,” “An Piobaire a’ Cheidigh,” “Piper of Keadue.” Irish, Reel. Ireland, County Donegal. AEae tuning. Donegal fiddler Mickey Doherty told the story of the wedding of a Teelin, Donegal, girl, one Maire Bhan, who received an unexpected visitor, presumably a fairy, during her wedding supper and dance. A small red-haired piper intruded, and neither ate nor drank, but played the whole day and night for the dancing, but especially is remembered for his introducing this reel. Finished, the piper left the cottage, and though followed by the menfolk present he had disappeared as mysteriously as he came.

           

MÁIRE BHEAG O!  AKA and see "Little Molly O!"

           

MÁIRE BHEAL ATHA h-AMHNAIS. AKA and see “Mary from Ballyhaunis.”

           

MÁIRE BHÉICEACH (Roaring Mary). AKA and see “Roaring Mary.”

           

MÁIRE CAD TA ORT, A. AKA and see "Molly What Ails You?"

           

MÁIRE CUIR SIOS AN COIRE, A. AKA and see "Molly Put the Kettle On [3]."

           

MÁIRE DHALL (Blind Mary). AKA and see "Blind Mary."

           

MÁIRE M MIC CARTAIG. AKA and see "Molly McCarthy."

           

MÁIRE MAISEAC NI NIALL. AKA and see "Charming Mary O'Neill."

           

MÁIRE NA BLAITCE. AKA and see "Buttermilk Mary."

           

MÁIRE NA SOP (Maire of the wisp). AKA – “Mary of the Wisp.” Irish, Reel. Ireland, County Donegal. The tune was popularized by fiddler Francie Dearg O’Byrne. See note for the companion tune “Mol na Tiarna.” Feldman & O’Doherty (Northern Fiddler), 1979; pg. 165 (Note: the two tunes have their titles transposed on the page).

           

MÁIRE NÍ EIDHINN. AKA and see "Ruaig an Mí‑ádh" (Banish Misfortune [1]), "The (Little) Bag of Meal," "Humours of Mullina(a)fauna [1]," "Judy Hynes,” "Nancy Hines," “Nancy Hynes,” “Parish Girl [2],” "Round the Carthouse." Irish, Jig. The tune was printed under this title by Petrie in his 1905 Complete Collection (1542). Petrie takes his title from the poem “Máire Ni Éidhin” by Raftery, the blind poet of Connacht, which he wrote in honour of one thought the loveliest girl in Ireland and which is still sung to this tune. See note for “Banish Misfortune,” by which the tune is usually known nowadays.

           

MÁIRE NI GRASAIG. AKA and see "Mary Grace."

           

MÁIRE ÓG NA gCIABH("Young Mary of the Tresses" or "Mary with the Fair Locks"). AKA and see "Mary with the Amber Locks." Irish, Air (3/4 time). D Major/Mixolydian. Standard tuning. One part. O'Neill's (Music of Ireland: 1850 Melodies) prints the identical tune under the title "Mary with the Amber Locks." Source for notated version: the Irish collector Edward Bunting noted the tune at Deel, Castle Ballina, County Mayo, in 1792.  O'Sullivan/Bunting, 1983; No. 68, pgs. 105-106.

X:1

T:Máire Óg na gCiabh

T:Young Mary of the Tresses

M:3/4

L:1/8

R:Air

S:Bunting

K:D

B,C|D2 DEAE|D2 z2 DE|FG A2 AG|F2 z2 Bc|d2 d2 ec|A2 AG FG|A2 d2 de|

d2 z2 d2|=c2 B2 AG|F2 z2 B2|c2d2 ef|d2 z2 B/A/G|F2 E2D2|C2 DEFG|A2 GF ED|D2 z2||

           


MÁIRE O’KEEFFE. Canadian, Reel. Canada, Cape Breton. D Major. Standard tuning. AABB. Composed by luthier, fiddler and composer Otis Tomas (Goose Cove, St. Ann’s Bay, Cape Breton), in appreciation for the hospitality of Maire O’Keeffe, who took him and companions Jerry Holland, Paul MacDonald, Tommy Basker and Paul Stewart Cranford, to sessions in Kerry, Clare and Galway during a tour of Ireland and the United Kingdom (Paul Stewart Cranford). Popularized by Jerry Holland. See also Paul Stewart Cranford’s “Maire’s Welcome.” Cook (Night in the Kitchen Collection), 1996; pg. 16. Cranford (Jerry Holland’s), 1995; No. 126, pg. 36. Fiddlesticks cass., Jerry Holland - “A Session with Jerry Holland” (1990). Green Linnet GLCD 1134, Cherish the Ladies – “Out and About.” Green Linnet, Cherish the Ladies - “Out and About.” Green Linnet GLCD 1187, Cherish the Ladies – “One and All: the Best of Cherish the Ladies” (1998). Smithsonian Folkways Records, SFW CD 40507, The Beaton Family of Mabou – “Cape Breton Fiddle and Piano Music” (2004). 

See also listings at:

Alan Snyder’s Cape Breton Fiddle Recording Index

Alan Ng’s Irishtune.info

           

MÁIRE RUAD. AKA and see "Moll Roe."

           

MÁIRE SAN t-SOP. AKA and see "Moll in the Wad [2]."

           

MAIRÉAD NIC SHIACAIS. AKA and see “Margot Jackson.”

           

MAIREARAD NIGHEAN DOMHNUILL. AKA and see "Margaret MacDonald."

           

MAIREDELIA. Irish, Reel. D Major. Standard tuning. AABB. Composed by County Cavan/Philadelphia fiddle player and composer Ed Reavy (1898-1988), in honor of his granddaughter, Maire, who also has taken up Irish fiddle to compete in regional feises. Reavy (The Collected Compositions of Ed Reavy), No. 8, pg. 8.

X:1

T:Mairedelia

M:2/2

L:1/8

C:Ed Reavy

S:The Collected Compositions of Ed Reavy

R:Reel

N:Mairedelia. Ed's granddaughter, who is carrying on the tradition

N:herself. Maire has won several first place fiddle medals in local

N:and New York area feises.

Z:Joseph Reavy

K:D

|FG|Addc dcAF|FDA,D FGAB|[D=c]Bcd cAGA|d2 fd ^cAGA|dcde (3fga ec|d

cAF GE=CE|DEFG =cBAF|GE=CE D2:||fe|defg abag|e=c (3cBc efge|defg adf

a|gece d2 fg|abag efge|BdcA GE=CE|DEFG dcAF|GE=CE D2:||

           

MÁIRE'S REEL. Irish, Reel. Composed by Irish fiddler Máire Breathnach. Green Linnet SIF‑1094, Capercaille ‑ "Sidewaulk" (1991).

           

MÁIRE’S WELCOME.  Canadian, Reel. Canada, Cape Breton. G Major. Standard tuning. AABB. Composed by Cape Breton fiddler, composer and publisher Paul Stewart Cranford, in honor of Irish fiddler Máire O’Keeffe. See also Otis Thomas’s “Maire O’Keeffe.” Miller (Fiddler’s Throne), 2004; No. 198, pg. 124.

 

MAIRGREAD NI LABAIN. AKA and see "Margaret Lavin."

           

MAIRGREADIN AR AN SUIDEACAN. AKA and see "Poggy on the Settle."

           

MAIRGREADIN CODALTAC. AKA and see "Sleepy Maggie."

 

MAIRGREADIN DEAS. AKA and see "Pretty Peggy."

           

MAIRGREADIN SUANTAC. AKA and see "Drowsy Maggie [1]."

           

MAIRI ALLAN. Scottish, Country Dance Tune (4/4 time). The melody appears in the Bodleian Manuscript (in the Bodleian Library, Oxford), inscribed "A Collection of the Newest Country Dances Performed in Scotland written by D.A. Young, W.M. 1740".

           

MAIRI AN CUILFHIN. AKA and see "Fair‑Haired Mary."

           

MAIRI BHAN OG. AKA and see "Mary, Young and Fair."

 

MAIRI BHEADARACH. AKA and see "Dawted Mary."

 

MAÌRI BHÒIDHEACH [1]. Scottish, Strathspey. F Major. Standard tuning. AAB. Composed by James Stewart-Robertson, editor of The Athole Collection. Stewart-Robertson (The Athole Collection), 1884; pg. 207.

X:1

T:Maìri Bhòidheach [1]

M:C

L:1/8

R:Strathspey

C:James Stewart-Robertson

B:Stewart-Robertson – The Athole Collection  (1884)

Z:AK/Fiddler’s Companion

K:F

B|A/B/c c>A B<G G>B|A>F A/B/c ~f2 f>g|a/g/f/e/ f>F A<G G>A| F<C D>E ~F2F:|

e|~f>cf>g a/g/f/e/ d>e|~f>cf>a g2 g>a|~f>cf>g a/g/f/e/ d>e| ~f>d c<A F2 F>e |

~f>cf>g a/g/f/e/ d>e|f>cf>a g2 f>g|a/g/f/e/ f>F A<G G>A| F>CD>E F2F||

 

MAIRI BHOIDHEACH [2] (Beautiful Mary). Scottish, Air (3/4 time). F Major. Standard tuning. One part. Morison (Highland Airs and Quicksteps, vol. 1), No. 10, pg. 5.

X:1

T:Mairi Bhoidheach [2]

T:Beautiful Mary

M:3/4

L:1/8

R:Air

N:”Rather slow”

S:Morison – Highland Airs and Quicksteps, vol. 1

Z:AK/Fiddler’s Companion

K:F

{C}A>A (AG) AG | (FC) D2F2 | {C}F>G A2 A>A | c>A A/G/ z F2 |

{F}(Ac)f2 d>d | (cA) c2 d>c | (3AGF G2 Ac | A>G (GF) F2 :|

 

MAIRI DHONN (Brown Haired Mary). Scottish, Air (2/4 time). D Major. Standard tuning. One part. Morison (Highland Airs and Quicksteps, vol. 1), No. 16, pg. 7.

X:1

T:Mairi dhonn

T:Brown Haired Mary

M:2/4

L:1/8

R:Air

S:Morison – Highland Airs and Quicksteps, vol. 1

Z:AK/Fiddler’s Companion

K:D

DD d2 | ef A2 | B>c d2 | c>B BA | FA ff | ef d2 | B>A FA | B>F ED ||

 

MAIRI GHREANNAR. AKA and see "Cheerful Mary."

 

MAIRI MHIN MHEAL-SHUILEACH DHU. See “Mary – gentle and dark eyed.”


MAIRI NIGHEAN DEORSA [1] (Mary, George’s Daughter). AKA and see "Grant of Sheuglie's Contest."

 

MAIRI NIGHEAN DEORSA [2] (Mary, George’s Daughter). Scottish, Air. A different melody than “Mairi Nighean Deorsa [1]," appearing in Daniel Dow’s collection. The same melody appears in a manuscript collected around 1810 by the Armagh-born collector Edward Bunting, according to Colm Ó Baoill, without a bass line, with the note that it was “Copie(s?) out of old printed Book.”

 

MÁIRIN BUGGERTY. AKA and see "Buachallin Og [1]," "Big Bow Wow," "An Cailin Deas Donn [1]," "Move up to me,"  "My/The Pretty Fair Maid," "The Pretty Brown Girl [2]," "Did you see my man looking for me? [1]"

                       

MÁIRIN DE BARRA. Irish, Slow Air (3/4 time). D Major. Standard tuning. One part. Ó Canainn (Traditional Slow Airs of Ireland), 1995; No. 71, pg. 63.

                       

MÁIRIN MAISEAC. AKA and see "Lovely Molly."

                       

MÁIRIN NI CHULLENAIN. See “Little Mary Chullenain.”

                       

MAIRI'S WEDDING. AKA – “Mari’s Wedding.” AKA and see “Jack Sweeney’s [3],” "Lewis Bridal Song." Scottish, Scottish Measure (4/4 time). Scotland, Hebrides. G Major. Standard tuning. AABB. The tune is from the Hebrides Islands (the alternate title refers to the Isle of Lewis) which lie off the north coast of Scotland and was first printed in Marjory Kennedy-Fraser’s Songs of the Hebrides (1909). It was written originally in Scots Gaelic and was translated into English a year later by Sir Hugh Robertson. There is nothing that particularly distinguishes this tune as Scottish, notes Emmerson (1972), save for the "hint of Rant in the first two phrases."  Nevertheless, it has had remarkable longevity, and is popular in traditional circles to this day. An article in the Glasgow Daily Record by Stephen Houston claimed that the song "Mairi's Wedding" was originally written for Mary McNiven by her friend Johnny Bannerman (in Gaelic) and was first played to her at the Old Highlanders Institute in Glasgow’s Elmbank Streeet for the Mod of 1935 (where she won the prize for singing). The article states that although the song was written for her, it was not on the occasion of her wedding, but rather for her birthday. In fact, she was unmarried at the time, remained so until she wed Skye-born sea captain John Campbell 6 years later. The article (date unknown) was published the day before Mary's 90th birthday.

***

Chorus:

Step it gaily, off we go

Heel for heel and toe for toe,

Arm in arm and off we go (or ‘row on row’)

All for Mairi's wedding.

***

Over hillways up and down

Myrtle green and bracken brown,

Past the sheiling through the town

All for sake of Mairi.

***

Plenty herring, plenty meal

Plenty peat to fill her creel,

Plenty bonny bairns as weel

That's the toast for Mairi.

***

Cheeks as bright as rowans are

Brighter far than any star,

(or Red her cheeks as rowans are

Bright her eye as any star)

Fairest o' them all by far

Is my darlin' Mairi.

***

Miller & Perron (New England Fiddler’s Repertoire), 1983; No. 54. Silberberg (Tunes I Learned at Tractor Tavern), 2002; pg. 96 (appears as “Mari’s Wedding”). Kicking Mule KM216, Strathspey ‑ "New England Contra Dance Music" (1977. Appears as “Mari’s Wedding”). Tradition 2118, Jim MacLeod & His Band ‑ "Scottish Dances: Jigs, Waltzes and Reels" (1979).

X:1

T:Mairi’s Wedding

M:C

L:1/8

R:Scottish Measure

K:G

|:D3E D2E2|G2A2B4|A2G2E2G2|B2A2Bd3|D3E D2E2|G2A2B3c/B/|A2G2E2C2|D8:|

|:d4 d3e|d2c2B4|A2G2E2G2|B2A2Bd3|d2Bd2e|d2c2B3c/B/|A2G2E2C2|D8:|

 

MAIRNEALAC MEISCEAMAIL. AKA and see "The Drunken Sailor [3]."

 

MÁIRSEÁIL ALASDRUIM [1]. AKA and see “Ollistrum Jig.” Irish, Double Jig. D Mixolydian. Standard. AABB. See also the related “Allistrum’s March [1],” and Breathnach’s “Máirseáil Alasdroim” tunes, below. See also notes for “MacAllisdrum’s March” and “Micky ‘Cumbaw’ O’Sullivan’s” for more information on this marital tune. Source for notated version: piper Willie Clancy (1918-1973, Miltown Malbay, west Clare) [Mitchell]. Mitchell (Dance Music of Willie Clancy), 1993; No. 26, pg. 43.

 

MÁIRSEÁIL ALASDROIM [2]. Irish, March or Double Jig. E Minor. Standard. AABB. From an February, 1862, manuscript written by P. Enright (Áth Trasna, County Cork), in the possession of Maurice O’Keeffe from Kishkeam, County Cork. A note with the tune reads: “the jig way.” It is related to Roche’s “Allistrum’s March [1],” O’Neill’s “Ollistrum Jig” and Willie Clancy’s “Mairseail Alasdruim [1]” (above).  See also “Máirseáil Alasdroim – An Leagan Nua” below, also from Enright’s ms. Breathnach (CRÉ V), 1999; No. 5, pg. 5.

 

MÁIRSEÁIL ALASDROIM – AN LEAGAN NUA (Alexander’s March – the New Way).  AKA and see “Allistrum’s March [2].” Irish, March (6/8 time). A Mix/D Major (tonality shifts). Standard. AABB. From an February, 1862, manuscript written by P. Enright (Áth Trasna, County Cork), in the possession of Maurice O’Keeffe from Kishkeam, County Cork. See also “Máirseáil Alasdroim [2]” above, from the same ms. Breathnach (CRÉ V), 1999; No. 6, pg. 5.

 

MÁIRSEAL NA h-OGLAC. AKA and see "March of the Volunteers."

 

MÁIRSEAL NA nIOMANAITHE. AKA and see "The Hurler's March [4]," "The Humours of Ballyloughlin." Irish, Double Jig. D Mixolydian. Standard. AABBCCDD. Source for notated version: piper Liam Mac Flannchadha (Ireland) [Breathnach]. Breathnach (CRÉ I), 1963; No. 32, pg. 14.

 

MÁIRSEAL NI DHOMHNAILL. AKA and see "O'Donnell's March."

 

MÁIRSEAIL ALASDROIN. AKA and see "MacDonnell's March."

 

MÁIRSEAIL ALASDRUIM. AKA and see "MacAlisdrum's March," "The Church Hill [2]," "Kitty the rag, I'm in love with you," "Cath Chnoc na nDos."

 

MÁIRSEAIL NA mBUISTEIRI. AKA and see "The Butcher's March."

 

MAIS(E) AN TOABH TUATH. AKA and see "The Beauty of the North."

 

MAISON DE GLACE, LA (The Icehouse). Canadian, Jig. Canada, Québec.  D Major. Standard tuning. AA’BB’.

X:1

T: la Maison de Glace

T: the Ice House

O: Qu\'ebec

R:Jig

Z: 2006 John Chambers <jc:trillian.mit.edu>

M:6/8

L: 1/8

F:http://trillian.mit.edu/~jc/music/abc/jig/MaisonDeGlace_D.abc

K: D

"A"\

|: "D"D3  DEF |  "D"ABA AFA |  "G"B3 Bcd  | "A7"cBA GFE | "D"D3 DEF ||

"D"ABA AFA |1 "G"B3  BAG | "A7"F3 EFE :|2 "G"B3  Bcd | "A(F#)"c6 ||

“B1”\

|: "Bm"B3-  Bcd | "G"B3-  Bcd | "D"fed "A"edc |1 "Bm"dcA "F#m"dcA :|2  "A"Adc "F#m"d2c ||

"B2"\

|: "Bm"B2B- Bcd | "G"B2B- Bcd | "D"fed "A"edc |1 "Bm"dcA "F#m"dcA :|2 "A7"Adc   "D"d3  |]

 

MÁISTREÁS AN TÍ (Mistress of the House). AKA and see “The Woman of the House [2].”

 

MAIZE.  AKA and see “Road to Maysville.”

 

MAJIC FLUTE. See "Magic Flute."

 

MAJOR [1], THE. English, Scottish; Jig. England, Northumberland. G Mixolydian (Seattle/Vickers): G Major (Stokoe & Bruce): A Major (Kerr). Standard tuning. AABB (Kerr, Stokoe & Bruce): AABBCCDDEE (Vickers). The melody appears under this title in a bagpipe tutor printed in London by John Geoghegan about the year 1746. Some strong similarities to the Irish jig “The Mooncoin.” Bruce & Stokoe (Northumbrian Minstrelsey), 1882; pg. 178. Kerr (Merry Melodies), vol. 3; No. 214, pg. 25. Seattle (William Vickers), 1987, Part 2; No. 263.

X:1

T:Major, The

M:6/8

L:1/8

R:Jig

S:Bruce & Stokoe – Northumbrian Minstrelsy  (1882)

Z:AK/Fiddler’s Companion

K:G

dBG g3|dBG GBd|dBG g3|cAF ABc|

dBG g3|dBG g3|dBG g3|cAF ABc:|

|:dBG dBG|dBG ABc|cBG dBG|cAF ABc|

dBG dBG|dBG dBG|edc fed|cAF ABc:|

 

MAJOR [2], THE.  Irish, Air (6/8 time). G Mixolydian. Standard tuning. AABB. Source for notated version: unknown Limerick fiddler's manuscript, via Joyce. Joyce (Old Irish Folk Music and Songs), 1909; No. 353, pg. 163.

X:1

T:Major, The [2]

M:6/8

L:1/8

R:Air

N:”Time well marked”

S:Joyce – Old Irish Folk Music and Songs  (1909)

Z:AK/Fiddler’s Companion

K:G Mix

dc|BBB BBB|c2A A2G|F2A A2f|g3 fdc|BBB BBB|c2A dcA/G/|F2G AFA|{F}G3 G2:|

|:G|A2g fde|f2d def|g2g agf|f g2 fdc|B2g fde|f2d def|g2g agf|f g2 fdc||

 

MAJOR [3], THE. AKA and see “Mooncoin Jig.” Irish, English; Jig. A Major (O’Farrell): G Major (Geoghegan). Standard tuning. AABBCCDD (Kennedy, O’Farrell): AABBCCDDEEFFGG (Geoghegan). The melody first appears under this title in Wright’s Compleat Collection of Celebrated Country Dances, vol. 2, published in London by Johnson in 1742. “The Major” appears in the 1762 music copybook of Cumbrian musician Joseph Barnes. Geoghegan (Compleat Tutor for the Pastoral or New Bagpipe), c. 1745-46; pg. 25. Kennedy (Jigs & Quicksteps, Trips & Humours), 1997; No. 111, pg. 28. O’Farrell (Pocket Companion), c. 1805; pg. 24.

See also listings at:

Jane Keefer’s Folk Music Index: An Index to Recorded Sources 

Alan Ng’s Irishtune.info

X:1

T:Major, The [3]

M:6/8

L:1/8

R:Jig

S:O’Farrell – Pocket Companion (c. 1805)

Z:AK/Fiddler’s Companion

K:A

d | c2A AcA | AcA Bcd | c2A Ace | dBG Bcd :: cde ef=g | faf g2e | c2e efg |

dBG Bcd | cde efg | faf g2e | a/b/af g2e | dBG Bcd :: cBA a3 | ecA Bcd |

cBA g2e | dBG Bcd :: ecA AcA | AcA Bcd | ecA Ace | dBG Bcd :|

X:2

T:Mayjor, The [3]

M:6/8

L:1/8

R:Jig

S:Geoghegan – Compleat Tutor for the Pastoral or New Bagpipe (c. 1745-46)

Z:AK/Fiddler’s Companion

K:G

“tr”F2D D/F/A/D/ | DF/G/A/D/ EFG | F2D DF/G/A/D/ | GEC EFG :|

|: FDA ABc | (B/c/d)B (A/B/c)A | FDA Bdc | B2E EFG | FDA ABc |

(B/c/d)B (A/B/c)A | “tr”B2G F/G/AF | GEC EFG :: FED dcd | AFD EFG |

FED cBc | GEC EFG :: (B/c/e)B (A/B/c)A | G/A/BG F/G/AF | B/c/dB A/B/cA |

B2E EFG | B/c/dB A/B/cA | G/A/BG F/G/AF | dcB A/B/cF | GEC EFG :|

|: AFD DF/G/AD | AFD EFG | AFD A(F/G/A/F/) | GEC EFG :: A(F/G/A/F/) cBA |

dcB A/B/cB | F/GAF (B/c/d)c | {c}B2E EFG | A(F/G/A/F/) cBA | dcB A/B/cA |

F/G/AF cAF | GEC EFG :: D/D/Dd D/D/DF | D/D/DF EFG | D/D/DA D/D/DF |GEC EFG :|

                   


MAJOR AND MINOR. Scottish, Reel. F Sharp Minor/A Major. Standard tuning. AB. Composed in 1932 by J. Murdoch Henderson, dedicated to Aberdeen musician Haydn P. Halstead who advised him on his work Flowers of Scottish Melody (1935). Halstead was Director of Music, Tivoli, Aberdeen. Hardie (Caledonian Companion), 1992; pg. 106. Henderson (Flowers of Scottish Melody), 1935.

                     

MAJOR CRICHTON'S DELIGHT. AKA and see "Davy Knicknack," "Bonnell's Quickstep" (Pa.), "Hoe Cake,” “Virginia Quickstep." Scottish. Aird (Selections), 1778, vol. 2, No. 59.

                   

MAJOR DAVID MANSON. Scottish, Pipe Reel. A Mixolydian. Standard tuning. AABBCCDD. Printed in the Edcath Collection of Highland Bagpipe Music, vol. 1 (1953), and composed by the book’s author, Pipe Major Donald Shaw Ramsay. A favorite tune of Cape Breton/Boston fiddler Bill Lamey (1914-1991), according to Paul Cranford, and indeed popular among many Cape Breton fiddlers in the decade after its publication. Cape Breton fiddler Theresa MacLellan recorded the tune on a 78 RPM recording in the late 1950’s. Rounder 7032, Bill Lamey – “Full Circle.” Rounder 82161-7032-2, Bill Lamey – “From Cape Breton to Boston and Back: Classic House Sessions of Traditional Cape Breton Music 1956-1977” (2000).

                   

MAJOR DUFF’S FAVOURITE QUICKSTEP. Scottish, March (2/4 time). B Flat Major. Standard tuning. AABBCC. Nigel Gatherer believes this tune is the precursor for “Davy Davy Knick Knack,” with an added third part.

X:1

T:Major Duff's Favourite Quickstep             

B:Ms Music Book, C K Sharpe, c1835

Z:Nigel Gatherer

M:2/4

L:1/8

K:Bb

F|B/A/B/c/ dd|B/A/B/c/ d2|f/e/d/e/ cc|f/e/d/e/ cc|B/A/B/c/ dd|

B/A/B/c/ d2|e/g/f/e/ d/c/B/A/|BBB::d/e/|ffdd|bb f2|f/e/d/e/ cc|

f/e/d/e/ cc|ffdd|bb f>e|d/g/f/e/ d/c/B/A/|BBB::f/e/|d3 e|fgab|

g2 g>g|g2 g/f/e/d/|c3 d|ecfe|d2 d>d|d2 f>e|d3 e|

fgab|g2 g>g|g3 g|fbag|fedc|B2 B>B|B3:|]

 

MAJOR ERSKINE'S MINUET. Scottish, Minuet. The melody appears in the Gillespie Manuscript of Perth (1768).

 

MAJOR GENERAL ROBERTSON OF LAWAR’S.  Scottish, Strathspey or March. C Major. Standard tuning. AABCCD. Composed by John Bowie. Gow (2nd Collection of Niel Gow’s Reels), 1788; pgs. 2-3.

See also listing at:

Alan Snyder’s Cape Breton Fiddle Recording Index 

X:1

T:Major General Robertson of Lawar’s

M:C
L:1/8

R:Strathspey

C:John Bowie

S:Gow – 2nd Collection of Niel Gow’s Reels (1788)

Z:AK/Fiddler’s Companion

K:C

E/F/|”tr”G>A {A}G{F}E GA/B/ {d}cB/A/|GA/B/ c<E {D}D2 DE/F/|”tr”G>A {A}G{F}E GA/B/ {d}cB/A/|

(A/G/).F/.E/ (G/F/).E/.D/ {D}C2C:||“tr”f>g {a}gf/e/ {e}d2 de/f/|gceg c>d {f}ed/c/|(f/e/).f/.a/ .g/.f/e/d/ {d}c2 “tr”ce/f/|

gceg “tr”c>d {f}ed/c/|”tr”f>g {a}gf/e/ {e}d2 dg/f/|e>gd>e “tr”c>d Ac|{A}G.F/.E/ {G}F.E/.D/ {D}C2C||:E|

C>EG>E c>EG>E|c>GcE {E}[B,2D2] [B,D>]E|C>EG>E .C.E.G.E|(A/G/)(F/E/)(G/F/)(E/D/) {D}C2C:||”tr”e/>f/|

gceg c”tr”c/d/ {f}ed/c/|”tr”f>g {a}gf/e/ {e}d2 d”tr”e/>f/|gceg ~c>d {f}ed/c/|”tr”f>a {g}fe/d/ {d}c2 c”tr”e/>f/|

gceg “tr”c>d {f}ed/c/|”tr”f>g a/g/f/e/ {e}d2 dg/f/|egd>e “tr”c>d (A/4c/4B/4c/4 {d}c/B/4A/4)|(A/G/).F/.E/ (G/F/).E/.D/ {D}C2C||

 

MAJOR GRAHAM (OF INCHBRAKIE). Scottish, Strathspey or Slow Strathspey. D Major (most versions): G Major (O’Farrell). Standard tuning. AAB. Composed by Niel Gow (1727-1807) and published in both editions of his First Collection (1784 & 1801), although attributed to him only in the 2nd. The tune incorporates a similar motif to the second part of William Marshall's "Miss Admiral Gordon's Reel, a Strathspey" (pub. in Marshall's First Collection, 1781, also known as "Of a' the airts the wind can blaw"), which has lead to charges (esp. by John Glen) of plagiarism against Gow. It was used by Robert Burns, who distinguished between the two pieces, as the tune for his song "Ah, Chloris, sine it may not be" and his first choice for his song "My love is like a red, red rose" (which was replaced by G.F. Graham with the air associated with the song today‑‑"Low Down in the Broom"). Major Graham may be Patrick Graeme, 8th of Inchbrakie (1717-1796), who was a Captain in the 73rd Regiment of the Scotch Brigade in Holland. Patrick married Amelia Oliphant (daughter of Laurence Oliphant of Gask) in 1748. He was one of the jury for William Moray of Abercairney and then David Graeme of Orchill. The Gow’s wrote other songs for the family, which is a cadet branch of the Grahams – see “Miss Graham of Inchbrakie,” “Miss/Mrs. Margaret Graeme/Graham of Inchbrakie.” There was a curious incident involving Inchbrakie, which regards one of the last recorded executions of an individual for witchcraft, as related in Alexander Montgomerie’s The Poems of Alexander Montgomery (1887, pg. 321):

***

In1715 Kate M’Niven lived a little down the river Shappie from the Manse, and was reputed a witch.

One of the principal things agains her appears to have been in connection with Inchbrakie, where she

had been a nurse. The laird one day rode over to Dunning, and, according to the usage of the times,

carried his knife and fork with him. While at dinner he was annoyed by a bee buzzing about his ears,

and he laid down the kife and fork to put off the annoyer, which flew out the window. On looking for

the knife and fork, he found that they were amissing, and could not be found. On his return to Inchbrakie

the nurse produced the missing articles. Some time thereafter she was lodged in ‘durance vile,’ tried and

condemned for witchcraft, and burnt in the spring of 1715.

***

The manor at Inchbrakie has since been demolished. Alburger (Scottish Fiddlers and Their Music), 1983; Ex. 63, pg. 104. Carlin (Gow Collection), 1986; No. 130. Gow (First Collection of Strathspey Reels), 1784 (revised 1801); pg. 5. Hunter (Fiddle Music of Scotland), 1988; No. 18. Kerr (Merry Melodies), vol. 1; Set 20, No. 1, pg. 13 (appears as "Major Graham"). Kerr (Merry Melodies), vol. 3; No. 17, pg. 5 (appears as "Major Graham"). Neil (The Scots Fiddle), 1991; No. 177, pg. 231 (appears as "Major Graham"). O’Farrell (Pocket Companion, vol. III), c. 1808; pg. 2. “Fiddlers Three Plus Two.” Culburnie Records, Aladair Fraser = “Legacy of the Scottish Fiddle, vol. 2” (2004). INVER226, Pete Clark – “Now and Then.” Lismore LILP 5070, “Ron Gonnella’s Burns Night” (1977).

X:1

T:Major Graham

M:C

L:1/8

R:Strathspey
S:O’Farrell – Pocket Companion, vol. III (c. 1808)   “scotch” pg. 2

Z:AK/Fiddler’s Companion

K:G

G/E/ | D>EGG G2 g>e | d<BAG A3B | D>EGG G2 g>e | d<B ”tr”A>B G3 :|

d | g>agf edeg | d<BAG A2 (d/e/f/) | g>agf ede(f/g/) | d<B “tr”A>B G3d |

g>agf ede{f}g | dBAG A3B | D>EGG G2 g>e | d<B (A>B) | G2 ||

X:2

T:Major Graham of Inchbrakie

M:C

L:1/8

R:Strathspey

N:”Slow”

C:Niel Gow

S:Gow – First Collection of Strathspey Reels (1784)

Z:AK/Fiddler’s Companion

K:D

B,|”tr”A,>B,DD ~D2{D} d>B|AFED [C2E2] [CE]F|”tr”A,>B,DD ~D2{D}d>B|AF”tr”E>F D2D:|

(A/4B/4c/2)|~d>edc “tr”B>ABd|A>F”tr”ED [C2E2] [CE]B/c/|~d>edc “tr”B>ABd|AF”tr”E>F D2 DB/c/|

~d>edc “tr”B>ABd|(AF)”tr”ED [C2E2] [CE>]F|”tr”A,>B,DD ~D2{D}e>B|AF”tr”E>F D2D||

 

MAJOR HARRISON’S. Irish, Reel. E Dorian. Standard tuning. AABBCC. Source for notated version: Brendan Mulvihill (Baltimore, Md.) [Mulvihill]. Mulvihill (1st Collection), 1986; No. 106, pg. 28.

 

MAJOR HEN’S MARCH. AKA and see “Hen’s March to/o'er the Midden.”

 

MAJOR JAMES MONRO. Scottish, Strathspey. D Minor. Standard tuning. AB. Composed by Robert Mackintosh. Glen (The Glen Collection of Scottish Music), vol. 2, 1895; pg. 41.

X:1

T:Major James Monro

M:C

L:1/8

R:Strathspey

S:Glen Collection, vol. 2  (1895)

Z:AK/Fiddler’s Companion

K:D Minor

A|F<D A,>D FDAF|E>cG>c E<C A>G|F<D A,>D B,<D G,>B|A>GF>E F(DDA)|

A<D A,>D FDAF|E>cG>c E<C A>G|F>AD>d ^c>e A<a|bg (a/g/f/e/ f)dd||g|

(a/g/f/e/ f>)d A>df>d|c>eg>e c’>g e<c|(a/g/f/e/ f>)d A>df>d|A>G F<E F<D D>g|

(a/g/f/e/ f>)d A>df>d|c>eg>e c’gec|a<fg<e f<de<^c|d<B A>G FDD||

                   

MAJOR JOHN BRUCE’S QUICK STEP. AKA – “Major John Bruce’s Favourite.” Scottish, March (6/8 time). G Major. Standard tuning. AABB. James Aird dedicated his collection to “the Volunteer and Defensive Bands of Great Britain and Ireland,” a reference to the bands of the many home defense units that sprang up during the late 19th century wars with France. The melody appears in a few period musicians’ manuscripts: those of fiddler John Fife (Perthshire and at sea, begun in 1780 and continuing through 1804), H.S.J. Jackson (Wyresdale, Lancashire, 1823), and flute player Thomas Molyneau (Shelburne, Nova Scotia, 1788). Aird (Selection of Scotch, English, Irish and Foreign Airs), vol. II, 1785; No. 69, pg. 26. Kennedy (Jigs & Quicksteps, Trips & Humours), 1997; No. 112, pg. 28.

X:1

T:Major John Bruce’s Quick Step

M:6/8

L:1/8

S:Aird, vol. II (1782)

Z:AK/Fiddler’s Companion

K:G

D | G2G G2g | ege dBG | cde dBG | EAA A2B |

G2G G2g | ege dBG | ABc BAG | EGG G2 :|

|: B/c/ | d2g e2g | d2g dBG | c2e dBG | EAA A>Bc |

dgg egg | dgg dBG | ABc BAG | EGG G2 :|

                   

MAJOR L. STEWART'S REEL--OF THE ISLAND OF JAVA. Scottish, Reel. G Major. Standard tuning. AB. Composed by William Marshall (1748-1833) in honor of Major Ludovick Stewart (1782-1848), of the 24th Regiment of Foot. Major Stewart served in Java and in Bombay, India, where he met and married Margaret Fraser of Newton near Ceauly, Inverness. Marshall knew them through his friendship with the Stewart family, who had lived at the farm of Keithmore prior to Marshall and his family after Marshall left the position of Steward of the Household for the Duke of Gordon. The two families remained friends when the Stewarts moved on to Pittyvaich (Cowie, The Life and Times of William Marshall, 1999). See also the companion tune “Mrs. Major L. Stewart of the Island of Java.” Marshall, Fiddlecase Edition, 1978; 1822 Collection, pg. 42. Culburnie Records CUL 118, Alasdair Fraser – “Legacy of the Scottish Fiddle, vol. 1” (2001). Lismore LILP 5017, Ron Gonnella – “Fiddler’s Fancy” (1975).

X:1

T:Major L. Stewart’s Reel—of the Island of Java

M:C

L:1/8

R:Reel

S:Marshall1822 Collection

Z:AK/Fiddler’s Companion

K:G

G2g2 ag/f/ g2|dgBg dgBg|G2g2 a/g/f g2|faAB cBcA|G2g2 a/g/f g2|

dgBg dgBg|G2 g2 a/g/f g2|fg/a/ AB cdef||gbeg dg B2|gbeg fgaf|gbeg dg B2|

ABcd edef|gbeg dg B2|gbeg fgaf|gbfa egdg|caBg ABcA||

 

MAJOR LOGAN’S FAVORITE.  Scottish, Strathspey. B Flat Major. Standard tuning. AABCCD. Composed by Nathaniel Gow (1763-1831), appearing in his Fourth Collection (1800). See note for “Major Logan’s Frolic,” below, for information on Major Logan. Gow (Fourth Collection of Strathspey Dances), 2nd ed., originally 1800; pg. 32.

X:1

T:Major Logan’s Favorite

M:C

L:1/8

R:Strathspey

N:”Slowish”

C:Nathaniel Gow (1763-1831)

B:Gow – Fourth Collection of Strathspey Dances (1800)

Z:AK/Fiddler’s Companion

K:Bb

D|B,2 B>F “tr”.B.F dB|B,2 {Bc}d>B cG~G>B|B,2 {B}d>B c>G BF|G>B(FB) DB,B,:||

f|(df)”tr”g>f (Bf)g>”tr”a|b>Gg>B {Bc}dc”tr”c>f|(df)”tr”g>f “tr”G>a”tr”b>c’|{c’/}d’>a {a}b>g {g}fdd>f|

(d<f)”tr”g>f .B(fga)|b>Gg>B {Bc}dc cf/e/|d>BG>B (FB)(.D.B)|(Ac)f>e {e}dBB||

|:f|(dBFB DBFB) (d/B/f/B/ g/B/f/B/)|(d/B/)(F/B/) (D/B/)(F/B/) {Bc}dc ~cf/e/|(d/B/F/B/ D/B/F/B/) (D/B/)(f/B/) “tr”g”tr”a|

b/>f/g/>B f/>B/(.A/.e/) dBB:||f|(d/f/)”tr”(B/F/) (B/f/)”tr”g/f/ .b/f/”tr”(g/f/) (d/f/)(B/f/)|(d/f/)”tr”g/a/ (b/G/)(g/B/) {Bc}dc”tr”c(f/e/)|

(d/f/)”tr”g/f/ .B/(f/g/a/) (b/a/)”tr”(g/f/) .g/(a/b/c’/)|d’/>b/c’/>a/ {c’/}b/>ab/g/ fdd>f|(d/f/)”tr”(g/f/) (B/f/)”tr”g/f/ b/f/”tr”(g/f/) (d/f/)(B/f/)|

(d/f/)”tr”g/a/ (b/B/)(g/B/) {Bc}dc “tr”c(f/e/)|(d/f/).e/.d/ (c/B/).A/.G/ (F/G/)(F/E/) .D/(f/b/f/)|(g/e/)d/c/ (B/A/)f/c/ {c}dBB||

 


MAJOR LOGAN'S FROLIC, A STRATHSPEY. Scottish, Strathspey. This strathspey was composed by John French (1753‑1803), although the first part is similar to the second half of the well‑known "Mrs. Macleod's Reel." Major William Logan, who lived at Camlarg, near Ayr, was a gentleman-fiddler who had several of his pieces published in Gow family collections (see “Mrs. Couts Trotter’s Favorite” and “Mrs. Adie”; see also his composition “Sir Alexander Don [1]”), and one in Fraser's (1816) collection. He was also a convivial companion of poet Robert Burns, who wrote his "Epistle to Major W. Logan" in 1786, when Logan was living with his mother and sister at Parkhouse, near Ayr. The Major was described as a very good musician, a joyous companion, and something of a wit; Niel Gow is said to “have entertained a high opinion of the Major’s musical skill” (Robert Burns, The Works of Robert Burns, 1840, pg. 128). Burns’ poem begins:

***

Hail, thairm-inspirin', rattlin' Willie!

Though fortune's road be rough an' hilly

To every fiddling, rhyming billie,

We never heed,

But tak' it like the unback'd filly,

Proud o' her speed.

When idly goavan whyles we saunter

Yirr, fancy barks, awa' we canter

Uphill, down brae, till some mishanter,

Some black bog-hole,

Arrests us, then the scathe an' banter

We're forced to thole.

Hale be your heart! Hale be your fiddle!

Lang may your elbuck (elbow) jink and diddle

To cheer you through the weary widdle

O' this wild warl',

Until you on a crummock driddle

A gray-hair'd carl.

***

Some anecdotes about Logan remain in local lore. James T. Gray, writing in his book Maybole, Carrick's Capital Facts, Fiction & Folks (1972) relates that the Major on one occasion quarreled with a local dignitary over a bargain that had been verbally agreed to, but not reduced to writing. The other party had second thoughts, and protested that the agreement was not binding for it had not been written on stamped paper, and therefore was null and void. A short time later they found themselves together in a company of others at a local establishment, the Kings Arms Hotel.  At one point the ‘dignitary’ complained to all assembled the he had trouble with dysentery and did not know how to remedy it, to which Logan quickly prescribed ‘stamped paper’ reminding him that he himself knew there was nothing more binding!  Logan also commanded one of the companies of the local militia, known as the West Lowland Fencibles, which initials—W.L.F—were embroidered on his uniform. An acquaintance chagrined the Major by asking if they stood for ‘William Logan, Fiddler’.  Logan died, unmarried, in 1819. (Alburger, Scottish Fiddlers and Their Music, 1983).

                   

MAJOR MACKEY'S JIG. See "Major Mackie's Jig."

                   

MAJOR MACKIE. See “Major Mackie’s Jig.”

                   

MAJOR MACKIE'S JIG. AKA – "Major Mackey's Jig." Scottish, English, Canadian, American; Jig. D Major (Messer, Page, Sweet): A Major (Kerr): G Major (S. Johnson). Standard tuning. AABB. A popular jig in many English speaking regions, including England and Scotland, Canada (popularized by Don Messer and played throughout the Maritime provinces), and New England. The earliest publication appears in the Scottish Kerr collection (c. 1880). See also the Sliabh Luachra slide variant called “The Labyrinth [2]” or “Pádraig O’Keeffe’s Slide [8].” S. Johnson (The Kitchen Musician No. 6: Jigs), 1982 (revised 1989, 2001); pg. 3. Kerr (Merry Melodies), vol. 4; No. 266, pg. 28 (appears as “Major Mackie”). Messer (Way Down East), 1948; No. 77. Messer (Anthology of Favorite Fiddle Tunes), 1980; No. 135, pg. 88. Page, Northern Junket, vol. 9, No. 2, Feb. 1968; pg. 22. Sweet (Fifer’s Delight), 1965/1981; pg. 24. Veteran VT139CD, Mark Bazeley & Jason Rice – “Moor Music.”

X: 1

T:Major Mackie's Jig

R:jig

M:6/8

L:1/8

Z:Transcribed by Bruce Osborne

K:D

A|ABc dcd|B2e e2d|c2a a^ga|f2d d2d|

ABc dcd|B2e e2d|c2a gec|d3 d2:|

|:A|f2f def|g3-g2g/f/|e2e cde|f3-f2A|

d2d def|g2B e2d|c2a gec|d3 d2:|

                   

MAJOR MALLEY'S REEL. AKA and see "Major Molle."

                   

MAJOR MANSON’S FAREWELL TO CLASHANTRUSHAL. Scottish, March (2/4 time). A Major. Standard tuning. AABB’CCDD’. Martin (Ceol na Fidhle), vol. 4, 1991; pg. 44.

                   


MAJOR McBEAN. Scottish, Strathspey. A Major. Standard tuning. AA'BB'. Stewart-Robertson (The Athole Collection), 1884; pg. 24.

X:1

T:Major McBean

M:C|

L:1/8

R:Strathspey

B:Stewart-Robertson – The Athole Collection  (1884)

Z:AK/Fiddler’s Companion

K:A

c|A2 c>A e>Ac>e|f>ef>a b<B B>c|A2 c>A e>Ac>e|1 f>dB>G A2 A:|2f<a B>G A2A||

d|c>AE>A c<A e>A|c>AE>A B>B,B,>d|c>AE>A c<A e>c|1 f>dB>G A2A:|2 f<A B>G A2A||

 

MAJOR McLEAN. Scottish, "Very slow" Strathspey. E Minor. Standard tuning. AAB. "Communicated by Lady Elphinstone” (Gow), referring to Clementina Fleming [1749-1822], who may in fact have composed the melody. According to J. Murdoch Henderson, alternate titles were “Lothian Lasses” and “Lady Loughborough’s Reel,” although the tunes actually differ enough to be called separate melodies. Carlin (The Gow Collection), 1986; No. 597. Gow (Fifth Collection of Strathspey Reels), 1809; pgs. 16-17.

X:1

T:Major McLean

M:2/4

L:1/8

R:Strathspey

N:”Slow”
N:”Communicated by Lady Elphinstone.”

B:Gow – Fifth Collection of Strathspey Reels (1809)

Z:AK/Fiddler’s Companion

K:Emin

E/D/|B,E “tr”E>F|{EF}G>F E>D|(A,<D) “tr”D>E|{E}D>B, A,E/D/|(B<E) “tr”E>F|{A}G>F GA|~B>c (B/A/)(G/F/)|GE E:||

G>B d>B|BG {G}d>G|FA {^c}d>B|(A/G/)(F/E/) D>^D|E>B, (EF/G/)|F>B, ~(FG/A/)|GB (AB/c/)|(B/A/)(G/F/) E>F|
~G>B dB|BG d>G|FA {^c}d>B|(A/G/)(F/E/) D>^D|E>B, (EF/G/)|F>B, (F/G/A)|GB (A/B/c)|(B/A/){A}(G/>F/) E||

 

MAJOR MOLE. AKA and see "Major Molle."

 

MAJOR MOLLE. AKA ‑ "Major Malley's Reel," “Major Malley’s March,” "Major Moll's Reel," "Major Mole." Scottish (originally), Canadian, English; Strathspey ('Slow' indicated in Gow's version) or Highland Schottische, Reel. England, Dorset. Canada, Cape Breton. B Minor (Gow, Hardy): A Mixolydian (Athole, Cranford, Honeyman, Kerr). Standard tuning. AAB (Athole, Gow, Hardy): AABB (Honeyman, Kerr): AABB’ (Cranford). Composed by Andrew Gow (1760-1803), second son of the famous Scottish fiddler Niel Gow, and (according to Emmerson, 1971), "possibly superior to any written by other members of (his) family." It was first published as a strathspey in Niel Gow’s 5th Repository (1809) as “Major Molle’s of the 9th Regiment of Foot Reel.” The 9th Regiment of Foot was formed in 1685 by James II as Colonel Cornwall's Regiment Of Foote, and fought in the battles of the Boyne and Aughrim and at the seiges of Limerick and Athlone during 1689-91. The badge of 'Britannia' was bestowed on the Regiment for its great bravery at the Battle of Almanza in Spain in 1707, during the Wars of the Spanish Succession. The Regiment earned the nickname 'The Holy Boys' supposedly from the fact that an ill-informed Spaniard, seeing Britannia on the Regiment's Colors during the Peninsular War, considered it to be a figure of the Virgin Mary such as is carried on banners in Roman Catholic countries during church processions. Later the unit saw service in the America where it was part of Burgoyne’s ill-fated expedition to cut off New England from the rest of the colonies during the American Revolution. The regiment surrendered with their general at Saratoga, were paroled, and subsequently was stationed in the unhealthy West Indies where they were decimated by fever and tropical illnesses. Around the time Andrew Gow composed the tune the unit saw service as a heavy infantry battalion in the Spanish Peninsular Campaign, arriving in 1808 to fight in the battles of Rolica and Vimiero. It was withdrawn for a time on an expedition to the Low Countries, but returned to Spain and fought at Busaco, Salamanca, Vitoria, San Sebastian and the Nive.

***

George Molle (1773-1823), of Mains, Berwickshire, began his military career with the 94th regiment of foot in 1793, rising to Captain by 1795. He was stationed in India and Egypt where he was an Aide-de-Camp to General Sir Douglas Baird. He was wounded at the Battle of Seringapatam. In 1803 he returned to England with dispatches from Marques Wellesley, and it was at that time he came into contact with the Gows, for he was promoted to Major, and, in 1804, removed to the 9th Regiment of Foot. He served with that regiment for four years before being promoted to Lieutenant Colonel in 1808. He next served in Germany and in Portugal and was severely wounded at the Battle of Roleia (1808). Again, he invalided to England to recover, but was back with the Regiment in the Peninsular Campaign and was in action near Oporto. By 1809 the 9th Foot had been reduced and was pulled from action, although Molle suffered another tragedy. His wife gave birth to a son in Sicily, and the infant died the next year at Molle’s service station, Gibraltar. George soldiered on and in 1813 became Lieutenant Colonel of the 46th Foot, and the next year was brevetted to Colonel of the regiment. George next found himself stationed with the regiment in the colony of New South Wales, Australia, where, in 1814 he took the oath of office of Lieutenant Governor. He and his wife were active in the public life there, patrons of the Female Orphan School and members of the committee for the Civilization, Care and Education of Aborigines. A Mason, Molle undertook to establish a Lodge in the country. However, Molle was one of those who resisted the integration of emancipists (convicts who had received condition or absolute pardons) into the free society of the community. A tract of 500 acres was granted to the Molles in 1817, which he named “Catherine Field” and he set about developing the estate. George served as Magistrate for the region, and ran the court from his home. However, Molle also had trouble in New South Wales: he and his officers complained of high prices and asked Governor Macquarie (and old friend who had served with Molle on Baird’s staff) for higher pay. Relations between Macqurie and Molle continued to sour, helped along by a printed lampoon of Molle in 1816 and accusations back and forth. Macquarie’s recourse was to finally ask for the 46th to be relieved, although, fortunately for him, the 48th arrived in August, 1817, as scheduled, and the 46th Foot removed to Madras. It was there that Molle died in September of 1823 at Belgaum. George’s son William Macquarie took over operations of the property after his father left. Molle is remembered in the region by the Molle Islands, in the Whitsundays, a part of the Great Barrier Reef off Queensland; originally the Molle name was actually attached to a nearby deepwater passage between them and the mainland called Port Molle. Another member of the family (and namesake), a Captain George Molle, entered service in the old regiment, the 9th Foot, and was killed at the age of 26 in 1845 at the Ballte of Ferozshah.

***

In his brief return to England in 1803-1805 he must have come into contact with Andrew Gow and perhaps other members of the family. It is noted in one of their publications that the melody “Miss Welch/Welsh” was communicated by the Major. The English novelist Thomas Hardy (who, beside his literary accomplishments was also an accordion player and fiddler), from the English county of Dorset, mentions the tune in his classic work Far From the Madding Crowd:

***

However, the occurrence seemed to have become known to few,

for it had not interrupted a fiddler who had lately begun playing

by the door of the tent, nor the four bowed old men with grim

countenances and walking‑sticks in hand, who were dancing

'Major Malley's Reel' to the tune.

***

The melody was known to Hardy as a reel or country dance tune, for it appears in his family manuscript collection of melodies used for dancing in Dorset. The Royal Scottish Country Dance Society gives that “Major Mole” as a strathspey can be used as an alternate tune for Tullochgorm. The tune was also rendered as a Highland Schottishe for dancing (see Kerr’s Merry Melodies), and as a march tune (See “Major Malley’s March”, as recorded by the Battlefield Band, who had it as a march from guitarist and fiddler Ged Foley. The band writes “although it is supposed to be from Devon [Ed.: from the Hardy Family manuscripts, where it is a reel], we harbour the suspicion that it might originally be Breton”). See also “Miss Welch/Welsh,” ‘communicated’ by Molle to the Gows.

***

Battlefield Band (Forward with Scotland’s Past), 1988; pg. 45. Carlin (The Gow Collection), 1986; No. 273. Cranford (Jerry Holland’s), 1995; No. 37, pg. 11. Glen (The Glen Collection of Scottish Music), vol. 2, 1895; pg. 50. Gow (Fifth Collection of Strathspey Reels), 1809; pg. 15. Honeyman (The Strathspey, Reel, and Hornpipe Tutor), 1898; pg. 23 (appears as "Major Mole"). Kerr (Merry Melodies), vol. 1; No. 1, pg. 19. Kerr (Merry Melodies), vol. 2; No. 60, pg. 9. Stewart-Robertson (The Athole Collection), 1884; pg. 47. Trim (Thomas Hardy), 1990; No. 22 (appears as "Major Malley's Reel"). BEJOCD-28, The Mellstock Band – “The Dance at Pheonix: Village Band Music from Hardy’s Wessex and Beyond.” Fiddlesticks cass., Jerry Holland - “Lively Steps” (1987). Flying Fish FF‑250, The Battlefield Band ‑ "Home is Where the Van Is" (1981). Green Linnet GLCD 1171, Simon Thoumire Three – “March, Strathspey and Surreal” (1996).

See also listing at:

Alan Snyder’s Cape Breton Fiddle Recording Index

X:1

T:Major Molle

M:C|

L:1/8

R:Reel

B:Stewart-Robertson: The Athole Collection (1884)

Z:AK/Fiddler’s Companion

K:Amin

c | Aeed cBA^G | Aeed c2B2 | Aee^f gfge | dBGB edcB :|

AE E/E/E cAB^G | AE E/E/E c2Bc | AE E/E/E cABd | BGGB d2cB |

AE E/E/E cAB^G | AE E/E/E c2Bc | Aee^f gfge| DBGB edcB ||

X:2

T:Major Molle’s (of the 9th Regt. of Foot) Reel

M:C

L:1/8

R:Reel

N:”This may be Played Slow”

C:Andrew Gow (1760-1803)

B:Gow – Fifth Collection of Strathspey Reels (1809)

Z:AK/Fiddler’s Companion

K:Bmin

B(ff>)e dcB^A|B(ff>)e “tr”d2c2|B(ff>)^g (a/g/f/g/) af|ecAc {f}e2 dc:||

B>F F/F/F dBc^A|B>F F/F/F ~d2 cd|B>F F/F/F dBce|(cAA>)c {f}e2 dc|

B>F F/F/F dBc^A|B>F F/F/F ~d2 cd|Bff>^g (a/g/f/g/) af|ecAc {f}e2 dc||

X:3

T:Major Malley’s March

M:2/4

L:1/8

R:March

D:Battlefield Band, Home Is Where the Van Is

Z:Nigel Gatherer

K:Ddor

DA A>G|FE DC|DA A>G|F2E2|DA A>B|cA/B/ cA|G>E CE|G2 FE:||

D(A A)A/A/|FD EC|DA A/A/A|F2 EF|A(A A)A/A/|FD EF|G>E CE|G2 FE|

D(A A)A/A/|FD EC|DA A/A/A|F2 EF|DA A>B|cA/B/ cA|G>E CE|G2 FE||

                   

MAJOR MONTGOMERY. Scottish. John Glen (1891) finds the earliest appearance of this tune in print in Joshua Campbell's 1778 collection (pg. 68).

                   

MAJOR MORAN’S FAVORITE. Irish, Reel. G Major. Standard tuning. AABBCC. Treoir.

X: 1

T: Major Moran's Favorite

S: "Treoir"

M: 4/4

L: 1/8

R: reel

Z: Transcribed by Bill Black

K: G

dc |: B2 BG ABGE | DGBG AGED | B2 BA Bcde | dBAG EGDE :|

G3 F G2 BG | A3 G A2 BA | Bdgd Bcdc | AcBG AGED :|

Bdgd Bdgd | egdg eg d2 | Bdgd Bdgd | egfa g4 :|

                   

MAJOR O'FLASHETY'S REEL. English. England, Northumberland. One of the "missing tunes" from Vickers' 1770 Northumbrian dance tune manuscript.

                   

MAJOR REED’S MARCH.  American(?), March (4/4 time). G Major. Standard tuning. AABB. The melody appears in the music manuscript copybook of Henry Livingston, Jr.  Livingston purchased the estate of Locust Grove, Poughkeepsie, New York, in 1771 at the age of 23. In 1775 he was a Major in the 3rd New York Regiment, which participated in Montgomery’s invasion of Canada in a failed attempt to wrest Montreal from British control. An important land-owner in the Hudson Valley, and a member of the powerful Livingston family, Henry was also a surveyor and real estate speculator, an illustrator and map-maker, and a Justice of the Peace for Dutchess County. He was also a poet and musician, and presumably a dancer, as he was elected a Manager for the New York Assembly’s dancing season of 1774-1775, along with his 3rd cousin, John Jay, later U.S. Chief Justice of Governor of New York.

X:1

T:Major Reed’s March

M:4/4

L:1/8

R:March

S:Henry Livingston’s manuscript copybook, late 18th century

Z:AK/Fiddler’s Companion

K:G

d2 d>d d2c2|B2 B>B B2A2|G2 (3GAB A2 (3ABc|B4 z2 A<B|c2B2d2 c>B|

c2 (3cde d2c2|(3BAB (3cBA G2A2|G6z2::d2 A>A A2B2|A>GAB A2B2|

c2B2A2G2|A4 z2 (3ABc|d2 B>c d2 e>c|d2 B>c d2 e>c|d>Bc>A (3BAG (3dcB|
B2A2G2D2|G2 (3GAB A2 (3ABc|dgfedc B2|A2 G6:|

                              


MAJOR SHANLY. Irish, Planxty. G Minor. Standard tuning. AB. Composed by blind Irish harper Turlough O'Carolan (1670-1738). Complete Collection of Carolan's Irish Tunes, 1984; No. 160, pg. 108‑109.

                   

MAJOR SPICE. English, Jig. G Major (Harding, Knowles): A Major (Cahusac). Standard tuning. AABB. The melody (as “Major Spicer”) also appears in the Gentlemens Amusement No. 2, published in New York in 1812. Cahusac (Annual Collection of Twenty-Four Country Dances for the Year 1809), 1809; No. 1. However, the earliest appearance of the title is in John Fentum’s Eight Cotillions, Six Country Dances and a Minuet, for the Year 1791 (London). Harding’s All Round Collection of Jigs, Reels and Country Dances, 1905; No. 85, pg. 27. Knowles (Northern Frisk), 1988; No. 85, pg. 27.

X:1

T:Major Spicer’s Fancy

M:6/8

L:1/8

R:Jig

S:Ann Winnington’s music manuscript book (no. 26), c. 1810

N:The frontispiece indicates Winnington resided in New York.

Z:AK/Fiddler’s Companion

K:Bb

f/e/ | d2d {f/}ede | f2d b2g | fdB {c/}BAB | dcA Ffe | d2d {f/}ede | f2d b2g | fdB {c/}BAB | B3B2 ||

A/B/ | c2c cde | fdB BAB | G2G GAB | Ac/B/A/G/ F2A/B/ | [c2e2][ce] [ce]de | f2d g2e | fdB BAB | d3 c2 ||

X:2

T:Major Spice

M:G
L:1/8

R:Jig

B:Harding’s All Round Collection, No. 85 (1905)

Z:AK/Fiddler’s Companion

K:G

d/c/|G2G GAG|d2B g2e|d2B BAB|AFD D2 d/c/|B2B BAB|d2B g2e|

dBG AGA|G2z G2::G|A2A ABc|d2B G2G|E2E EFG|

A2F D2 F/G/|A2A ABc|d2B g2e|dBG AGA|G2z G2:|

X:3
T:Major Spicer

M:6/8

L:1/8

R:Jig

B:WM Cahusac – Twenty Four Country Dances for the Year 1809, No. 1

N:”With proper Directions to each Dance as they are performed at

N:Court, Bath, and all Public Assemblys.”

Z:Transcribed and edited by Flynn Titford-Mock, 2007

Z:abc’s:AK/Fiddler’s Companion

K:A

e/d/|c2c dcd|e2c a2f|e2c AGA|{GA}B2G E2e/d/|c2c dcd|e2c a2f|

ecA {c}BAB|(A3 A2::G/A/|B2B Bcd|{cd}e2c A2 A/G/|F2F FGA|

{GA}B2G E2 G/A/|B2B Bcd|e2c a2f|ecA AGA|c3 B2:|

 

MAJOR STEWART. Scottish, Reel. G Major. Standard tuning. AABB'. Kerr (Merry Melodies), vol. 3; No. 58, pg. 8.

X:1

T:Major Stewart

M:C|

L:1/8

R:Reel

S:Kerr – Merry Melodies, vol. 3, No. 58  (c. 1880’s)

Z:AK/Fiddler’s Companion

K:G

G2g2(a/g/f)g2|dgBg dgBg|G2g2 (a/g/f) g2|faAB cBcA:|

|: gaeg (dg)B2|gaeg fgaf|1 gaeg (dg)B2|ABcd e2d2:|2 gefa egdg|caBg A2d2||

 

MAK A KISHIE NEEDLE, DYE/DIE. Shetland, Shetland Reel. G Major. Standard tuning. AABB. "'Dye' was an affectionate term for  Grandfather on the West side of Shetland. A Kishie is a form of straw basket which was woven using a wooden needle very similar to a fishing‑net needle. So, the title can be interpreted as ‑‑ 'Make a Kishie Needle, Grandad'" (Anderson). The tune is in the repertory of the Shetland Fiddle Band and is widely known in the Shetlands. Source for notated version: "the late" Peter Fraser (Shetlands) [Anderson]. Anderson (Ringing Strings), 1983; pg. 85. Topic 12TS379, Aly Bain & Tom Anderson ‑ "Shetland Folk Fiddling, Vol. 2" (1978).

 

MAK YOU FAIN TO FOLLOW ME. Shetlands, Whalsay Island. AKA and see "I'll Make You Fain to Follow Me."

 

MAKE A LITTLE BOAT. Old‑Time, Bluegrass. USA. D Major. Standard tuning. AABB. Source for notated version: Kenny Baker [Phillips]. Brody (Fiddler’s Fakebook), 1983; pg. 182. Phillips (Traditional American Fiddle Music), vol. 1, 1994; pg. 149. County 770, Kenny Baker‑ "Frost on the Pumpkin." County 2705, Kenny Baker - "Master Fiddler."

 

MAKE HASTE HOME TO YOUR MOTHER. Irish, Air (6/8 time). E Minor. Standard tuning. ABB. Source for notated version: "Paddy Conneeely, the Galway Piper," via Forde. Joyce (Old Irish Folk Music and Song), 1909; No. 467, pg. 260.

X:1

T:Make Haste Home to Your Mother

M:6/8

L:1/8

R:Song Air

S:Joyce – Old Irish Folk Music and Songs (1909)

Z:AK/Fiddler’s Companion

K:Emin

d | e2B B2A | B2E E2A | B2c A2F | (G3 G2) || A | B2d e2f | g2e f2d | e2B Bcd | (e3 e2) ||

A | B2d e2f | g2e f2d | e2B Bcd | e2f gfg | e2B B2A | B2E E2A | B2c A2F | (G3G2) ||

                   

MAKE HASTE TO THE WEDDING. AKA and see "Haste to the Wedding [1]."

                   

MAKE ME A PALLET ON YOUR FLOOR. Old‑Time, Blues Tune. The title was recorded for the Library of Congress by musicologist/folklorist Vance Randolph from Ozark Mountain fiddlers in the early 1940's.

                   

MAKE THE BED. Scottish, Reel. The melody appears in the Gillespie Manuscript of Perth, 1768.

                   

MAKE YOUR BREAKFAST EARLY. Irish, Reel. Ireland, northern Ireland. D Mixolydian. Standard tuning. AABB. Source for notated version: fiddler Peter Turbit [Feldman & O’Doherty]. Feldman & O’Doherty (The Northern Fiddler), 1979; pg. 239.

                   

MAKING BABIES BY STEAM. AKA and see “Daniel O’Connell,” "Larry O'Gaff [1]." Irish, Air and Jig. The title comes from a song by Johnnie McEvoy about the Irish political hero Daniel O'Connell (1775-1847). O’Connell gave a speech on the occasion of the debut of the first steam engine in Ireland, in which he said that such machines and railways would be the making of future generations of Irish people. The phrase was a potent double-entendre as O’Connell was suspected of having several illegitimate children with various mistresses. The song, to the tune of “Larry O’Gaff,” begins:

***

You lovers of mirth, I pray pay attention

And listen to what I am going to relate,

Concerning a couple I overheard talking

As I was returning late home from a wake.

As I looked around I espied an old woman

Who sat by a gap all a-minding her cow.

She was jigging a tune called 'Come haste to the wedding'

Or some other ditty I can't recall now,

She was jigging a tune called 'An Buachaillín Donn'

Or some other ditty I can't tell you now.

                   

MAKING LOVE IN THE COTTON ROWS. AKA and see "Faire l'Amour dans les Rangs d' Coton."

                   

MAKING LOVE IN THE CHICKEN COOP/HEN HOUSE. AKA and see "Faire l'Amour dans l'Poulailler."


                   

MÁLA BEAG FATAÍ, AN (The Little Bag of Potatoes). AKA and see “The Little Bag of Potatoes.”

                   

MÁLA FATAÍ, AN (The Bag of Potatoes). AKA and see “The Bag of Potatoes [2].”

                   

MALAMUTE’S FANCY HORNPIPE. Irish, Hornpipe. G Major. Standard. AABB. Composed by Falmouth, Massachusetts, writer and musician Bill Black.

X: 1

T: Malamute's Fancy Hornpipe

M: 4/4

L: 1/8

R: hornpipe

C: © B. Black

N: “A malamute is a large wolf-like dog bred to pull sleds in Alaska. In the

N: privacy of their packs - especially during full moons - they also perform

N: a strange ritual that the local people say resembles dancing. Malamutes

N: seem to favor Kerry sets, but things get a little complicated sometimes

N: because of the "2 feet human / 4 paws dog" discrepancy.”

K: G

D | GBBA BGEG | Bggf gdBd | cBAd BGFG | AGAB cAFD |

GBBA BGEG | Bggf gdBG | EGAB cGEG | FADF G3 :|

A | (3Bcd ef gfge | dBGB AGEF | GBdg afdf | gfge d2 dc |

(3Bcd ef gfge | dBGB ABce | dgfg efge | dBcA G3 :|

                   

MALBROU(C)K. AKA ‑ "Malbrook." AKA and see "Marlbrough," "Marlbrouk," "Molly Brooks," "We Won't Go Home Until Morning." French (originally), English; Jig. C Major. Standard. AABA. This is the tune for the well-known songs "We Won't Go Home Till Morning" or "For He's a Jolly Good Fellow." The title honors John Churchill, first Duke of Marlborough, a famous military figure and intriguer during the reigns of three monarchs; James II, Willaim III and Queen Anne. It was first printed by Valleyre between 1762 and 1778, according to Fuld (1966), in a collection of French street songs, Chansons, Vaudevilles et Ariettes Choisis par Duchemin where it appears as "La Mort de M. de Marlb'roug." It was a favorite of Marie Antoinette, according to Kidson (1915) who learned it about 1781 from a peasant woman called in to nurse her first child; by 1783 it had become fashionable and a number of printings of "Marlbourouck," "Malbrouk," "Adir de Marlbourouck" and other variants occurred. Fuld also notes the melody "Calino Casturame," which appears in the Fitzwilliam Virginal Book, is quite similar. Several writers have speculated on earlier origins for the tune. A famous legend has it that it was learned during the crusades in Jerusalem and was brought back to France by a soldier; Fuld traces this unsubstantiated story to Chateaubriand. Other speculations posit an 18th century hunting song, an ancient Arabic or Spanish song, and an old song called the "Duke de Guise." The melody appears in a few music manuscript copybooks in America during the War of Independence (and post-) era, as for example in those of Captain George Bush (see below), John Hoff (a Pennsylvania flute manuscript, 1797-1799), John Curtiss (a Connecticut commonplace book c. 1800), and Henry Livingston, Jr., to name a few.  Livingston purchased the estate of Locust Grove, Poughkeepsie, New York, in 1771 at the age of 23. In 1775 he was a Major in the 3rd New York Regiment, which participated in Montgomery’s invasion of Canada in a failed attempt to wrest Montreal from British control. An important land-owner in the Hudson Valley, and a member of the powerful Livingston family, Henry was also a surveyor and real estate speculator, an illustrator and map-maker, and a Justice of the Peace for Dutchess County. He was also a poet and musician, and presumably a dancer, as he was elected a Manager for the New York Assembly’s dancing season of 1774-1775, along with his 3rd cousin, John Jay, later U.S. Chief Justice of Governor of New York. 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]. Howe (Complete Preceptor for the Accordeon), 1843; pg. 30. Keller (Fiddle Tunes from the American Revolution), 1992; pg. 22.

X:1

T:Malbrouk

M:6/8

L:1/8

K:G

G/A/ | B2B BAB | c3 BcB | A2A AGA | B3 G2 G/A/ | B2B BAB |

c3 c2d | B2G A2B | G3 z2 :: B/c/ | d2d e2e | d3z2 B/c/ | d2d e2e |

d3 z2G/A/ | B2B BAB | c3 BcB | A2A AGA | B3 G2 G/A/ |

B2B BAB | c3 z2d | B2G A2B | G3 z2 :|

                                       

MALCOLM CURRIE. Scottish. The tune was written by William Gray, Pipe‑Major of the 2nd Battalion, Argyll and Sutherland Highlanders, during World War I. Flying Fish FF‑250, The Battlefield Band ‑ "Home is Where the Van Is" (1981).

                   

MALCOLM DARE NOT MOVE (Cha 'N Fhaod Callum Caruchadh). Scottish, Reel. D Major. Standard tuning. AABB. Editor Keith MacDonald arranged this tune as part of his “Skye Set." MacDonald (The Skye Collection), 1887; pg. 184.

X:1

T:Malcolm Dare Not Move

T:Cha ‘n fhaod Callum caruchadh

M:C

L:1/8

R:Reel

S:MacDonald – Skye Collection  (1887)

Z:AK/Fiddler’s Companion

K:D

A|(B/c/d) AG F2 AA|B/c/d AF E2E2|B/c/d AG F2AA|{d}efed B2B:|

d|ABde feef|d2 A/A/A dAAB|AB de fedf|efed B2A:|

                   


MALCOLM FINLAY('S REEL) {“Calum Fhionnlaith” or “Calum Fhionnlaid”}. AKA – “Calum Finlay.” AKA and see “Jerry Holland(’s Reel) [2],” “Larry Downs' Reel.” Scottish, Canadian; Reel. Canada; Cape Breton, Nova Scotia, Prince Edward Island. E Major. Standard tuning. AAB (Brody, Cranford, Perlman): AABB' (Little). The tune has considerable currency among Cape Breton fiddlers. Burt Feintuch (2004) notes that it is a great favourite on the island – “Invariably dancers and audiences will indicate their appreciation with shouts and whoops whenever a fiddler switches to it.” He is of the opinion that the ‘distinctive sound’ of a fiddle being played in the key of E major contributes to its popularity. Sources for notated versions: fiddler Brenda Stubbert (b. 1959, Point Aconi, Cape Breton) [Cranford]; Allan MacDonald (b. c. 1950, Bangor, North-East Kings County, Prince Edward Island) [Perlman]. Brody (Fiddler’s Fakebook), 1983; pg. 183. Cranford (Brenda Stubbert’s), 1994; No. 64, pg. 23. Little (Scottish and Cape Breton Fiddling in New Hampshire), 1984; pg. 8. MacQuarrie’s Cape Breton Collection. Perlman (The Fiddle Music of Prince Edward Island), 1996; pg. 109. Ryan’s Mammoth Collection, 1883; pg. 67. Celestial Entertainment CECS001, Brenda Stubbert (Cape Breton) - “In Jig Time!” (1995). Culburnie Records CUL 102, Alasdair Fraser & Jody Stecher – “The Driven Bow” (1988). Green Linnet GLCD 3127, Sharon Shannon – “The Best of Sharon Shannon: Spellbound” (1999. Appears as last tune of “Bag of Cats” medley). Rounder 7008, "Jerry Holland." Rounder 7004, Joe Cormier‑ "The Dances Down Home" (1977). Smithsonian Folkways Records, SFW CD 40507, The Beaton Family of Mabou – “Cape Breton Fiddle and Piano Music” (2004). 

X:1

T:Calum Fhionnlaith (Malcolm Finlay)

M:4/4

L:1/8

C:Traditional, arranged by Dan Beaton

R:Reel

O:Scotland

B:The Cape Breton Collection

K:E

c| BEGB EB bg| e/2e/2e fe gfec| BEGB EB bg| fefg e/2e/2e :|

!g|: gebe gb eg| fefe c/2c/2c ce |1 gebe gb eg| fefg e/2e/2e eg:|

!|2 BEGB EB bg| fegf e/2e/2e||

                   

MALCOLM MACPHAIL. Canadian, Pipe Reel (cut time). Canada, Cape Breton. A Major. Standard tuning. AAB. Composed by fiddler Brenda Stubbert (b. 1959, Point Aconi, Cape Breton, Nova Scotia). Cranford (Brenda Stubbert’s), 1994; No. 22, pg. 8.

                   

MALCOLM MACPHEE. Canadian, Jig. A Mixolydian. Standard tuning. AABBCCDD. Composed by Nova Scotia piper Jamie MacInnis for his brother-in-law. Shears (Gathering of the Clans Collection, vol. 1), 1986; pg. 71.

                   

MALCOLM OF THE GLEN [1] (Calum a'Ghlinne). Scottish, Slow Air (6/8 time). E Flat Major. Standard tuning. AB. "The verses sung to this air contain the representation of that sting which a reflecting mind must feel, when either habitually addicted, or casually ensnared into a course of dissipation and expense, prejudicial to the interests of his family. Malcolm of the Glen had an only daughter, courted by many, and forsaken by an equal number. In moralizing over his glass, to which he was, it would appear, addicted, he at length discovers the fault his own, from a supposition that his purse was exhausted. He then reveals for her advantage what he ahs to spare, and bestows due praise on her beauty, and the propriety of her conduct, giving a hearty rub to those who think themselves more rich and more prudent, who nevertheless will have remaining to bear their expenses to the other world no more than Malcolm of the Glen" (Fraser). Fraser (The Airs and Melodies Peculiar to the Highlands of Scotland and the Isles), 1874; No. 229, pg. 93.

X:1

T:Malcolm of the Glen

T:Calum a’ Ghlinne

M:6/8

L:1/8

R:Slow Air

S:Fraser Collection  (1874)

Z:AK/Fiddler’s Companion

K:Eb

E|B,CE E2G|B2e GF z/E/|CFG A2F|_d>ed cB z/G/|Bcd e>Bc|_d>ed cB z/e/|

BAG A>Bc|GeG FEC|B,CE E2||E|GEF E>FG|BGe GFE|AFG A>GF|

d>ed c/B z/G/|Bcd e>Bc|_d>ed cB z/e/|BAG A>Bc|BeG FEC|B,CE E2||

 

MALCOLM OF THE GLEN [2] (Calum a ghlinne).  Scottish, Air (6/8 time). F Major. Standard tuning. One part. Morison (Highland Airs and Quicksteps, vol. 2), c. 1882; No. 18, pg. 9.

X:1

T:Malcolm of the Glen [2]

T:Calum a ghlinne

M:6/8

L:1/8

R:Air

N:”Briskly”

S:Morison – Highland Airs and Quicksteps, vol. 2, No. 18 (c. 1882)

Z:AK/Fiddler’s Companion

K:F

CCD FFA | c2f AGF | DGG A2c | f2f d>cc | cdf f2c | def dcA | GAc def | dcA GAF | DCD F3 ||

                   

MALCOLM ON A SPREE. See “Tha’n Daorach Air Calum.”

                   

MALCOLM’S JIG.  AKA and see “Driving the Steers.”

 

MALCOLM’S NEW FIDDLE. Canadian, Jig. Canada, Cape Breton. E Major. Standard tuning. AABB. Composed by fiddler Jerry Holland (Inverness, Cape Breton). Cranford (Jerry Holland’s), 1995; No. 247, pg. 71. Cranford Publications CP-R2, “Jerry Holland Solo” (1988).

                   

MALCOLM’S WEDDING.  AKA and see “Sleepy Maggy/Maggie.”

                   

MALHEUREUSE, LA. Cajun, Waltz. USA; Vermilion Parish, Louisiana. D Mixolydian ('A' part) & D Major ('B' part). Standard tuning. AA'BB'. This waltz comes from the area around Vermilion Parish, south of Lafayette, Louisiana, according to David Greeley, who thinks accordion tunes from that area were influenced relatively more by the fiddle than in the prairie regions of Cajun country. Source for notated version: Varise Connor (LA) via Barry Ancelet via David Greeley--Connor may have learned the tune from Bascom Mouton [Matthiesen]. Matthiesen (Waltz Book II), 1995; pg. 33.

                   

MALINDY.  AKA and see “Old Melinda.”

                              


MALL PEATLY. AKA and see "Moll Pately," "The Old Marinett," "Gillean of Croydon." English, Country Dance Tune (6/8 time). A Minor (Chappell): D Minor (Barnes, Sharp). Standard tuning. AAB (Chappell): ABB (Sharp): AABB (Barnes). The air appears in Bellerophon, of Lust tot Wyshed (Amsterdam, 1622), Playford's Dancing Master (1665) and Apollo's Banquet. Thomas D'Urfey wrote a song to the tune called "Gilliam of Croydon," and it appears under this title in several ballad operas of the 1730's. Barnes (English Country Dance Tunes), 1986. Chappell (Popular Music of the Olden Time), vol. 1, 1959; pg. 278. Sharp (Country Dance Tunes), 1909/1994; pg. 66.

X:1

T:Mall Peatly

M:6/8

L:1/8

S:Sharp – Country Dance Tunes  (1909)

Z:AK/Fiddler’s Companion

K:Dmin

z | (d3f3) | (A2B c>BA) | (d2e f>gf | e2d d3) |

(d3f3 | A2B c>BA) | (d2e f>gf | e2d d2) ||

|: (e | f>gf cAF | f3) (de^f | g>ag edc | g2 f/e/ d2) (e \ f2g a2)(A |

^c2A a2) (A | ^c2A f2)g | (a>gf e>d^c | d3 d2) :|

                   

MALL RUA (Red-Haired Moll). AKA and see "B'fhearr liomsa ainnir gan guna," "Come under my Dimity," "Ditherum Doodle,” "Her Blue eyes they gleam and they twinkle," "I'll take a glass with a friend," "Jig an dá Thuistiún," "Late on a Saturday Night," "Moll Roe{‘s} [1]," "Moll Roe in the Morning," "Munsterman's Flattery," "The Night of the Fun [3]," "One Bumper at Parting," "Though late was I plump." Irish, Single Jig. E Minor. Standard tuning. AA'B. Breathnach (1985) reports that Clare folklore has it that Mall Rua (Mall Roe) killed “three or four” of her husbands. Mall was red-haired, and thus the appellation ‘rua’ or red and was proprietress of Leimneach Castle in north Clare, an edifice which still stands. The ‘castle’ is actually a seventeenth-century mansion grafted onto a fifteenth-century tower. The mansion part was probably begun in 1639 when its owner, Conor O'Brien, married the famous Maire Ruadh, 'Red Mary', daughter of Sir Tirlogh McMahon.  This was the second marriage for Mary, and it lasted some twelve years until, in 1651, Conor was killed by troops under Cromwell who had been sent to besiege Leamaneh. The story goes that when his body was brought home by his retainers, Mary refused to admit them, declaring “We need no dead men here.” It seems she felt a live lord was the best protection for her and her infant son, and since the Cromwellian forces were in the ascendance, she betook herself to Limerick to find a husband among her former husband’s foes. In this she was successful, and her next husband was a Cornet named John Cooper. Unfortunately for Cooper, he had occasion to disparage his matrimonial predecessor, Conor O’Brien, and Mary, furious at the slight, threw him out an upstairs window where he plummeted to his death. Cooper perhaps had some inkling as to her temper (and his peril), for other stories about Mary relate that she hung servants from the corbels of the castle—men by the neck and women by the hair. She kept a famous blind stallion who was so fierce that the grooms had to hide in specially constructed niches when they let him out of his stall. Caoimhin Mac Aoidh reports that she was the target of a curse due to her many offences which foretold that she would "die roaring with her legs in the air". This damnation was fulfilled when she was thrown from her horse into a broken tree trunk. Mac Aoidh says he heard older people in Clare use this curse verbatim in a joking manner. Several songs were written to the tune; see Breathnach’s note in CRE II. Source for notated version: whistle player Art O'Keefe, 1960 (Co. Kerry, Ireland) [Breathnach]. Breathnach (CRE II), 1976; No. 93, pg. 48.

                   

MALL SIMS. AKA ‑ "Mall Simme." AKA and see "English Echo." English, Country Dance Air (4/4 time). D Minor (Raven): D Dorian (Chappell). Standard tuning. One part (Raven): AABC (Chappell). The title refers to an unknown lady {Mall=Moll(y)}. The tune was apparently originally a harp tune, according to Robin Williamson, and appears in the Skene Manuscript of c. 1615. Chappell (1859) finds it in the Fitzwilliam Virginal Book, Rossiter's Consort Lessons (1599), Vallet's Secret des Muses (1615), Nederlandtsche Gedenck‑Clank (1626), and Camphuysen's Stichtelycke Rymen (1647). Samuel Bayard (in his article “A Miscellany of Tune Notes,” Studies in Folklore, pg. 171) finds a “good and distinctive, but unmistakable” set of the tune under the title “The Beckoning Fair One” in Edward Jones’s Musical and Poetical Relicks of the Welsh Bards (2nd edition, London, 1794). See also the variant “Wanton Season.” Chappell (Popular Music of the Olden Time), vol. 1, 1859; pg. 261. Raven (English Country Dance Tunes), 1984; pg. 12. Flying Fish, Robin Williamson ‑ "Legacy of the Scottish Harpers, vol. 2."

X:1

T:Mall Sims

M:C

L:1/8

S:Chappell – Popular Music of the Olden Times  (1859)

Z:AK/Fiddler’s Companion

K:D Dorian

A4f4 | edcB A2a2 | g2f2e2d2 | ^c2A2 A4 |

f2d2e2A2 | G2F2E2D2 | A2d2d2^c2 | d8 :|

fga2 ef g2 | dfed ^c2A2 | FG A2 EF G2 | DFED ^C2A,2 ||

DEFG AF D2 | (A4 A4) | FGA_B cA F2 | (c4 c4) |

d^cde fefd | efed ^cB A2 | B^c d2 d2 ^c2 | d8 ||

                   

MALLARD, THE. Scottish, Clog or Hornpipe. B Flat Major. Standard tuning. AB. The tune was composed in 1926 by Aberdeenshire fiddler and composer J. Murdoch Henderson (1902-1972), dedicated to E. Calder, Aberdeen. Source for notated version: Winston Fitzgerald (Cape Breton) [Cranford]. Cranford (Winston Fitzgerald), 1997; No. 18, pg. 7. Henderson (Flowers of Scottish Melody), 1935.

                   

MALLOW. Irish?, Reel. G Dorian. Standard tuning. AAB. Hardings All-Round Collection, 1905; No. 141, pg. 44.

X:1

T:Mallow

M:2/4

L:1/8

R:Reel

B:Harding’s All-Round Collection, No. 141 (1905)

Z:AK/Fiddler’s Companion

K:G Minor

(D/G/).G/^.F/ GG/A/|(B/c/).d/=.e/ fe/f/|cA/F/ (=B/c/)A/F/|F/A/c/=e/ fe/f/|

(D/G/).G/^.F/ GG/A/|(B/c/).d/=.e/ fe/f/|g(f/d/) (c/A/).A/.B/|A/GA/ Gz:|

|:[dg] [d2g2] a/g/|f/e/c/A/ cd/=e/|[df][d2f2] d/c/|d/c/A/F/ A/c/d/f/|

[dg] [d2g2] a/g/|f/d/c/A/ cd/=e/|f/=e/f/g/ f/g/f/d/|c/A/.G/.G/ .Gz||

                   

MALLOY'S FAVORITE (Rogha Uí Mhaolmhuaidh). AKA and see “Mulloy’s Reel,” "Molloy's Favourite [2]." Irish, Reel. G Major. Standard tuning. AABBCC. Breathnach (1985) notes the tune is related to “Colonel Fraser,” one of a family of tunes including “Green Fields of Ireland.” See also John Doherty’s “The Cameronian” (“The Old Cameronian”) and “The Mother’s Delight,” both related tunes. Source for notated version: fiddler Michael Coleman (County Sligo, Ireland/New York) [Breathnach]. Breathnach (CRÉ III), 1985; No. 148, pg. 69. Feldman & O’Doherty (Northern Fiddler), 1979; pg. 167. Shanachie Records, "The Classic Recordings of Michael Coleman."

                   

MALONE BAY. Canadian, Jig. Canada, Cape Breton. G Major. Standard tuning. AABB. Composed by Robert Joudrey.

X:1

T:Malone Bay

M:6/8

L:1/8

Q:100

S:(from the playing of Natalie MacMaster)

D:Natalie MacMaster, "A Compliation",1996, Warner Music Canada CD 1656

Z:W. Armstrong, Jan-98

G,2B, D2G|B2B BAG|A,2B, C2E|

A2A cBA|D2F A2d|f2f gfe|ded cBA|

[1BGE D3:|[2 BGE G3 |:

gdB G2B|D3 D3|gdB G2B|A3 A2B |cBA DFA|f2f gfe|

[1 ded cBA|BGED2z:|[2 dcd fef| agf g3|]

           

MALONEY’S.  Irish, Single Jig. The tune is associated with piper Joe Kilmurray (Ballallen, Ballinacarrigy, Co. Westmeath). It appears in the Stephen Grier (south Leitrim) manuscript of 1883 under the “Maloney’s” title, and a version was noted in 1973 from the lilting of piper Kilmurray’s brother, Jim. Drumlin Records BMNCD2, Brian McNamara – “Fort of the Jewels” (2004).

           

MALONEY'S FANCY. AKA and see “Biddy Maloney,” “Malowney’s Wife.” Irish, Jig. D Major. Standard tuning. AABBCC. Cole (1000 Fiddle Tunes), 1940; pg. 61. Ryan’s Mammoth Collection, 1883; pg.

                       

MALOWNEY'S/MALONEY'S WIFE (Bean-Ceile Ui Maoileoin). AKA and see “Bashful Maid,” “Biddy Maloney,” “Maloney’s Fancy,” “Mellonie’s Jig,” “Miss Ommany’s Reel,” “Paddy in London,” “What do you think of her now?” Irish, Double Jig. D Major. Standard tuning. AABBCC (Flaherty, Harker/Rafferty, Kennedy, O'Neill): AABB'CC (Taylor). Editor David Taylor believes his version, noted from the playing of the band Shaskeen, is superior in the third part to the version in O'Neill. Taylor's version, he remarks, is the 'modern' one, while that of Flaherty is perhaps a more "traditional" setting. The earliest printing appears to be in O’Farrell (1804), under the title “Mullowney’s Jigg,” printed with sets of variations. “Maloney’s Wife” shares the same ‘A’ part as “Mellonie’s Jig” printed in Gow’s Complete Repository (Part 3, 1806, pg. 38). “Maloney’s Wife” appears in a few 18th century musicians’ manuscripts: twice it was entered by flute player Thomas Molyneaux of Shelburne, Nova Scotia, in his 1788 copybook (where he identifies himself as an Ensign in the 6th Regiment); keyboard players Sally and Eliza Marchant of Newport, R.I., penned it into their copybook; and fiddler George White of Cherry Valley, N.Y., added it to his copybook of 1790. O’Neill also prints a version of the melody under the title “Bashful Maid,” and “Biddy Maloney” is also a closely related tune. See also flute player Eddie Duffy’s “McCormack’s,” (in Hidden Fermanagh), the first two parts the same as “Maloney’s”, with a different third part. Compare with the Scottish jig “Newbyth House [2].” Sources for notated versions: flute player and piper John Ennis, originally from County Kildare [O’Neill]; Shaskeen (Ireland) [Taylor]; tin whistle player Jimmy McGettrick (b. 1909, Aughris, Rathmullen, Ballymote, Co. Sligo) [Flaherty]; New Jersey flute player Mike Rafferty, born in Ballinakill, Co. Galway, in 1926 [Harker]. Flaherty (Trip to Sligo), 1990; pg. 136. Harker (300 Tunes from Mike Rafferty), 2005; No. 240, pg. 74. Kennedy (Jigs & Quicksteps, Trips & Humours), 1997; No. 113, pg. 28. O’Farrell (National Irish Music for the Union Pipes), 1804; pg. 32 (appears as “Mullowney’s Jigg with Variations”). O’Farrell (Pocket Companion, vol. 1), c. 1805; pgs. 62-63 (appears as “Mullowney’s Jigg”). O'Neill (Krassen), 1976; pg. 71. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 709, pg. 132. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 11, pg. 18. Taylor (Through the Half-Door), 1992; No. 62, pg. 44. Shaskeen - "Atlantic Breeze" & "Shaskeen Live."

See also listings at:

Jane Keefer’s Folk Music Index: An Index to Recorded Sources 

Alan Ng’s Irishtune.info

X:1

T:Malowney’s Wife

T:Maloney’s Wife

M:6/8

L:1/8

R:Jig

S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 11

Z:AK/Fiddler’s Companion

K:D
A/G/|F2A AFA|AFA AFD|GBG FGA|BGE E2 A/G/|

F2A AFA|AFA d2A|Bcd Afd|AFD D2:|

|:d|ecA Bcd|ecA AGF|GBG FGA|BGE E2d|ecA Bcd|ecA d2A|Bcd Afd|AFD D2:|

|:f/g/|afa gfe|fed cBA|BdB AFA|BGE E2 f/g/|afa gfe|fed cBA|BdB Afd|AFD D2:|

X:2

T:Mullowney’s Jigg with Variations

M:6/8

L:18

R:Jig

S:O’Farrell – National Irish Music for the Union Pipes (1804)

Z:AK/Fiddler’s Companion

K:D

AG | FGA AFA | AFA AFA | BGG AGF | BGE E{F}GE | FGA AFA |

AFA d2A | B/c/dB AFd | AFD D2 :: c/d/ | ecA AcA | ecA d2A | GBG FGA |

BGE E2 c/d/ | ecA dfa | gfe d2A | dcB AFd | AFD D2 || f/g/ | a3g3 | fed cBA |

GBG FGA | BGE E2 f/g/ | agf gbg | fed cBA | dcB AFd | AFD D2 :: f |

Af/g/a/f/ d2f | af/g/a/f/ d2g | bgf/g/ e2g | bgf/g/ e2f | af/g/a/f/ bgg | af/g/a/f/ d2A |

B/c/dB AFd | AFD D2 :: A | d/e/dc dAF | d/e/dc dAF | GBG FGA | BGE E2A |

d/e/dc dAF | d/e/dc dAF | dcd efg | fdd d2 :: g | f/g/ab afd | fdf/g/ afd | g2d f2d |

eBe efg | f/g/ab afd | fdf/g/ afd | gfg eag | fdd d2 :: g | fdf ece | dcB AGF |

GBG FGA | BGE E2g | fdf ece | dcB AGF | B/c/dB AFd | AFD D2 :|

                       

MALTMAN (COMES A/ON MONDAY), THE. AKA and see "Sir Roger de Coverley," "Old (Sir) Roger a Coverdill." Scottish, English; Country Dance Tune (9/8 time). G Major (Bremner, Gow): D Major (Johnson): B Flat Major (Knowles). Standard or Scordatura (ADae) tuning (fiddle). AABBCC (Bremner, Gow): AABBCCDDEEFFGGHH (Knowles): AABBCCDDEEFFGGHHIIJJKKLL‑‑‑ MMNNOOPPQQRRSSTTUU (Johnson {theme and variations}). A version of the seventeenth century country dance "Sir Roger de Coverly." The title comes from the first line of Allan Ramsay's words to the tune, published in his Tea‑Table Miscellany (Vol. 3, 1723); a maltman is one whose trade is to make malts e.g. for brewing. The tune 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," and in Robert Bremner's 1757 collection (p. 47). It was also included in the 1840 music manuscript of Waverton, Cumbria, musician John Rook (p. 189). Source for notated version: Bremner's 1759 Scots Tunes, pg. 18. Bremner (Scots Reels), c. 1757; p. 47. Carlin (Gow Collection), 1986; No. 462. Gow (Complete Repository), Part 2, 1802; p. 17. Johnson (Scottish Fiddle Music in the 18th Century), 1984; No. 33, pp. 89‑91. Knowles (A Northern Lass), 1995; p. 22.

X:1

T:Maltman, The

M:9/8

L:1/8

S:Gow – 2nd Repository  (1802)

Z:AK/Fiddler’s Companion

K:G

D|E/F/GG G2g dBG|F2(A A)EA F2D|E/F/GG G2g def|g2(G G>)AG G2:|

|:c|Bcd efg dBG|F2(A A)EA F2D|dBd ece def|g2G GAG G2:|

|:(d2/e/2f/)|g3 f2e dBG| F2(A A)EA F2D|gag f2e def|g2(G G)AG G2:|

                       

MALT'S COME DOWN. English, Air (6/2 time). G Mixolydian. Standard tuning. AA. The tune dates back to the 16th century, and appears in a setting by the English composer William Byrd in the Fitzwilliam Virginal Book (No. CL), and in Deuteromelia (1609). Chappell (Popular Music of the Olden Time), Vol. 1, 1859; pg. 151.

                       

MALVINA. English, Reel. A Major. Standard tuning. AABBCC. Source for notated version: a c. 1847 music manuscript book by Ellis Knowles, a musician from Radcliffe, Lancashire, England [Plain Brown Tune Book]. Plain Brown Tune Book, 1997; pg. 50.

 

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