The Fiddler’s Companion

© 1996-2010 Andrew Kuntz

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MARQ - MARS

 

 

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]

 

 

 

MARQUIS, THE. Scottish, Strathspey. B Flat Major. Standard tuning. Composed by J.R. Findlater.

X:1

T:The Marquis

C:J R Findlater

S:MS Collection, Athole Collection, Perth Library

Z:Nigel Gatherer

N:"Slowish time"

M:4/4

L:1/8

K:Bb

d/e/|f>g f/g/a/b/ f<dd<b|b>gf<d g<c c/d/e|\

f>g f/g/a/b/ f<db<d|b>gf<d B2 b:|]

c|d<fe>c d<BB<d|e<gc>B A/B/c/A/ Fd/e/|\

d<ff<d e<gab|g>ec<A|B2 b:|]

                                               

MARQUIS (of?) HANSLEY'S. AKA and see “Stirling Castle.” Scottish, Reel. D Major. Standard tuning. AABB. Nigel Gatherer finds this to be a composite tune: the ‘A’ part of the tune is from “Stirling Castle,” while the ‘B’ part is “Marquis of Huntley’s Highland Fling.” Cole (1000 Fiddle Tunes), 1940; pg. 35. Ryan’s Mammoth Collection, 1883; pg. 62.

X:1

T:Marquis Hansley’s

M:C|

L:1/8

R:Reel

S:Ryan’s Mammoth Collection (1883)

Z:AK/Fiddler’s Companion

K:D

(3GFE | D2 (FD) ADFD | C2 (CA,) EA,CA, | D2(FD) ADFD | (3Bcd (3efg (fd)dz |

D2(FD) ADFD | A,2 (CA,) EA,CA, | D2(FD) ADFD | (3Bcd (3efg (fd)d :|

|: A | d2f2 gefd | B2(ed) cABc | d2f2 gefd | (3Bcd (3efg (fd)d2 | d2f2 gefd |

B2(ed) cABg | (3fgf (3edc (3dcB (3AGF | (3Bcd (3efg (fd)d :|

                                   

MARQUIS OF BEAUMONT [1], THE.  Scottish, Reel. A Major. Standard tuning. AB. Surenne (Dance Music of Scotland), 1852; pg. 80.

X:1

T:Marquis of Beaumont, The [1]

M:C

L:1/8

R:Reel

S:Surenne – Dance Music of Scotland, pg. 80  (1852)

Z:AK/Fiddler’s Companion

K:A

c | A2 cd ecfd | ecAc dBBc | A2 cd ecfd | ecac ({c}B3)c | A2 cd ecfd | ecAc dBBc |

A2 cd ecfd | ecac ({c}B3) || c | Acef ecAc | Bcde fBBc | Acef ecAc | ecac ({c}B3)c |

Acef ecAc | Bcde fBBd | cedf egfa | ecac ({c}B3) ||

 

MARQUIS OF BOWMONT('S REEL) [2]. Scottish, Reel. B Flat Major. Standard. AB (Cole): AAB (Marshall). Composed by William Marshall (1748-1833). The Marquis of Bowmont was James Henry Robert Innes-Ker, heir to the Dukedom of Roxburghe, according to Moyra Cowie (The Life and Times of William Marshall, 1999). Cole (1000 Fiddle Tunes), 1940; pg. 44. Marshall, Fiddlecase Edition, 1978; 1822 Collection, pg. 1. Ryan’s Mammoth Collection, 1883; pg. 70.

X:1

T:Marquis of Bowmont’s Reel, The [2]

L:1/8

M:C

S:Marshall1822 Collection

Z:AK/Fiddler’s Companion

K:B_

B|FBEB DBFB|Dd e/d/c/B/ c(CC)B|DBFB EBDB|Fd (d/c/B/A/) BB,B,:|

B|fB (e/d/c/B/) fBdB|cF (B/A/G/F/) cFAF|fB (e/d/c/B/) fBdB|FdAc B(B,B,)B|

FB (e/d/c/B/) fBdB|cF (B/A/G/F/) cFAF|fBgB aBbB|dB (d/c/B/A/) BB,B,||

                       

MARQUIS/MARQUESS OF GRANBY, THE. AKA ‑ "Away to the Marquis of Granby," "Ligrum Cush," "Lacrum Cosh," "Over the Water to Charlie," "Pot Stick," "Sean Buidhe/Bui" (Yellow John [1]), "The Shambuy/Shambuie," "Wishaw's Delight." English, March or Jig (6/8 time). North‑West England. G Major (Keller/Gibbs, Knowles): D Major (Keller/Bush). Standard. AABB. The Marquis, John Manners (1721-1770), was "a good man at the bottle" whose image once graced no less that eighteen London public-houses and who can still be seen on sign-boards for inns, partly due to his personal bravery and partly to the baldness of his head. Legend has it that he set the best of his soldiers up as innkeepers when they retired from service. Old Weller, in Dicken’s Pickwick Papers, married the hostess of the “Marquis of Granby” at Dorking:

***

The Marquis of Granby in Mrs Weller's time was quite a model of a

road-side public-house of the better class - just large enough to be

convenient, and small enough to be snug. On the opposite side of the

road was a large sign-board on a high post, representing the head

and shoulders of a gentleman with an apoplectic countenance, in a

red coat with deep blue facings, and a touch of the same blue over

his three-cornered hat, for a sky. Over that again were a pair of flags;

beneath the last button of his coat were a couple of cannon; and the

whole formed an expressive and undoubted like- ness of the Marquis

of Granby of glorious memory.

***

Granby led one of the great cavalry charges of British history on July 31, 1760 at Warburg, where, "with his wig off and his bald head glistening in the sunshine, he led 22 squadrons against the French, first driving their horse form the field and then routing their infantry" (Winstock, 1970; pg. 55). He was also a hero of the French and Indian War in the American Colonies (and thus this tune appears in a number of late 18th century American music manuscripts and publications). The Marquis was made commander-in-chief of the British Army in 1766 but was the subject of bitter political attacks and, in declining health, he resigned in 1770 and gave up most of his public offices. He died in debt.

***

Numerous tunes were written in honor of Granby, many of them martial in character. The very popular tune was issued on broadsides soon after his success at Warburg, and was regularly played in the British army by the time of the Revolutionary War. The Thompson firm (London) published it in a tutor for the fife around the year 1760 as well. The melody itself is derived from "Over the Water to Charlie," which itself appears to have been derived from "Pot Stick" or "Sean Buidhe" (Yellow John). The alternate title "Pot Stick" comes from Johnson's 200 Country Dances of 1748, according to Glen, while the title "Yellow John" is a term of contempt for the Irish adherents to William III (William of Orange). The Gaelic form of "Yellow John," Sean Buidhe, was corruptly rendered in English as "The Shambuy." Source for notated version: the music manuscript of Captain George Bush (1753?-1797), a fiddler and officer in the Continental Army during the American Revolution [Keller]. Keller (Giles Gibbs Jr. His Book for the Fife...1777), 1974; pgs. 36 & 37. Keller (Fiddle Tunes from the American Revolution), 1992; pg. 19. Knowles (Northern Frisk), 1988; No. 86. Winstock (Songs and Music of the Redcoats), 1970.

X:1

T:Marquis of Granby, The

L:1/8

M:4/4
S:Giles Gibbs manuscript

K:G

D2 | G2D2G2D2 | G>F G>B B>A GG | B>A B>c d2 c>B | A2 A>A A2 D2 |

G2D2G2D2 || G>F G>B B>A GG | B>A B>c d2 c>B | A2 A>A A3D |

A>G A>B A2 DD | A>G A>B c3 c | c>A B>c d2 c>B | A>G A>B G3D |

A>G A>B AADD | A>G A>B c2 z2 | c>A B>c dd c>B | A>G A>B G2 ||

                       

MARQUIS OF GRANBY'S DELIGHT, THE. Scottish. The melody appears in the Gillespie Manuscript of Perth, 1768. A “Marquis of Granby’s Delight” also appears in the 1775 music manuscript copybook of fifer William Williams (Pautuxit, R.I.).

           

MARQUIS OF GRANBY’S MARCH. AKA – “1st Troop of Horse Grenadier’s March.” English, March (4/4 time). D Major. Standard tuning. AABB. A very popular fife march that appears in a great many music tutors, country dance collections, and musicians’ manuscripts on both sides of the Atlantic. Early publications can be found in Charles and Samuel Thompson’s Compleat Tutor for the Fife (London, 1770) and Longman, Lukey & Co.’s Compleat Instructions for the Fife (London, 1770). Johnson (A Further Collection of Dances, Marches, Minuetts and Duetts of the Latter 18th Century), 1998; pg. 6.

X:1

T:Marquis of Granby’s March

M:4/4

L:1/8

K:D

A|d3A d3A|d>cd>e f>e d2|f>ef>g a2 g>f|e2 e>e e3:|
|:A|e>de>f ec A2|e>de>f g4|f>ef>g a2 g>f|e3d d3:||

           

MARQUIS OF GRANBY’S RANT, THE.  English, Country Dance Tune (2/4 time). G Major. Standard tuning. AABB. This particular tune honouring Granby appears unique to London pubisher Charles and Samuel Thompson’s 1765 country dance collection. Thompson (Compleat Collection of 200 Favourite Country Dances, vol. 2), 1765; No. 73

X:1

T:Marquis of Granby’s Rant

M:2/4

L:1/8

B:Thompson’s Compleat Collection of 200 Favourite Country Dances, vol. 2 (London, 1765)

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

Z:abc’s:AK/Fiddler’s Companion

K:G

G2G2|G>Bd>B|A2 A>B|c>de>g|G2G2|G>Bd>B|A>Bc>e|d>B G2:|

|:gaga|gagd|gaga|gaba|gaga|gagd|(e/f/g) g>d|B>G G2:||

 

MARQUIS OF HARLINGTON, THE.  AKA and see “Dearest Dicky.” English, Jig. B Flat Major. Standard tuning. AABB. The Marquis of Harlington was the title in the 18th century of the eldest son of the Duke of Devonshire. The tune was published in Preston’s Twenty Four Country Dances for the Year 1801 (London). It appears in the c. 1860’s music manuscript of William Tildesley (Swinton, Lancashire), under the title “The Marquis.”

 

MARQUIS OF HASTINGS' STRATHSPEY, THE. AKA and see "Loudon's/Louden's Bonnie Woods (and Braes)," "Lord Moira('s Welcome to Scotland)," "Old  Aunt Katie [2]" (Pa.). Scottish, Strathspey. F Major. Standard tuning. AABCCD. Francis Rawson-Hastings (1754-1826) was Lord Moira and became the 1st Marquis of Hastings in 1816. He was the eldest son of John Rawdon, the first Earl of Moira and was for most of his life a military man. First coming to prominence while serving with distinction in the British army during the American War of Independence (although he was noted for his severity and strong disciplinary attitude), he later fought in Belgium against the French in 1794. Rank and privilege attended him. He received a peerage in 1783; in 1803 he became Commander-in-Chief in Scotland; was made Master of Ordnance in 1806 and went to India in 1813 to replace Lord Minto as Governor-General. Hastings pursued a vigorous expansionist policy during his administration and extended considerably the frontiers of British India. The Marquess, and his wife Lady Flora (Mure Campbell, whom he married in 1804), were at the center of Calcutta society. He resigned in 1821, but in 1824 accepted the governorship of Malta. He died at sea in 1826. A curious footnote is that Hastings had promised his wife that they should lie in the same grave. As this could not in the circumstances be carried into effect, he desired his right hand to be amputated at his death and sent home, that it might be buried with the Marchioness. It was deposited in the family vault in Loudoun Kirk, and when she died in 1840 it was laid in the grave beside her body.

***

Louden/Loudoun was the Marquess’s family seat in Scotland. The famous song “Loudoun’s bonnie woods and braes” is set to the tune known as “The Marquis of Hastings’ Strathspey” or “Lord Moira’s Welcome.” The lyric by Robert Tannahill is said to commemorate Hastings’ parting from his young wife to go on foreign service. It goes:

***

Loudoun's bonnie woods and braes.
I maun lea’ them a,’ lassie;
Wha can thole when Britain’s faes
Would gi’e Britons law, lassie?
Wha would shun the field of danger?
Wha frae fame would live a stranger?
Now when Freedom bids avenge her,
Wha would shun her ca’, lassie?
Loudoun’s bonnie woods and braes
Ha’e seen our happy bridal days,
And gentle Hope shall soothe thy waes
When I am far awa’, lassie.

"Hark! the swelling bugle sings,
Yielding joy to thee, laddie,
But the dolefu’ bugle brings
Waefu’ thoughts to me, laddie.
Lanely I may climb the mountain,
Lanely stray beside the fountain,
Still the weary moments countin,
Far frae love, and thee, laddie.
O’er the gory fields of war,
When Vengeance drives his crimson car,
Thou’lt maybe fa’, frae me afar,
And nane to close thy e’e, laddie."

O resume thy wonted smile!
O suppress thy fears, lassie!
Glorious honour crowns the toil
That the soldier shares, lassie;
Heav’n will shield thy faithful lover,
‘Till the vengeful strife is over,
Then we’ll meet, nae mair to sever,
‘Till the day we die, lassie;
‘Midst our bonnie woods and braes
We’ll spend our peaceful, happy days,
As blithe’s you lightsome lamb that plays
On Loudoun’s flow’ry lea, lassie.

***

Gow (Complete Repository), Part 4, 1817; pg. 21. Surenne (Dance Music of Scotland), 1852; pg. 164.

X:1

T:Marquis of Hastings, The

L:1/8

M:C

R:Strathspey

S:Gow – 4th Repository  (1817)

Z:AK/Fiddler’s Companion

K:F

C|:F<F F<F Ac ~c2|B<G A>F {EF}G>F EC|F<F F<F Ac ~c2|d>f e/f/g/e/ f/g/a/g/ f<a:|

F<f a>f g>f ec|d<d {e}f>d c>B AF|f<f a>f g>f ec|~d>f (e/f/)g/e/ f2 fg/a/|b>g a>f g>f df|

D/c/B/A/ f>A B/A/G/F/ G>A|F<F F<F B<d d2|c>f e/f/g/e/ f/g/a/g/ f<a||

|:{B}A>Fc>F d/c/B/A/ cf|AfcF G>ABd|A>Fc>F (d/c/)B/A/ cf|~d>f e/f/g/e/ f/g/a/g/ fa:|

f/az/ f/a/z/ e/gz/ c2|~d>efd c>BAF|(3fga (3fga (3efg ~c2|d>f (e/f/)g/e/ f2 fg/a/|

(db) (ca) (Bg) (Af)|{AB}c>BA>F {EF}G>FEC|(3FGA (3GAB (3ABc (3Bcd|c>f a/g/f/e/ {g}f2 fa||

                                               


MARQUIS OF HUNTL(E)Y('S STRATHSPEY) [1]. AKA ‑ "Marquis of Huntley's Reel." Scottish; Strathspey or Reel. G Minor (Athole, Cole, Gow/Repository, S. Johnson, Kennedy, Kerr, Marshall, Skye, Surenne): G Dorian (Gow): A Minor (Gatherer, Johnson). Standard tuning. AB (Cole, Hardie, S. Johnson, Marshall {1822}, Surenne): AAB (Athole, Glen, Gow, Kennedy, Kerr, Marshall {1781} & Skye): AABB (Gatherer).

***

The title Marquis (sometimes appearing as Marquess) of Huntly (in Aberdeenshire) was the secondary title of the Dukes of Gordon and was normally given to an eldest son, and although the Gordons were a Scottish clan Huntly itself is in England. The particular Marquis of Huntly referred to by Marshall was George, born in 1770 and, as the eldest, heir to the Dukedom of his father Alexander. George ascended to the title in 1827 and remained until 1836, and when he died childless the Dukedom ended, while the Marquessate and Earldom of Huntly "devolved" upon a relative, then the 5th Earl of Aboyne (according to Charles Gore). Mary Robinson (in her book Beaux and Belles of England) writes:

***

Doctor Beattie describes him as “the best and most beautiful boy that ever was

born.” He proved to be one of the most popular of the young nobility of that period.

Doctor Beattie strongly advised the duchess to engage an English tutor, a clergyman,

for him, recommended either by the Archbishop of York, or by the Provost of Eton.

When it afterward became a question whether the young heir should go to Oxford or

to Cambridge, the doctor, who seems to have been a universal authority, allowed that

Cambridge was the best for a man of study, whilst Oxford had more dash and spirit in

it: so little are matter altered since that time. 

***

Fifteen years appear to have elapsed before the birth of a second son, Alexander. Both

These scions of this ducal house became military men: the young Marquis was colonel

of the Scots Fusileer Guards, and served in the Peninsular war, and was eventually

Governor of Edinburgh Castle. Long was he remembered by many a brother officer,

many an old soldier, as a gallant, courteous, gay-hearted man; with some of the faults

and all the virtues of the military character. He married late in life Elizabeth, daughter

of Alexander Brodie, Esq. of Arnhall, N. B., who survived him. 

***

George Gordon, Marquis of Huntly, later the 5th Duke of Gordon

***

Another view of the Marquis was afforded by Elizabeth Grant of Rothiemurchas, who wrote of he and his wife at the time of their wedding:

***

Lord Huntly now in the decline of his rackety life, overwhelmed with debts,

sated with pleasure, tired of fashion, the last heir male of the Gordon line. His

bride was young, and good, and rich but neither clever nor handsome. She

made him very happy and paid his most pressing debts, that is her father did,

old Mr. Brodie of the Burn, brother to Brodie of Brodie…He made a really

large fortune; he gave his daughter, his only child, £100,000 down, and left

her more than another at his death. Really, to her husband her large fortune

was the least part of her value: she possessed upright principles, good sense,

and she turned out a first rate woman of business.

***

He evidently loved to dance, as we see in this excerpt from a London paper called The Star (06/01/1799), which reported on a recent ball at Oatlands Palace, Surrey, England:

***

At the fete given by Her Royal Highness, the Duchess of York, at Oatlands on the 30th of May (1799),

the dances were as follows: 1. Ramah Droog. 2. Miss Murray of Auchtertyre. 3. The Tartan Plaidie.

4. Lady Harriet Hope’s Reel. And lastly, the enchanting tune of Miss Gordon of Troupe’s Strathspey

was called for by Princess Augusta, and danced twice over by all the fet. Between the second and

third dance, Their Majesties desiring to see the Highland Reel in all its purity, it was danced by the

Marquis of Huntley and the Lady Georgiana Gordon, Colonel Erskine and Lady Charlotte Durham,

with all the elastic motion, hereditary character, and boundless variety of the Scottish dance.

***

“The Marquis of Huntley’s Strathspey” was composed by William Marshall (1748-1823), it being of the first tunes he was supposed to have written. Marshall worked for the Gordon family for 30 years as a Steward of the Household and later land steward, and in his spare time became conversant with mathematics, astronomy, clocks, mechanics and optics, as well as composing 300 tunes. Years later Robert Burns noted that he had been "told by somebody who had it of Marshall himself, that he took the idea of his three most celebrated pieces, 'The Marquis of Huntley's Reel,' 'His Farewell' and 'Miss Admiral Gordon's Reel' from the old air 'The German Lairdie'" (Emmerson, 1971). The Rev. John Skinner wrote a famous song to this air, which begins: "Tune your fiddles, tune them sweetly...". “The Marquis of Huntly” has been compared to Niel Gow's "Miss Margaret Graham of Inchbrakie," which was published in Gow's First Collection, 2nd edition, 1801, however, Marshall's tune was first published his in his own First Collection, 1781. The second section of Gow's piece is similar but not identical. Paul Stewart Cranford (1995) remarks that some of Marshall’s tunes have been in oral tradition so long in Cape Breton, Nova Scotia, that local sets have evolved; this is one such piece. Francis O’Neill (1922) remarks: “This fine reel first published in 1781 is but one of many composed by Wm. Marshall who for thirty years was in the service of the Duke of Gordon as butler and house steward. In music as in other accomplishments he was entirely self-taught. His playing of strathspeys and reels was so inspiring, it is said, that neither the old nor the young could overcome their inclination to dance. As an amateur violin player of Scottish dance music, he was unrivalled in the last half of the 18th Century. No composer of his time was so victimized by plagiarists who appropriated his tunes, changed a few notes, and passed them off as their own under different titles.

***

Source for notated version: Winston Fitzgerald (1914-1987, Cape Breton) [Cranford]. Aird (Selections), vol. II, 1782; No. 101, pg. 37. Alburger (Scottish Fiddlers and Their Music), 1983; Ex. 53, pg. 80 (appears as "Marquis of Huntly's Reel, a Strathspey"). Carlin (The Gow Collection), 1986; No. 132. Cole (1000 Fiddle Tunes), 1940; pg. 127. Cranford (Winston Fitzgerald), 1997; No. 161, pg. 64. Feldman & O’Doherty (Northern Fiddler), 1979; pg. 174a (appears as untitled Highland). Gatherer (Gatherer’s Musical Museum), 1987; pg. 59. Glen (The Glen Collection of Scottish Dance Music), vol. 1, 1891; pg. 19. Gow (Complete Repository), Part 1, 1799; pg. 9. Hardie (Caledonian Companion), 1992; pg. 86. Henderson (Flowers of Scottish Melody), 1935. Johnson (The Kitchen Musician's No. 10: Airs & Melodies of Scotland's Past), 1992 (revised 2001); pg. 12. S. Johnson (A Twenty Year Anniversary Collection), 2003; pg. 30. Kennedy (Traditional Dance Music of Britain and Ireland: Reels and Rants), 1997; No. 120, pg. 29. Kerr (Merry Melodies), vol. 1; Set 21, No. 5, pg. 13. MacDonald (The Skye Collection), 1887; pg. 123. Marshall, Fiddlecase Edition, 1978; 1781 Collection, pg. 6 (appears as "The Marquis of Huntly's Reel) and the 1822 Collection, pg. 11. McGlashan (A Collection of Reels), c. 1786; pg. 17. O’Farrell (Pocket Companion, vol. III), c. 1808; pg. 19. O’Neill (Waifs and Strays of Gaelic Melody), 1922; No. 208. Ryan’s Mammoth Collection, 1883; pg. 166. Stewart-Robertson (The Athole Collection), 1884; pg. 189. Surenne (Dance Music of Scotland), 1852; pgs. 36-37.  Culburnie CUL 113D, Alasdair Fraser & Tony MacManus – “Return to Kintail” (1999). Green Linnet Records SIF 1058, Matt Molloy & Sean Keane ‑ "Contentment is Wealth" (1985). Green Linnet SIF‑1101, Seane Keane ‑ "Playing with Fire: the Celtic Fiddle Collection" (1989). Philo 2001, "Jean Carignan" (learned from a recording by Cape Breton fiddler Angus Chisholm). Rounder SS‑0145, Carl MacKenzie ‑ "Traditional Music on Rounder: A Sampler" (1981. Appears as 2nd strathspey of "Dan R. MacDonald Medley"). WS 031703, Wendy MacIsaac – “Timeline” (2003). WMT002, Wendy MacIsaac – “That’s What You Get” (1998?).

See also listings at:

Alan Snyder’s Cape Breton Fiddle Recording Index

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

Alan Ng’s Irishtune.info

X:1

T:Marquis of Huntly

M:C

L:1/8

R:Strathspey

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

Z:AK/Fiddler’s Companion

K:G Minor

F|D<G G>F D<G G>A|F>GA>B c/B/A/G/ F<A|D<G G>F D<G G>g|

f>c e/d/B/A/ G2G:|

d|g>ab>g d>gb>g|a/g/f/d/ ~c>d f>c a<f|g>ab>g d>gb>g|b/a/g/f/ d>^f g/g/g ~g2|

g>ab>g a>^fg>d|f>c d<f A>Fc>A|D<G G>F D>GG<g|f>c d/c/B/A/ G2G||

X:2

T:Marquis of Huntly's Reel, The

M:4/4

L:1/8

S:McGoun's Repository c.1803

Z:Paul Kinder

R:Reel

K:Bb

D<GG>E D<G G2|"tr"F>GAB c<AF>A|D<GG>F D<G G2|fc d/2c/2B/2A/2 {A}G2 G2|

D<GG<F D<GGA|F>GA>B c/2B/2A/2G/2 FA|D<GG>F D<GGg|fc d/2c/2B/2A/2 {A}G2

G2||g>abg d>gbg|a/2g/2f/2d/2 c>d fcaf|g>abg dgbg|b/2a/2g/2f/2 d^f g/2g/2g g2|

g>abg afgd|f>cdf AFcA|D>GG>F D>G G2|fc d/2c/2B/2A/2 {A}G2 G2||

X:3

T:Marquis of Huntley’s Reel, The

M:2/4

L:1/8

S:Aird, vol. II (1782)

Z:AK/Fiddler’s Companion

K:Amin

EAA>G | EAA>B | G>AB>c | c/d/B/A/ GB | EAA>G | EAAa | gd e/d/c/B/ | A2 A2 :|

|: a>bc’a | bgae | gd   | G>ABG | a>bc’a | bgae | a>b c’/b/a/^g/ | a2 aa/b/ | c’abg |

aeg>e | dBgB | G>ABG | EAA>G | EAAa | gd e/d/c/B/ | A2 A2 :|

X:4

T:Marquis of Huntly’s Strathspey

M:C

L:1/8

R:Strathspey

S:O’Farrell – Pocket Companion, vol. III (c. 1808)

Z:AK/Fiddler’s Companion

K:A

A | E<A A>G E<A A>B | G>ABc d/c/B/A/ G2 | EAA>G EAA>f | gd (e/d/c/B/) A2A :|

e | abc’a ea{b}c’a | (b/a/)(g/e/) de (g>a)bg | (a>b)c’a ea{b}c’a | bgeg a2a2 |

a>bc’a bgae | gded BGdB | E<A (A>G) E<A A>f | gd (e/d/c/B/) A2 A ||

 

MARQUIS OF HUNTLY [2]. Scottish, Strathspey. F Major. Standard tuning. AAB. Stewart-Robertson (The Athole Collection), 1884; pg. 227.

T:Marquis of Huntly

M:C

L:1/8

R:Strathspey

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

K:F

A|F<AcA f>c d/c/B/A/|FA/B/ c>A G<g ~g>a|F>Ac>A f>c d/c/B/A/| Bc/d/ c>B A<F~F:|

c|f<ad<f A<cF<c|f<a g>f e<g ~g>e|f<ad<f c<fA<c|Bc/d/ c>B A<F ~F>c|

f<ac<f A<cF<c|~f<a g>f e<g ~ga/g/|(3fga (3gab (3agf (3gfe| ~f<d c>B A<F~F||

 

MARQUIS OF HUNTLY('S) [3]. AKA and see "Marquis of Huntly's Highland Fling."

 

MARQUIS OF HUNTLEY'S [4]. Scottish, Hornpipe. C Major. Standard tuning. AB. Harding’s All Round Collection, 1905; No. 26, pg. 8.

X:1

T:Marquis of Huntley’s [4]

M:2/4

L:1/8

R:Hornpipe

S:Harding’s All-Round Collection, No. 26  (1905)

Z:AK/Fiddler’s Companion

K:C

e/f/|g/e/c/e/ g/e/c’/a/|g/e/c/e/ g/e/c’/a/|g/e/a/g/ f/d/g/f/|e/f/^f/g/ de/=f/|

g/e/c/e/ g/e/c’/a/|g/e/c/e/ g/e/c’/a/|(g/e/).c/.G/ (f/d/).B/.G/|cec B/A/||

G/A/B/c/ d/e/f/d/|(e/g/).g (c’/g/).g|(g/e/).e (f/d/).d|f/d/e/c/ d/e/f/^f/|

g/e/c/e/ g/e/c’/a/|g/e/c/e/ g/e/c’/a/|(g/e/).c/.G/ (f/d/).B/.G/|cec||

                       


MARQUIS OF HUNTL(E)Y'S FAREWELL, THE. AKA and see "George Booker [1]." Scottish, Strathspey ("Slow when not danced"). A Major. Standard tuning. AB (most versions): ABAB’ (McGlashan): ABAB'AB''AB''' (Skinner). An andante air with "just a touch of strathspey," composed by William Marshall (1748-1833). The Marquis of Huntley, George Gordon (b. 1770), was the hereditary heir to the Duke of Gordon and became the 5th and last Duke. This tune was written by Marshall, the Gordon’s steward or butler, who was emotionally moved as the young man took his farewells from his family when he departed for his Continental tour in 1787. Witnessing the family's sorrow and grief at his leaving, Marshall " endeavored in the first part (of the tune) to imitate the wailing of the parents, and in the latter bars that of his young sisters" (Marshall, 1845 Collection). It was one of the earliest composed by Marshall and was first published in his First Collection of 1781; it is particularly celebrated and one of his most famous pieces (Collinson {1966} was much impressed by it and used it as an example of Marshall's melodic grace and power). The melody was published by the Gows, with no credit to the composer in their Repository, Part First, 1799. It was included as one of the tunes in a 1921 concert set by the famous Scots violinist J. Scott Skinner, which set was romantically entitled "Spey's Furys;" Skinner was thoroughly familiar with the tune by that time, for his rendition of it gained him a first place prize at a competition held nearly sixty years previously in Inverness in September, 1863. Skinner was not only a noted violinist but, especially early in his career, was a tutor of the national dances, and had formerly included the melody as one of the pieces in his dance school ball in Forres in 1880. In America the tune became the precursor for the old-time tune "George Booker [1]," first printed by George P. Knauff in his Virginia Reels, volume III (Baltimore, 1839). Alburger (Scottish Fiddlers and Their Music), 1983; Ex. 54, pg. 80. Carlin (The Gow Collection), 1986; No. 133. Collinson (The Traditional and National Music of Scotland), 1966; pg. 223. Emmerson (Rantin’ Pipe and Tremblin’ String), 1971; No. 62, pgs. 150‑151. Gow (Complete Repository), Part 1, 1799; pg. 24. Hardie (Caledonian Companion), 1992; pg. 71. Honeyman (Strathspey, Reel and Hornpipe Tutor), 1898; pg. 22. S. Johnson (A Twenty Year Anniversary Collection), 2003; pg. 30. Kerr (Merry Melodies), vol. 1; Set 10, No. 1, pg. 8. MacDonald (The Skye Collection), 1887; pg. 1. Marshall, Fiddlecase Edition, 1978; 1822 Collection, pg. 14. McGlashan (A Collection of Reels), c. 1786; pg. 38. Skinner (The Scottish Violinist), pg. 16. Skinner (Harp and Claymore), 1904; pg. 105. Stewart-Robertson (The Athole Collection), 1884; pg. 12. Surenne (Dance Music of Scotland), 1852; pgs. 48-49. Beltona BL2096, Edinburgh Highland Reel and Strathspey Society (1936). HCD 008, Tommy Peoples - "Traditional Irish Music Played on the Fiddle" (appears as 2nd tune, track 5).

See also listing at:

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

X:1

T:Marquis of Huntly’s Farewell, The

M:C|

L:1/8

S:Strathspey

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

Z:AK/Fiddler’s Companion

K:A

C|A,2 A,>C E/E/E (E>F|A>Bc>B A2 (A>c|A,2 A,>C E/E/E (E>c|

B>c d/c/B/A/ (A<F F>A|A,2 A,>C E/E/E (E>F|A>Bc>B A2 (A>c|

d2 d>f e<c c>A|B>c d/c/B/A/ A<F F||f|f/e/d/c/ a>c b>c a2|f/e/d/c/ ac f>ed>c|

B<b b>f b/a/g/f/ b2|f<b b>f a>gf>e|f/e/d/c/ a>c b>c a2|f/e/d/c/ ac f>ed>c|

d/e/f/g/ a>g f>e d>c|B>c d/c/B/A/ A<F F>A||

                       

MARQUIS OF HUNTLY'S FAVORITE, THE. Scottish, Slow Slip Jig. B Flat Major. Standard tuning. AAB. Composed by William Marshall (1748-1833). Marshall, Fiddlecase Edition, 1978; 1822 Collection, pg. 3.

X:1

T:Marquis of Huntly’s Favorite, The

L:1/8

M:9/8

S:Marshall – 1822 Collection

Z:AK/Fiddler’s Companion

K:Bb

(B/c/d)B BFB BFB|(B/c/d)B BFB (c2d)|(c/d/e)d cGc cGc|(c/d/e)d cGc e2g:|

B>df bfd fdB|B,Bd bfd ~f2g|B,Bd bfd fdB|Ccc c2d e2g|

Bdf bfd fdB|B,Bd bfd fga|bag agf gfe|dec gc~d e2g||

                       

MARQUIS OF HUNTLEY'S HIGHLAND FLING [1], THE. See "Flax in Bloom." Scottish, Strathspey. D Major. Standard tuning. AB (Surenne, White): AABB (Alburger, Emmerson, Gow, Johnson/Cooper, Kennedy, Martin, Skye): AABB' (Athole): AABBCCDD (Martin). Composed by George Jenkins (c. 1760-1806), who was a friend or at least a correspondent of the Gows (perhaps, like them, from Perthshire, though his country of origin is obscure) and a teacher of "Scotch Dancing" in London about the year 1794. The tune, which was the first use of the term 'Highland fling,' appears in his First Collection of 1793. It also appears in Issac Cooper of Banff’s (b. 1755-d. 1810 or 1811, although sometimes the year is given as 1820) Collection of Strathspeys, Reels and Irish Jigs for the Piano-Forte & Violin to which are added Scots, Irish & Welch Airs Composed and Selected by I. Cooper at Banff (London, Edinburgh, c. 1806). Christine Martin (2002) says the Highland Fling is the oldest Highland dance, and is said to have been based on the rutting of stags (and as such, is related to fertility dances). The Gows published it in Repository, Part Second, usually dated 1802, although the Purdie edition contains the note that it was composed by “the late Mr. Geo. Jenkins,” leading one to believe the publication date for that edition was older then 1804. Jenkins composed a few good reels and strathspeys, but John Glen (1895) was of the opinion that "a number of his tunes do not possess the true Scottish character." The second part of the tune appears as the first part of “Denis Murphy’s Slide [1].” Alburger (Scottish Fiddlers and Their Music), 1983; Ex. 39, pg. 62. Carlin (The Gow Collection), 1986; No. 522. Emmerson (Rantin’ Pipe and Tremblin’ String), 1971; No. 64, pg. 153. Gow (Complete Repository), Part 2 1802; pg. 36. Honeyman (Strathspey, Reel and Hornpipe Tutor), 1898; pg. 11 (appears as "The Marquis of Huntly"). Johnson (A Twenty Year Anniversary Collection), 2003; pg. 7 (from I. Cooper’s collection). Kennedy (Traditional Dance Music of Britain and Ireland: Reels and Rants), 1997; No. 121, pg. 29. Kerr (Merry Melodies), vol. 1; Set 6, No. 5, pg. 6 (appears as "Marquis of Huntly"). MacDonald (The Skye Collection), 1887; pg. 74. Martin (Ceol na Fidhle, vol. 3), 1988; pg. 10. Martin (Traditional Scottish Fiddling), 2002; pg. 51. Ryan’s Mammoth Collection, 1883; pg. 170. Stewart-Robertson (The Athole Collection), 1884; pg. 97. Surenne (Dance Music of Scotland), 1852; pg. 10. White’s Unique Collection, 1896; No. 161, pg. 20. Beltona 2103 (78 RPM), Edinburgh Highland Reel and Strathspey Society (1936). Greentrax CDTRAX243, Tony Cuffe – “Sae Will We Yet” (2003).

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:Marquis of Huntly’s Highland Fling [1]

M:C|

L:1/8

R:Strathspey

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

Z:AK/Fiddler’s Companion

K:D

A | d<d f>d g>e f<d | B<B e>d c>AA>c | d<d f>d g>ef>d |

B>e d/c/B/A/ d2d :: B | A>DF>D A>Bd>e | f<d g>f e>d B<d |

A>DF>D A>B d<b |1 a<f e>f d2d :|2 (3agf (3gfe d2d ||

 

MARQUIS OF HUNTLY'S HIGHLAND FLING [2], THE. Scottish, Strathspey. G Minor. Standard tuning. AAB. Honeyman (Strathspey, Reel and Hornpipe Tutor), 1898; pg. 28.

X:1

T:Marquis of Huntly’s Highland Fling [2]

M:C

L:1/8

R:Strathspey
S:Honeyman – Strathspey, Reel and Hornpipe Tutor  (1898)

Z:AK/Fiddler’s Companion

K:G Minor

F|D<G G>F D<G G>A|F>GA>B c/B/A/G/ FA|D<G G>F D<G G>g|

f>c d/c/B/A/ AGG:|d|g>ab>g d>gb>g|a>fc>=e f>ga>g|g>ab>g d>gb>g|a>fd>^f g<g g2|

g>ab>g a>^fg>d|f>c d<f A<F c>F|D<G G>F D<G G>g|f>c d/c/B/A/ AGG||

                       

MARQUIS OF HUNTLY'S REEL, A STRATHSPEY [1]. AKA and see "Marquis of Huntl(e)y('s Strathspey) [1]."

 


MARQUIS OF HUNTLY'S REEL [2]. Scottish, Reel. A Major. Standard tuning. AB (Hardie, Martin): AA’BB’ (Perlman). Composed by Peter Milne (1824-1908), appearing in his Selection of Strathspeys, Reels (1870). Milne was known as the 'Tarland Minstrel', and so immersed in his art that he once said, "I was that fond o' my fiddle, I could sit inside it and look oot."  This tune, which is considered among those of Milne’s better compositions, is frequently preceded in a set by another Milne composition, “The Marchioness of Huntly—Aboyne Castle [3].” Sources for notated versions: Peter Chaisson, Sr. (b. 1929, Bear River, North-East Kings County, Prince Edward Island) [Perlman]; Hector MacAndrew [Martin]. Hardie (Caledonian Companion), 1986; pg. 33. Martin (Traditional Scottish Fiddling), 2002; pg. 133. Perlman (The Fiddle Music of Prince Edward Island), 1996; pg. 94. Olympic 6151, Arthur S. Robertson ‑ "Scottish Traditional Fiddle Music" (1978).

See also listings at:

Alan Snyder’s Cape Breton Fiddle Recording Index

Alan Ng’s Irishtune.info

X:1

T:Marquis of Huntly’s Reel, The [2]

M:C
L:1/8

R:Reel

K:A

A,2 CE AEAB|cAdc BAGF|EA,CE AEcA|dBed fe^de|

Ceag fedc|dfce BGED|CEAE DFBA|GEFG (A2 A)||E|

A/A/A ce aAgA|aefa ecBA|E/E/E GB dEcE|dEGB AGFE|

A/A/A ce aAgA|aefa ecBA|ceaf dfba|gefg (a2 a)||

                       

MARQUIS OF HUNTLY'S SNUFF MILL, THE. AKA and see "Miss Dallas('s Reel)," "The Royal Gift." Scottish, "Very slow" Strathspey. F Major. Standard tuning. AB (Hardie): AAB (Alburger, Athole, Gow). Published and claimed by Niel Gow (1727-1806) in his Fourth Collection of 1800, however, the tune is actually a composition of William Marshall's called "Miss Dallas's Reel" (published in his First Collection, 1781) presented in a different key with a few notes altered. The identity problem is charitably thought by some to be not one of outright plagiarism, but perhaps arises from the fact that many of both Gow's and Marshall's tunes were in general circulation long before they were published by each of them. Others believe the plagiarism despicable. Marshall undoubtedly knew of the usurpation of his melody, but there is no record of his pursuing whatever grievances he might have had, if any. Gow gives the alternate title “Royal Gift.” Alburger (Scottish Fiddlers and Their Music), 1983; Ex. 68, pg. 106. Carlin (The Gow Collection), 1986; No. 134. Gow (Fourth Collection of Niel Gow’s Reels), 2nd ed., originally 1800; pg. 2. Hardie (Caledonian Companion), 1992; pg. 57. Henderson (Flowers of Scottish Melody), 1935. Stewart-Robertson (The Athole Collection), 1884; pg. 234.

X:1

T:Marquis of Huntly Snuff Mill

L:1/8

M:C

R:Slow Strathspey

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

Z:AK/Fiddler’s Companion

K:F

C<F ~F>A G>F D2|C<F ~F>A cd/e/|d>cf>A B/A/G/F/ D2|C>FA>F G2F2:|

c<f f>a g>f d2|c<f ~f>a g>af>c|d<f c>A B/A/G/F/ D2|C>FA>F G2F2|

c<f ~f>a g>f d2|c<f ~f>a g>af>a|d>fA>c B/A/G/F/ Df/g/|a<Fc>A G2~F2|| 

                       

MARQUIS OF HUNTLY'S WELCOME TO THE ROYAL HIGHLANDERS. Scottish, Strathspey. F Major. Standard tuning. AAB. The melody appears in Malcolm MacDonald’s 3rd Collection, dedicated to Miss Drummond of Perth. MacDonald (A Third Collection of Strathspey Reels), c. 1792; pg. 3. Stewart-Robertson (The Athole Collection), 1884; pg. 304.

X:1

T:Marquis of Huntly’s Welcome to the Royal Highlanders, The

L:1/8

M:C

R:Strathspey

B:MacDonald – 3rd Collection of Strathspey Reels  (c. 1792)

Z:AK/Fiddler’s Companion

K:F

c | AFFA/B/ cdcB | A<F c>A BGGB | AFFA/B/ c>dcA | C>FE>G AFF :|

e | f>df>g {f/g/}a>fg>f | c>f b/a/g/f/ e(gg>)a | f>cf>g {f/g/}a>fcA | C>FE>G AFFe |

f>cf>g {f/g/}a>f”tr”g>f | cf b/a/g/f/ egga/b/ | a>fg>e f>dcA | B<d “tr”c>B AFF ||

X:2

T:Marquis of Huntly’s Welcome to the Royal Highlanders, The

L:1/8

M:C

R:Strathspey

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

Z:AK/Fiddler’s Companion

K:F

c|A<F FA/B/ c>dc>B|A<F c>A B<G G>B|A<F FA/B/ c>dc>A|

C>FE>G A<F~F:||e|f>cf>g a>fg>f|c>f b/a/g/f/ e<g g>a|~f>cf>g a>fc>A|

C>FE>G F<A F>e|~f>cf>g a>fg>f|c>f b/a/g/f/ e<g ga/b/|a>fg>e f>dc>A|B<dc>B A<FF||

                       

MARQUIS OF LORNE [1], THE. Scottish, English; Hornpipe. G Major. Standard tuning. AABB (Laybourn, Kennedy, Miller & Perron, Raven): AB (Honeyman, Martin). The Marquis of Lorne is the heir to the Dukedom of Argyll. The title of this particular piece may refer to the Marquis of Lorne, son of the Duke or Argyll, who married the Princess Louise in 1871. Louise was the 4th daughter of Queen Victoria, the reigning English monarch, and the wedding caused a stir as it was unheard of for the daughter of a sovereign to marry a subject of the realm.  Lorne was sworn in as the first Governor-General of Canada in 1878.

***

Princess Louise and the Marquis of Lorne

***

See also Irish variants “Dunn’s Hornpipe,” “Flowers of Antrim [1]” and “Sligo Fancy.” Source for notated version: Donna Hinds/Hebert (Amherst, Mass.) [Miller]. Honeyman (Strathspey, Reel and Hornpipe Tutor), 1898; pg. 48. Kennedy (Fiddler’s Tune Book), vol. 2, 1954; pg. 9. Laybourn (Kohler’s Violin Repository), 1881-1885. Martin (Traditional Scottish Fiddling), 2002; pg. 58. Miller & Perron (Irish Traditional Fiddle Music), 1977; vol. 2, No. 7. Miller & Perron (Irish Traditional Fiddle Music), 2nd Edition, 2006; pg. 118. Raven (English Country Dance Tunes), 1984; pg. 169.

See also listing at:

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

X:1

T:Marquis of Lorne [1]

L:1/8

M:C
R:Hornpipe

S:Honeyman – Strathspey, Reel and Hornpipe Tutor  (1898)

Z:AK/Fiddler’s Companion

K:G

b>a|g>fg>d B2 e>d|c>Bc>A E2 A>G|F>GA>B c2 d>c|B>AB>c d2 b>a|

g>fg>d B2 e>d|c>Bc>A E2 A>G|F>GA>B c>de>f|g2 g2 g2||

B>c|d>gd>B d>gd>B|d>gd>B d2 c>B|c>af>d c2 A>B|c>af>c c2 B>c|

d>gd>B d>gd>B|d>gd>B d2 c>B|c>ea>g f>de>f|g2 g2 g2||

 

MARQUIS OF LORN [2]. Scottish, Strathspey. D Mixolydian. Standard tuning. AB (Athole): AAB (Gow). The tune was composed by the famous Scots fiddler-composer Niel Gow (1727-1807). The Marquis of Lorn, named after a district and presbytery of Argyllshire, is the courtesy title given to the eldest sons of the Dukes of Argyll. George William Campbell (1768-1839), the Marquis of Lorn acceded 1806 as the 6th Duke of Argyll. The family estate was Inverarey Castle in Scotland. Campbell married Caroline Villiers, eldest daughter of the fourth Earl of Jersey, in 1810 (just three weeks after she divorced Lord Uxbridge, the future Marquis of Anglesey), and died in 1839 without issue. He was a close friend of the Prince of Wales and acted as councilor to the Prince Regent from 1811 to 1820, and he was also a loyal companion to Beau Brummell, a member of the British Fishing Society, and of the exclusive White’s Club of London. White’s was known for its famous (and notorious) Bay Window, which was built in 1811 and quickly became the preserve of Brummell, Campbell (Artyll), and Lords Alvenely, Foley and Sefton. Whist had been voted a dull game by the members, who much preferred hazard, faro, and other games of pure chance. The betting book was always open on the table for bets, even the most trivial, to be laid at any one time. Carlin (The Gow Collection), 1986; No. 135. Gow (First Collection of Niel Gow’s Reels), 1784 (revised 1801); pg. 22. Stewart-Robertson (The Athole Collection), 1884; pg. 120. Rounder 7059, Alex Francis MacKay with Gordon MacLean – “Gaelic in the Bow” (2005).

See also listing at:

Alan Snyder’s Cape Breton Fiddle Recording Index

X:1

T:Marquis of Lorne [2]

M:C|

L:1/8

R:Strathspey

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

Z:AK/Fiddler’s Companion

K:D

g|f>de>c d>FD>F|E>=CCE G2 G>g|f>de>c d>FD>F|A>FD>F A2 A>=c|

B>GA>F d>FD>F|G/F/E/D/ =C<E G<cG<E|F<DG<E A<FB<G|

d/c/B/A/ d>F D2D||g|f2 d<f f<d a>f|g<e =c>e g2 g>a|f2 f>a f>g a<f|

a<fd<a f<d a>d|f2 d<a f>g a<f|g>e =c<g e<c g>e|a>fg>e f>de>c| d/c/B/A/ d>F D2D||

 

MARQUIS OF LORN [3]. Scottish, Strathspey. G Major. Standard tuning. AABB. Kerr (Merry Melodies), vol. 4; No. 104, pg. 13.

X:1

T:Marquis of Lorn [3]

M:C

L:1/8

R:Strathspey

S:Kerr – Merry Melodies, vol. 4, No. 104 (c. 1880’s)

Z:AK/Fiddler’s Companion

K:G

(B/c/)|d>GB>g d>GB2|(c/d/e) d>B c<A A(B/c/)|d>GB>g d>G B2|(c/d/e) A>d B<G G:|

|:f|g2 d>g (e/f/g) d>B|(c/d/e) d>B c<A A>f|g2 d>g (e/f/g)d>B|(c/d/e) A>d B<G G:|

                       

MARQUIS OF QUEENSBURY. Scottish, Reel. C Major. Standard tuning. AAB (Athole): AABB (Cranford/Holland): AABB' (Kerr). Given the melody’s first appearance in Lowe’s Collection, it is likely that the tune refers to Archibald William Douglas (1818-1858), 7th Marquis of Queensbury, educated at Eton, who was a cornet in the 2nd Life Guards, then MP for Dumfries-shire. He died while rabbit hunting when his gun exploded (although some say he was a suicide). The next Marquis of Queensbury, John Sholto Douglas (1844-1900), endorsed a codification of boxing rules in 1867 for both amateur and professional matches. “The Marquis of Queensbury” has been a popular tune among Cape Breton fiddlers. Cranford (Jerry Holland: The Second Collection), 2000; No. 72, pg. 29. Kerr (Merry Melodies), vol. 2; No. 81, pg. 11. Lowe (Collection), c. 1845. Stewart-Robertson (The Athole Collection), 1884; pg. 63.

See also listings at:

Alan Snyder’s Cape Breton Fiddle Recording Index 

X:1

T:Marquis of Queensbury

M:C|

L:1/8

R:Reel

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

Z:AK/Fiddler’s Companion

K:C

f|ec c/c/c ~c2 ec|fedc Bagf|ec c/c/c ~c2 ac|BGAB c2:|

G|EFGE F2Ac|BcdB c2 eg|afaf gedc|BGAB c2cG|

CEGE FGAc|BcdB cdeg|afaf gedc|BGAB cagf||

                       


MARQUIS OF TULLYBARDINE/TULLIBARDINE [1], THE. AKA and see “Maids of Tulla,” “Merry at the Fair.” Scottish (originally), Canadian; Reel. Canada, Cape Breton. A Major. Standard or AEae (Cape Breton) tunings. One part (Gow, Johnson): AB (Honeyman, Skinner, Skye, Surenne): AAB (Dunlay & Greenberg): AA'BB' (Athole, Kerr): ABCD (McGlashan Collection). A very popular composition, even to modern times, by John Crerar (1750‑1840), the head gameskeeper on the Atholl -estate, who probably knew, and may have had lessons from, the famous Scots fiddler-composer Niel Gow (1727-1807), of Inver. The melody was published in the McGlashan Collection of 1786 as “The Marquis of Tullybardin’s Reel.” The lords of Tullybardine were the Murray family, who acquired the Earldom of Atholl in 1629. The title Marquis of Tullibardine eventually devolved to the eldest sons of the Dukes of Atholl. The Murray family’s roots were originally Flemish and Lowland Scottish, and they amassed a considerable fortune in real estate and goods, including some 200,000 acres in Atholl itself. The most famous Marquis of Tullibardine in the 18th century was William Murray, and it was in 1745, when James, the 2nd Duke of Atholl, was away in London, that Bonnie Prince Charlie landed in Scotland and the summoned support for his rising. One who responded was James’s brother William, who assumed the rights and privileges of the Dukedom in his brother’s absence. Murray had been attainted for his part in the 1715 Jacobite rising, and, loyal to the Jacobite cause even though elderly and rather unwell, was one of the ‘Seven Men of Moidart’ who welcomed the Prince to Scottish shores. William entertained Prince Charlie at Dunkeld House when the Young Pretender marched toward Edinburgh, and among the performers was Niel Gow (1727-1807). The Marquis hoped to raised several thousand men in the Prince’s cause from among the Atholl tenants, but on succeeded in attracting 500 rather tentative souls for the cause. Gow may have been among them, for it is said he spent some days with the army before he deserted (as did most of the other Atholl tenants) for the safety of Inver. Source for notated version: Stan Chapman (Antigonish, Nove Scotia) [Dunlay & Greenberg]. Dunlay & Greenberg (Traditional Celtic Violin Music of Cape Breton), 1996; pg. 139. Gow (Complete Repository), Part 4, 1817; pg. 25. Honeyman (The Strathspey, Reel, and Hornpipe Tutor), 1898; pg. 20. S. Johnson (A Twenty Year Anniversary Collection), 2003; pg. 42. Kerr (Merry Melodies), vol. 1; Set 18, No. 4, pg. 12. MacDonald (The Skye Collection), 1887; pg. 1. McGlashan (A Collection of Reels), c. 1786; pg. 16. Skinner (The Scottish Violinist), pg. 9. Skinner (Harp and Claymore), 1904; pg. 106. Stewart-Robertson (The Athole Collection), 1884; pg. 12. Surenne (Dance Music of Scotland), 1852; pg. 115. Big Harold BH 1006, John Ferguson/Kiltarlity - “Fiddlers’ Green-Kiltarlity” (1976). Celtic CX 20, The Five MacDonald Fiddlers (c. 1957). Celtic CX 044, Bill Lamey. NQD-5447, Doug MacPhee - “Cape Breton Master of the Keyboard” (appears as “Hughie MacDonald’s Reel”). Plant Life Records PLR‑017, "The Tannahill Weavers" (1979). Rounder CD 7044, Donald MacLellan with Doug MacPhee – “The Dusky Meadow” (2003). Shanachie 14002, Bill Lamey - “Classic Recordings” (1979). Tradition 2118, Jim MacLeod & His Band ‑ "Scottish Dances: Jigs, Waltzes and Reels" (1979).

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:Marquis of Tullybardine, The [1]

R:Reel

B:MacDonald – Skye Collection

M:C

L:1/8

K:A

A/A/A cA eAAf|eAAa fedc|Bcde fBBg|aBBa gfea|

A/A/A cA eAAf|eAAa fedc|defa fecf|1 ecBc f2ec :|ecBc f2eg||

aA A/A/A cAAg|aAAa fedc|bB B/B/B dBB^a|bBB=a gfeg|

aA A/A/A cAAg|aAAa fedc|defa fecf|1 ecBc f2eg :|2 ecBc f2ec||

 

MARQUIS OF TULLIBARDINE [2]. Scottish, Country Dance Tune (9/8 time). G Minor. Standard tuning. AB. The tune, composed by Inver fiddler-composer Niel Gow (1727-1807), is in the hexatonic mode. Carlin (The Gow Collection), 1986; No. 349. Gow (The First Collection of Niel Gow’s Reels), 1784 (revised 1801); pg. 15. Jones [Ed.] (Complete Tutor Violin), c. 1815; pg. 12.

X:1

T:Marquis of Tullibardine's Jig.

R:slip jig

M:9/8

L:1/8

B:Complete Tutor Violin  (c. 1815)

Z:Dr. Evan Jones, 2005

K:Bb

U:w=!wedge!

D |G2 G (B/c/d)G dBG |F2 F (A/B/d)F cAF |G2 G (B/c/d)B dBG |FDF (D/C/A,)A, G,2 D |

G2 G (B/c/d)wB dBG |F2 F (A/B/c)wF cAF |G2 G (B/c/d)B dBG |FDF (D/C/B,)wA, G,2 ||

d | g2 d (g/a/b)wa gdg | f2 c (f/g/a)wg fcf | gdg (g/a/b)wa gdg |fdf (c/A/F)wG d |

gdg (g/a/b)wg gdg |fcf (f/g/a)wg | fcf | (g/a/b)wa gdg fcf | (f/g/a)wd cAF G2 |]

                       

MARQUIS OF TWEEDDALE’S FAVORITE, THE.  Scottish, Strathspey. D Major. Standard tuning. AABBCCDD. Gow attributes the tune to “D. MacDonald.” The title refers to one of two men name George Hay. George, the sixth Marquis of Tweeddale, was noted for his thrift and attention to finances, and accumulated a large fortune. With this fortune he directed that lands be purchased to add to the Tweeddale holdings, and died without issue in 1787. He was succeeded by his cousin, George Hay (1753-1804), grandson of Lord William Hay, of Newhall.  The seventh Marquis of Tweeddale married a daughter of the seventh Earl of Lauderdale. George was appointed Lord-Lieutenant of Haddingtonshire, and was chosen one of the Scottish representative peers. However, he suffered from poor health, and, to ease his afflictions, he and his wife traveled to the Continent in 1802 during a lull in the almost continuous hostilities with France in the late 18th and early 19th centuries. Unfortunately, hostilities resumed in 1803, and the couple were among the British subjects who were detained in France by Napoleon Bonaparte. Imprisoned at Verdun, the Marchioness predeceased George on the 8th of May, while he died on August 9th, 1804. They left twelve children behind in Britain. Gow (Third Collection of Niel Gow’s Reels), 3rd ed., originally 1792; pg. 38.

X:1

T:Marquis of Tweeddale’s Favorite, The

M:C

L:1/8

R:Strathspey

N:”Slowish”

B:Gow – Third Collection of Niel Gow’s Reels (1792)

Z:AK/Fiddler’s Companion

K:D

A,|D<D F>A (G/F/).E/.D/ ~F2|E<B,B,>E (D/C/)(B,/A,/) A,B,/C/|D<D F>A (G/F/)E/D/ ~F2|E>B,C>A, D2D:||

B/c/|d<fc<e B<d F2|G>EF>D “tr”EDB,B/c/|d<fc<e B<d ~F2|G>E (G/F/)E/D/ (A,D)DB/c/|

d<fc<a B<gA<f|G>EF>D (F/E/)(D/C/) B,>E|D<D F>A (G/F/)(E/D/) ~F2|E>B,C>A, D2D||

|:(A/4B/4c/)|d<d “tr”f>a (g/f/)e/d/ ({d/e/}f2)|e<B B>e (d/c/)B/A/ AB/c/|d<d “tr”f>a (g/f/)e/d/ ({d/e/}f2)|e>B c>A {c}d2d:||

B/c/|d<fc<e B<d ~F2|G>EF>E “tr”E>DB,B/c/|d<fc<e B<d ~F2|G>E G/F/E/D/ (A,D)DB/c/|

d<fc<a B<gA<f|G>EF>D F/E/D/C/ B,<E|D<D F>A (G/F/E/D/) ~F2|E>B,C>A, D2D||

 

MARQUIS OF TWEEDDALE'S REEL, THE. Scottish, Reel. E Flat Major. Standard tuning. AAB. Composed by William Marshall (1748-1833). According to the contemporary writings of Elizabeth Grant of Rothiemurchus, quoted by Moyra Cowie (The Life and Times of William Marshall, 1999), the Marquis was “to my mind, for thick set and square built and coarse mannered with that flat Maitland face. He was altogether the ugliest boxer or bruiser, looking sort of common order, yet he had a kind manner and pleasant smile and made a tender husband to Lady Susan Montague.” Lady Susan was the grand-daughter of Alexander, the 4th Duke of Gordon, for whom Marshall worked as Steward of the Household. The eighth Marquis of Tweeddale, George Hay, was born in 1787 and as a youth impressed others with his physical strength and prowess, remarked upon for the rest of his life. He entered the army in 1804, the year his father died (see note for “The Earl of Tweeddale’s Favorite), and the year he succeeded to the family titles and estates, when he was only seventeen years of age. His career flourished under the tutelage of exceptional commanders such as Sir John Moore, and, in the Peninsular War, with the Duke of Wellington, who mentioned Hay in dispatches for his personal bravery. After being wounded he returned home for a time, but was back in action in 1814, this time rejoining his regiment in Canada in time to assist in turning back an American invasion of Canada at Niagara Falls, where he was again wounded. Promotions followed, and Hay attained the rank of general in 1854, was nominated colonel of the 2nd Life Guards in 1863, and ten years after was created a field marshal. In 1816 he married Lady Susan Montagu, third daughter of the fifth Duke of Manchester, and in 1824, like his father, was appointed Lord Lieutenant of Haddingtonshire.  By 1842 Hay was again in overseas service, this time in India where he was appointed Governor of Madras and Commander-in-Chief of the Forces. Returning home in 1848, Hay devoted himself to improving his estates and was ingenious in experimenting and inventing tools and applications in that arena, impressing his fellow rural gentry enough be be elected President of the Agricultural and Highland Society. He died at age ninety, attempting to recover from an accident in which he was burned. James Taylor, in his The Great Historic Families of Scotland (1887), remarks:

***

Lord Tweeddale was conspicuous for his stature and strength; and numerous anecdotes have been

told of his gallantry in the field, and of the terrible effect with which he wielded a sabre longer by a

good many inches than the regulation weapon. He was a famous boxer—one of the very best—and

when provoked gave practical proof of his prowess. He was an excellent horseman, was long known

as ‘the Prince of the Heavy Bays,’ was a most skilful whip, and once drove the mail-coach from

London to Haddington at a sitting

***

Marshall, Fiddlecase Edition, 1978; 1822 Collection, pg. 23.

X:1

T:Marquis of Tweeddale’s Reel, The

L:1/8

M:C|

S:Marshall – 1822 Collection

Z:AK/Fiddler’s Companion

K:Eb

E2 GB eBGE | E2 GB e2 BG | E2 GB eBGE | CFFE D2 CB, :|

egec dfdB | ceBG B2 AG | egec dfdB | CFFE D2 CB, | egec dfdB |

ceBG B2 AG | [A,A]ccA GBBG | CFFE D2 CB, ||

                       

MARQUESS OF TWEEDDALE’S (STRATHSPEY).  Scottish, Strathspey. A Flat Major. Standard tuning. AAB. The tune appears in the 2nd Collection of Malcolm MacDonald of Dunkeld, dedicated to the Earl of Breadalbane. MacDonald (A Second Collection of Strathspey Reels), 1789; pg. 11.

X:1

T:Marquess of Tweeddale’s

M:C

L:1/8

N:”Slow”

R:Strathspey

S:MacDonald – 2nd Collection of Strathspey Reels (1789)

Z:AK/Fiddler’s Companion

K:Ab

F | (E<C) “tr”E>F (E<C) E>F |E<C A<c {c}B>AF>A | E<C E>F E>FA>B | c>e F>B E>G A2 :|

c/d/ | e>cAc ecf>c | d>e (d/c/)(B/A/) GBBc/d/ | e>cAc ecae | fceE FAAc/d/ |

e>cAc ecfc | d>e (d/c)(B/A/) (GB)Bd | ce FA GABd | ceFB EG A ||

 

MARQUIS OF WATERFORD'S HORNPIPE, THE. English, Scottish; Hornpipe. England, Northumberland. E Flat Major. Standard tuning. ABB'. The melody appears in Kohlers' Violin Repository, Book 2. It was composed by Tyneside fiddler and composer James Hill, and named after a Steward at Newmarket races, who also occasionally competed in the racing in the 1840’s and 1850’s. He was a member of the Newmarket Jockey Club. It also appears that the Marquis had a reputaiton as a practical joker. He once filled the first class carriage of a train bound for one race meeting with chimney sweeps, simply to see the looks on the faces of the other first class passengers. Hardie (Caledonian Companion), 1988; pg. 45.

                       

MARR LODGE. Scottish, Reel. A Major. Standard tuning. AAB. Composed by Alexander Walker. Walker (A Collection of Strathspeys, Reels, Marches, &c.), 1866; No. 14, pg. 5.

                       

MARRIAGE AND MONEY. AKA and see "Dunnigall's Rant," "The Dandling o' the Bairns." Scottish, Jig. D Major. Scordatura (ADae tuning). ABBCCDD. Appears also in the 1710 Sinkler MS (as "Dunnigall's Rant") and Riddell's 1794 Scotch, Galwegian and Border Tunes (as "The Dandling o' the Bairns"). Johnson (1984) states the tune was improvised on endlessly as the tune has no stopping places, and "every cadence is gently undermined as it approaches, and the next section follows without the melody being broken at any point." The alternate title "Dandling of the Bairns" suggests to him that it could have been a tune played repetitiously to put children to sleep, although in many places dandling a baby would appear to be gentle physical jostling or stimulation to keep a child amused—the opposite effect. Nevertheless, it is a difficult piece to bring off in performance, Johnson notes, and that probably only accomplished players attempted it. The tune was collected in Edinburgh in 1740, Glasgow in 1710, and Newton Stewart around 1705.

***

The Marriage Contract.  William Hogarth (1697-1764)

***

Source for notated version: McFarlane Manuscript (1740, vol. 3, No. 68) [Johnson]. Johnson (Scottish Fiddle Music in the 18th Century), 1984; No. 89, pg. 238.

                                               

MARRIAGE KNOT, THE. Scottish, Slow Reel. G Major. Standard tuning. ABB. "A very old reel” (Gow). Carlin (The Gow Collection), 1986; No. 275. Gow (Complete Repository), Part 3, 1806; pg. 4.

X:1

T:Marriage Knot, The

M:C

L:1/8

R:Slow Reel

S:Gow – 3rd Repository  (1806)

Z:AK/Fiddler’s Companion

K:G

C>D B,>A, (3B,CD G,2|(G2 G)G/F/ (EA) AB/c/|{Bc}d2 c>B c/(B/A/G/) (G/F/E/D/)|

GA/B/ (B/A/G/F/) {F}G2 G,>B,|C>D ED (3EFG B,2|ED/C/ (C/B,/)A,/G,/ A,2 A,>B|

c>d ed (3efg B2|(c/B/)A/G/ F/G/A/B/ {F}G2 G,2||

|:=f2 {f} e(d/2e/2)f/ ecc e/^g/|aeea/g/ {g}^f2 de/f/|g>d (e/d/)(c/B/) ~g>d (e/d/)(c/B/)|

(c/B/)(A/G/) (F/G/)(A/B/) G2 G,>B,|CD E>D (3EFG B,2|ED/C/ (C/B,/)(A,/G,/) A,2 A,>B|

~c>d G4 e>d (3efg B2|(c/B/)A/G/ (F/G/)(A/B/) G2 G,2:|

                       

MARRIAGE, OR THE MOUSE TRAP. AKA and see "Old Hob, or the Mouse Trap," "Of all the simple things we do."

           

MARRIAGE VOW, THE. See note for “Saturday Night and Sunday Morn.”

 

MARRY KETTY.  Scottish, Strathspey. G Major. Standard tuning. AB (Surenne): AAB (Gow). A similarly entitled tune, “Mary Kitty,” is unrelated. Gow (Second Collection of Niel Gow’s Reels) 1788, 3rd edition; pg. 6. Surenne (Dance Music of Scotland), 1852; pgs. 118-119.

X:1

T:Marry Ketty

M:C

L:1/8

R:Strathspey

S:Surenne – Dance Music of Scotland, pgs. 118-119  (1852)

Z:AK/Fiddler’s Companion

K:G

B | G<G G2 B>AB>d | G<GG>c (B/4c/2<d) A>B | G<GG<G B>ABd | (e/4f/2<g) (d<g) (B<g) A>B |

G<G G2 B>AB>d | G<GG>c (B/4c/2<d) A>B | G<GG<G B>ABd | (e/4f/2<g) (d<g) (B<g) A ||

c | (B<d) de/f/ g>d({f}e)>d | (B<d) de/f/ g>BA>c | (B<d) de/f/ g>d({f}e>)d | (c<A)(B<g) (B<g)A>c |

(B<d) de/f/ g>d({f}e)>d | (B<d) de/f/ g>BA>c | (B<d) de/f/ (g/f/g/a/) g>d | (c<a)(B<g) (B<g) A ||

           


MARRY ME NOW. AKA and see “George Carnegie’s Strathspey,” “Inverara Rant,” "I Wish You Wou'd Marry Me Now,” “The Proposal [2].” Scottish (originally), Canadian; Reel. Canada, Cape Breton. A Minor (Kerr, Athole): A Mixolydian (Dunlay & Greenberg). Standard tuning. AAB (Kerr, Athole): AABCCD (Dunlay & Greenberg). The settings in Kerr and Stewart-Robertson’s Athole Collection are directly from Robert Bremner’s 1757 collection, though it also appears in an early printing in the Gillespie Manuscript of Perth (1768). The first two parts are played as a separate tune nicknamed “The Proposal.” See also Northumbrian versions “Morpeth Lasses” and “Lady Warkworth’s Reel [1].” Source for notated version: Jerry Holland, learned from Dan MacIsaac, whose father played the tune in a four part version (Cape Breton) [Dunlay & Greenberg]. Dunlay & Greenberg (Traditional Celtic Violin Music of Cape Breton), 1996; pg. 59. Kerr (Merry Melodies), vol. 1; Set 9, No. 4, pg. 7. Moffat (Dance Music of the North). Stewart-Robertson (The Athole Collection), 1884; pg. 55. ACC-49025, Jerry Holland - “A Session with Jerry Holland” (1990). WS 031703, Wendy MacIsaac – “Timeline” (2003).

X:1

T:Marry Me Now

M:C|

L:1/8

R:Reel

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

Z:AK/Fiddler’s Companion

K:Amin

G|EA A/A/A c2 ce|dcBA GABG|AE E/E/E c2ce|dBgB A/A/A A:|

|:g|agea geae|gedg BGdB|1 agea geae|gegB A/A/A A:|2 cAdB ecae|gegB A/A/A A||

                       

MARRY THE PIPER, GIRL (Pas An Piobaire A Cailin). Irish, March (6/8 time). G Major. Standard tuning. AAB (O'Neill): AABB (Kerr). Kerr (Merry Melodies), vol. 2; No. 234, pg. 26. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1822, pg. 342.

X:1

T:Marry the Piper, Girl

M:6/8

L:1/8

R:March

S:O’Neill – Music of Ireland (1903), No. 1822

Z:AK/Fiddler’s Companion

K:G

G2G G2B | ABA A2B | G2G G2B | d3g3 | GAG G2B | ABA A2f | g2e fed | e3 e3 :|

|| gag fed | efe edB | d2d d2e | g3 g2a | b2g g2d | efe d2B | g2G G2B | d3d3 | gag fed |

efe edB | d2d d2e | g3 g2a | b2g a2f | g2f e2d | e2d e2f | g3 g3 ||

                       

MARRY WHEN YOU’RE YOUNG. Irish, Reel. D Major. Standard tuning. AB. Philippe Varlet suggests this tune is a reworking of “My Love is in America.”

X:1

T:Marry When You're Young

S:John Doherty

N:The C in the 4th, 8th, 12th, and 16th appears to be in between C flat and

C sharp.  Fiddlers should know what I'm talking about.  The second four

measures of each part present variations on the first four that John

played, but he didn't necessarily play them in this order.

D:John Doherty, The Star of Donegal, Folktracks 75

Z:Transcribed by Larry Sanger

M:C

K:D

AG|F2FE FGAG|Ad{e}dc d2ea|fded cABd|=cAGE D/D/D DE|

F/F/F {G}FE FGAG|Ad{e}dc d2eg|fded cABd|=cAGE FDDg||

{fg}f2ed cAAg|fdec dfag|{fg}f2ed cABd|=cAGE D/D/D Dg|

{fg}f2ed cAAg|fdec dfeg|{fg}f2ed cABd|=cAGE FDDE||

X:2

T: Marry When You're Young

S: "Treoir" / John Doherty

M: 4/4

L: 1/8

R: reel

Z:Transcribed by Bill Black

K: D

F2 FD FEDE | Addc d2 (3ABc | d2 fd ecAF | GBAF GFED |

F2 FD FEDE | Addc dfeg | fdec dcAd | cAGE D4 |

                       

MARS AND VENUS. English, Country Dance Tune (4/4 time). E Dorian/Minor. Standard. AABB. The melody dates to 1728. Barnes (English Country Dance Tunes), 1986.

                       

MARS FROLIC. AKA and see "Maria's Frolic."

                       

MARSCILLOIS MARCH. French, English; March (cut time). G Major. Standard tuning. One part. The march is "a not too unusual setting" of the French anthem "Marseillaise." Huntington (Willam Litten's), 1977; pg. 37.

           

MARSDEN RATTLER.  AKA and see “Morgan Rattler.”

                       

MARSEILLAISE. AKA and see "Marscillois March." French, March (4/4 time). D Major. Standard tuning. ABB. Kerr (Merry Melodies), vol. 4; No. 374, pg. 40.

X:1

T:Marseillaise

M:4/4

L:1/8

R:March

S:Kerr – Merry Melodies, vol. 4, No. 374  (c. 1880’s)

Z:AK/Fiddler’s Companion

K:D

(3AAA|d2d2e2e2|a3f ddfd|B2g2g2e>c|d2 d>d d2d>e|f2 f>f f2 (gf)|

feee e2 e>f|g2 g>g g2 a>g|f6a2|a2fd a2fd|A6A2|e2e2g2 e>c|d4=c4|

B2d>d d2(cd)|e6e2|=f3f ffgf|=feee e2 (fe)|d2 d>d d=fed|d4c4|

(a4 a)afd|e2A>A A2a2|(a4 a)afd|eA/A/ AA A2|:A2|d6e2|f6f2|

g4(a2b2)|e6b2|(a4 a)fge|d2 d>d d2:|

                       

MARSH BROOK ROAD, THE. Canadian, Reel. Canada, Cape Breton. F Major. Standard tuning. AB. Composed by Cape Breton fiddler and composer Dan R. MacDonald (1911-1976). Cameron (Trip to Windsor), 1994; pg. 38.

                       

MARSHALL HILL'S HORNPIPE. American, Hornpipe. B Flat Major. Standard tuning. AABB. Cole (1000 Fiddle Tunes), 1940; pg. 95. Kerr (Merry Melodies), Vol. 2; No. 387, pg. 43. Ryan’s Mammoth Collection, 1883; pg. 130.

X:1

T:Marshall Hill’s Hornpipe

M:C|

L:1/8

R:Hornpipe

S:Ryan’s Mammoth Collection (1883)

Z:AK/Fiddler’s Companion

K:Bb

(de) | f>bd>f B>fF>B | D>B,D>F B2 (3FGA | B>FD>F d>cB>d | f>ed>e c2 (de) |

f>bd>f B>dF>G | D>B,D>F B2 (3FGA | B>FB>d c>eA>c | B2B2B2 :|

|: (BA) | B>df>a b>ag>^f | g>^fg>a g2 (cB) | A>FA>c e>gf>e | d>cd>e f2 (dc) |

B>df>a b>fd>D | E>Gc>e g>ec>E | D>FB>d d>eA>c | B2b2B2 :|

                       

MARSHALL LOWENDAHL’S MARCH. The melody appears in Longman and Broderip’s Entire New and Compleat Instructions for the Fife (London, 1780, pg. 32).

                       

MARSHALL SAXE’S MINUET. AKA and see “Count Sax’s Minuet.”

           

MARSHALL SAXE’S TAMBORINE.  English, Country Dance Tune (2/4 time). A Major. Standard tuning. AABB. The melody is unique to London publishers Charles and Samuel Thompson’s 1757 country dance collection. Marshall Saxe was in command of the French armies during the War of the Austrian Succession, including the battles of Fontenoy and Dettingen. Thompson (Compleat Collection of 200 Favourite Country Dances, vol. 1), 1757; No. 39.

X:1

T:Marshall Saxe’s Tamborine

M:2/4

L:1/8

B:Thompson’s Compleat Collection of 200 Favourite Country Dances, vol. 1 (London, 1757)

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

Z:abc’s:AK/Fiddler’s Companion

K:A

A|c/e/d/e/ c/d/B/c/|AGAB|cBcd|e/d/c/B A/c/B/A/|c/e/d/e/ c/d/B/c/|AGAB|ceac|{c}B3:|

|:e|g/b/a/b/ g/a/f/g/|e^def|gfga|b/a/g/f/ ee|g/b/a/b/ g/a/f/g/|e^dea|(3g/f/e/ (3a/g/f/ “tr”f2|e3 A|

c/e/d/e/ c/d/B/c/|AGAB|cBcd|e/d/c/B/ A/c/B/A/|c/e/d/e/ c/d/B/c/|AGAd|(3c/B/A/ (3d/c/B/ “tr”B2|A3:||

           

MARSHALL'S STRATHSPEY. AKA and see "Newfield Cottage."

                       

MARSHA’S WALTZ.  Bluegrass, Waltz. C Major. Standard tuning. AB. Source for notated version: Kenny Baker [Silberberg]. Silberberg (93 Fiddle Tunes I Didn’t Learn at the Tractor Tavern), 2004; pg. 30.

 

MARSOVIA WALTZ. Old-Time, Waltz. Document 8041, The Hill Billies/Al Hopkins and His Buckle Busters: Complete Recorded Works in Chronological Order, Vol. 3.”

 

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