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
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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,
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 “
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,)
D2(FD) ADFD
| A,2 (CA,)
|: 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
X:1
T:Marquis
of
M:C
L:1/8
R:Reel
S:Surenne –
Dance Music of
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.
X:1
T:Marquis
of Bowmont’s Reel, The [2]
L:1/8
M:C
S:
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
***
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 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 (
X:1
T:Marquis
of
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
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
MARQUIS OF
***
Louden/Loudoun
was the Marquess’s family seat in
***
Loudoun's bonnie woods
and braes.
I maun lea’ them a,’ lassie;
Wha can thole when
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
X:1
T:Marquis
of
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,
***
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
***
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
When it afterward became a question whether the
young heir should go to
to
Cambridge was the best for a man of study,
whilst
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
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
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.
***
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.
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
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
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:|
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 (
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:||
MARSHA’S
WALTZ.
MARSOVIA WALTZ. Old-Time, Waltz. Document 8041, The Hill Billies/Al
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