The Fiddler’s Companion
© 1996-2009 Andrew Kuntz
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MISS KA – MISS RU |
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] |
MISS KATHARINE
MILLER’S BIRTHDAY. Scottish,
Air (whole time). D Major. Standard tuning. AAB. Composed by Nathaniel Gow
(1763-1831). Gow (Fifth Collection
of Strathspey Reels), 1809; pg. 14.
X:1
T:Miss
Katharine Miller’s Birthday
M:C
L:1/8
R:Air
N:”Slow”
C:Nathaniel
Gow (1763-1831)
B:Gow – Fifth
Collection of Strathspey Reels (1809)
Z:AK/Fiddler’s
Companion
K:D
“tr”F/>E/|D(B,A,)~D (F/F/)(A/F/) [Fd] (d/D/)|(c/D/)(B/D/) (A/D/)(B/D/) {DE}F[CE][CE] “tr”F/>E/|D(B,A,)~D (F/D/)(A/F/) [Fd] (f/F/)|
(e/E/)
(d/D/) (c/C/) (B/B,/) AFF:||A/d/|f/(a/4g/4) f/4e/4d/4c/4 (.B/.B/) ~B/c/4/d/4
A/B/4c/4 d/4/e/4f/4g/4 a/4d/4e/4f/4 g/4a/4b/4c’/4|
d’/.c’/4.b/4
.a/4.g/4.f/4.e/4 .d/4.c/4/B/4.A/4 .G/4.F/4.E/4.D/4 {DE}F[CE][CE] A/d/|f/a/g/4
f/4e/4d/4c/4 (.B/.B/) ~B/c/4d/4 A/B/4c/4 d/4e/4f/4g/4 a/4d/4e/4f/4
g/4a/4b/4c’/4|
d’/4c’/4b/4a/4
^g/4a/4b/4c’/4 d’/4c’/4b/4a/4 b/4c’/4d’/4b/4 a~f/>-g/
f”tr”d’/>e’/|.f’/.f’/ .f’/d’/4b/4 .e’/.e’/ e’/c’/4a/4 .d’/.d’/ d’/c’/4g/4
.a/.a/ a/f/4d/4|
.b/.b/
b/g/4e/4 (3a/f/d/ (3b/g/d/ {de}f[ce][ce] “tr”f/>e/|d(BA)~d (f/d/)(a/f/) d’
f’/f/|(e’/e/) (d’/d/) (c’/c/) (b/B/) [Aa][Ff][Ff]||
MISS
KATHERINE STEWART FORBES (STRATHSPEY--OF ACHMEDDEN). Scottish, Strathspey. F Major. Standard tuning. AAB. Composed by William Marshall (1748-1833). Moyra Cowie (The Life and Times of William Marshall,
1999), thinks Miss Katherine was a relation of Sir William Forbes of Pitsligo
Castle, a grandson of the 4th Laird who forfeited his entire
holdings after Culloden, and who was sustained for a time on the kindness of
his tenantry and friends, while he lived in caves disguised as a beggar. Sir
William was a banker who was able to purchase the forfeited estate of
Achmeddan. Marshall, Fiddlecase Edition,
1978; 1822 Collection, pg. 57. Stewart-Robertson
(The Athole Collection), 1884; pg.
242.
X:1
T:Miss Katherine Stewart Forbes
M:C
L:1/8
R:Strathspey
B:Stewart-Robertson – The Athole Collection (1884)
Z:AK/Fiddler’s Companion
K:F
a|F<F F>A G>AB>d|F<F F>A cd/e/ ~f>c|d<fA<f G>A B<d|~c>f e/f/g/e/ ~f2f:|
a|c<fA<f G<(g g)>a|c<fA<f c<fA<f|B<gA<f G>AB>d|~c>f e/f/g/e/ ~f2 f>a|
c<fA<f
G<(g ~g)>a|c<fA<f c<FA<F|B>dc>A G>AB>d|c>f
e/f/g/e/ f2 f||
MISS KATIE HALL’S REEL. See “Miss
Ketty Hall.”
MISS KATHY GORDON. Scottish. Part of this air shows up in "Caledonian Hunt [1]" and
Bayard's Pennsylvania‑collected "Moniemusk" (a floating title).
MISS KATY TROTTER. See "Miss Katty Trotter."
MISS
KATTY GORDON OF EARLSTON(‘S REEL). Scottish, Strathspey. D Major.
Standard. AABB'. John Glen (1891) finds the earliest appearance of this tune in
print in John Riddell's 1782 collection
(pg. 24). Glen (The Glen Collection of
Scottish Music), vol. 1, 1891; pg. 4.
X:1
T:Miss Katty Gordon of Earlston’s
Reel
M:C
L:1/8
R:Strathspey
S:Glen Collection, vol. 1 (1891)
Z:AK/Fiddler’s Companion
K:D
(D/E/F/G/ A)F dFA(F|BG)AF
E(DEF)|(D/E/F/G/ A)F dFAF|Bgfe d/d/d d:|
|:(d/e/f/g/ a)d fdad|cAeA fAeA|1
(d/e/f/g/ a)f fdad|Adce d/d/d d2:|2
DEFG ABdB|Agfe d/d/d d2||
MISS KATTY MAXWELL(‘S
REEL). Scottish, Strathspey. C Major.
Standard tuning. AAB. John Glen (1891) finds the earliest appearance of this
tune in print in John Riddell's 1782
collection (pg. 30). Glen (The Glen
Collection of Scottish Music), vol. 1, 1891; pg. 10.
X:1
T:Miss Katty Maxwell’s Reel
M:C
L:1/8
R:Strathspey
S:Glen Collection, vol. 1 (1891)
Z:AK/Fiddler’s Companion
K:C
e|c2 (e/d/c/B/) cGEG|c2 (e/d/c)
dDDe|c2 (e/d/c/B/) cGEC|FAF(F EC) C:|
e|gage cdec|daag add(e/f/|g)agf
edcG|A(agf) ecce|
gage cdec|daag add(e/f/|g)aeg
decG|A(agf) ecc||
MISS KATTY TROTTER. Scottish, Reel. G Major. Standard tuning. AAB. Composed by fiddler Robert 'Red Rob' Macintosh (born c.
1745), who doubtless was awarded his nickname because of having red hair. John
Glen (1891) finds the earliest printings of this tune in Neil Stewart's 1761 collection (pg. 59)
and Macintosh's own 1783 collection (pg. 31). Glen (The Glen Collection of Scottish Music), vol. 1, 1891; pg. 9.
X:1
T:Miss Katty Trotter
M:C
L:1/8
R:Reel
S:Glen Collection, vol. 1 (1891)
Z:AK/Fiddler’s Companion
K:G
c|BABG DGBd|cBAG F(AAc)|BGBd
cAce|fadf gGG:|
g|f2 dg BgdB|ceBd A(aag)|(f/g/a)
d>f gdBG|ceAc BGGg|
f2 (dg) BgdB|ceBd A(aag)|fagb
afgc|BdAc BG[B,G]||
MISS KELLY'S. AKA and see “Around the World [1],”
“Highland Man that
Kissed his Grannie [1],” “Jolly Seven.”
Irish, Reel. D Major ('A' part) & B Minor ('B' part). Standard tuning.
AABB. Cole (1000 Fiddle Tunes), 1940;
pg. 32. Ryan’s Mammoth Collection,
1883; pg. 57.
X:1
T:Miss Kelly’s
M:C|
L:1/8
R:Reel
S:Ryan’s Mammoth Collection (1883)
Z:AK/Fiddler’s Companion
K:D
d2 (ad) (fd)(ad) | daaf ecAc | d2
(ad) (fd)(ad) | b^gaf ecAc | d2 (fd) (ad)(fd) |
d2 (ad) ecAc | def^g a2(ga) | bgaf
ecAc :: .d.f.B.f d.f.B.f | .d.f.B.f .e.c.A.c |
defg a2(ga) | bgaf ecAc | dfBf dfBf
| dfBf ecAc | defg a2(ga) | bgaf ecAc :|
MISS KELLY'S FAVOURITE (Rogha Iníon Uí Cheallaigh). AKA and see “Autumn Leaves,” "Ginley's Fancy," "Handsome Sally [1]," “The Man of the House,” “The Merry Thatcher,” “The New Potatoes,” "Old Tom,” “Paddy Carthy’s Reel [2],” "Sally Grant," “Through the Heather." Irish,
Reel. E Dorian. Standard tuning. AB. Breathnach (1976) says the tune is known
as “The Merry Thatcher” in north Dublin. An untitled tune in Stanford-Petrie
(914) is the same in the first part although Breathnach thinks the second part
is faulty and does not relate to the tune. Source for notated version: fiddler
Mickey Doherty, 1965 (Stranorlar, Co. Donnegal, Ireland) [Breathnach].
Breathnach (CRÉ II), 1976; No. 235,
pg. 122.
MISS KENWICK'S REEL. Scottish, Reel. A Major. Standard tuning. AABB. Carlin (Master Collection), 1984; No. 117, pg.
75.
MISS KETTY ALLAN. Scottish. John Glen (1891) finds the earliest appearance of this tune
in print in William Marshall's 1781 collection (pg.
3).
MISS KETTY HALL. Scottish, Jig. D Major.
Standard tuning. AA’BB’CC’AA’DD’AA’EE’AA’FF’AA’BB’. A two-part tune with four
variation sets, in between which Gow directs the playing of the first part of
the melody. Gow’s notation seems to indicated that a drone ‘A’ note be played
at various times throughout the tune, esp. in the 2nd (‘B’) part.
The variation sets printed by Gow are attributed to Sir Alexander Don and Mr.
Nisbet of Dirleton. Aird (Selection of
Scotch, English, Irish and Foreign Airs), c. 1780 (appears as “Katie Hall’s
Reel”). Gow (Second Collection of Niel
Gow’s Reels), 1788; pg. 27 (3rd ed.)
X:1
T:Miss Ketty Hall
M:6/8
L:1/8
R:Jig
N:”The 1st Strain to be
play’d after each Var: And the 1st and 2nd Strains after
the last Var.”
B:Gow – 2nd Collection of Niel Gow’s Reels, 3rd ed.,
pg. 27 (orig. 1788)
Z:AK/Fiddler’s Companion
K:D
f||:{c}d2(A A)FA|AFD Dfe|({c}d2)A
({B}A)GF|”tr”E>FE “tr”c2e|{c}d2(A A)FA|
AFA AFD|GBG FAF|1 (E>FE)
“tr”c2e:|2 (E>FE) “tr”G2E||:(DED) “tr”(FEF)|
DED “tr”F2E|(DED) “tr”(FEF)|(EFE) “tr”G2E|(DEF)
“tr”(FEF)|(FEF) “tr”(FEF)|
GBG AFA|1 (EFE) G2E:|2 (EFE) Efe||
“variation 1”
L:1/8
M:2/4
D/A/F/A/ D/A/F/A/|(3DED
“tr”F>E|D/A/F/A/ D/A/F/A/|(3EFE “tr”G>E|D/A/F/A/ D/A/F/A/|
D/A/F/A/ D/A/F/A/|D/G/B/G/
D/A/F/A/|1 (EFE “tr”G>E:|2 (EFE) Efe||
“variation 2”
L:1/8
M:6/8
.D(FA) .D(FA)|.D(GB) .DGB)|.D(FA)
.D(FA)|.E(GA) .E(GA)|.D(FA) .D(FA)|
.D(GB) .D(GB)|.D(GB) .D(FA)|1 (EFE)
“tr”G2E:|2 (EFE) Efe||
“variation 3”
L:1/8
M:2/4
D/A/F/A/ D/A/F/A/|D/B/G/B/
D/G/B/G/|D/A/F/A/ D/A/F/A/|E/A/G/A/ E/A/G/A/|
D/A/F/A/ D/A/F/A/|D/B/G/B/
D/B/G/B/|D/B/G/B/ D/A/F/A/|1 E/A/G/A/ E/A/G/A/:|2 (EFE) Efe||
“variation 4”
(D/F/)(A/F/) (D/F/)(A/F/)|[D2G2B2]
[D2G2B2]|[D2F2A2] [D2F2A2]|[C2E2A2] [A,2E2A2]|
[D2F2A2] [D2F2A2]|[D2G2B2]
[D2G2B2]|[D2G2B2] [D2F2A2]|1 [C2E2A2] [A,2E2A2]:|2 [C2E2A2] A,f/e/||
X:2
T:Katie Hall’s Reel
M:6/8
L:1/8
R:Jig
B:Aird – Selections, vol. 1, c. 1780
K:D Mixolydian
d2B AFA|AFA Afe|d2B AFD|EFE efe|d2B
AFA|
AFA AGF|GAB AGF|EFE efe::def fgf|def
f2e|
def fgf|efe g2e|def fgf|fgf fgf|gab
agf|efe f2e||
MISS KETTY TROTTER. AKA and see “Katie Trotter.”
MISS KINLOCH OF
GILMERTON. Scottish, Reel. D Major. Standard
tuning. AA'B. Composed by William Shepherd. Glen (The Glen Collection of Scottish Music), vol. 2, 1895; pg. 12.
X:1
T:Miss Kinloch of Gilmerton
M:C|
L:1/8
R:Reel
S:Glen Collection, Vol. 2 (1895)
Z:AK/Fiddler’s Companion
K:D
G|FE/D/ AF BGAG|FDAF GEEG|FE/D/ AF
BGAF|1 Aceg fdd:|2 Egec dDD||
g|fdad bdad|fd b/a/g/f/ geeg|fdad
bdad|~ceag fdda|fdad bdad|fd b/a/g/f/ geeg|
fdcd Bc/d/ AF|Gbag fdd||
MISS KINLOCH'S MINUET. Scottish, Minuet. E Flat Major. Standard tuning. AABB. Composed by
Johann Georg Christoph Schetky (1737‑1824). The German musician Schetky
wrote this minuet soon after coming to Edinburgh in 1772 to take a position as
the Musical Society's principal cellist. Although he seems not to have written
dance music prior to this he wrote 12 minuets for upper‑class girls;
Johnson (1984) thinks this tune the equal of the composer's finest chamber
music. E Flat was a key gaining much favor on the Continent in the mid‑18th
century for orchestral music as it was ideal for arranging the various
orchestral instruments. Source for notated version: Stewart's Newest and Best Minuets, pg. 82. Johnson
(Scottish Fiddle Music in the 18th
Century), 1984; No. 64, pg. 158.
X:1
T:Miss
Kirsp’s Reel
M:C|
L:1/8
R:Reel
S:John Rook
music manuscript (Cumbria, 1840)
K:D
A|dD
(3F/G/A/ d2 AF|GEBE GEBE|ED F/G/A defd|cdeg fdd:||
f|dcdA
FAdA|GBed cAAc|dcdA FAFD|GEAG FDDc|
ecdA
FAdA|FBed cAAc|dfeg fdAF|GBeg fdd||
MISS KIRSTY JAMIESON. Scottish, Reel. Scotland,
Shetland Islands. A Major. Standard tuning. AABB. Composed by Shetland fiddler
and composer Ronnie Jamieson. Miller (Fiddler’s
Throne), 2004; No. 217, pg. 134. Attic Records
ATCD040, Ronnie Jamieson and friends – “Aald Noost” (1994). SHIELCD007, Ron Kerr (and His Scottish Dance Band) – “St.
Andrews Ball” (2000).
MISS
L. JOHNSTON'S COMPLIMENTS TO NIEL GOW. See “Miss Lucy Johnston’s
Compliments to Niel Gow.”
MISS L. MONTGOMERIE OF
SKERMORLIE. Scottish, Slow Strathspey. B Flat
Major. Standard tuning. AAB. Carlin (The
Gow Collection), 1986; No. 149. Gow (Third
Collection of Niel Gow’s Reels), 1792; pg. 17 (3rd ed.). Stewart-Robertson
(The Athole Collection), 1884; pg.
284.
X:1
T:Miss L. Montgomrie of Skermorlie
M:C
L:1/8
R:Strathspey
B:Stewart-Robertson – The Athole Collection (1884)
Z:AK/Fiddler’s Companion
K:Bb
D|B,2 B,>B B>AG>F|G>FG>B c<C C>D|B,2 B,>B B>AG>F|G/A/B c/d/e d<B~B:|
d/e/|f>Bf>d f>Bg>f|f>Bf>d d<c cd/e/|f<B f>d f>Bg>B|F>B cB/c/ d<B Bd/e/|
f>Bf>d
f>Bg>f|f>Bf>d d<c cd/e/|B,2 B,>B B>AG>F|G/A/B c/d/e
d<B~B||
X:2
T:Miss L. Montgomery of Skermorlie’s
Strathspey
M:C
L:1/8
R:Strathspey
N:”Slow”
B:Gow – 3rd Collection of Niel Gow’s Reels, 3rd ed.,
pg. 17 (orig. 1792)
Z:AK/Fiddler’s Companion
K:Bb
D|B,2 B,>B (BAG)F|”tr”G>FGB
cCCD|B,2 B,>B (BAG)F|G/A/B c/d/e dBB:||d/e/|
f>B”tr”f>d
f>B}tr}g>f|fBf>B ({B/c/}d)ccd/e/|(f<B)f>d (f>B)g>B|F>B
{d}cB/c/ {c}dBBd/e/|
f>B”tr”d>d
fB”tr”g>f|fBf>d ({B/c/}d)ccd/e/|B,2 “tr”B,>B BAGF|G/A/B c/d/e dBB||
MISS L. STEWART OF THE ISLAND OF JAVA. Scottish. The title is a renaming
of one of William Marshall's earliest tunes, "Lord George Gordon's Reel,"
though with a second part that John Glen (1895) thinks is a "much better
one."
MISS LACEY'S HORNPIPE. AKA and see “Mona’s Delight.”
Irish, Hornpipe. The tune bears some resemblance to an untitled Pennsylvania‑collected
reel (Bayard {Dance to the Fiddle},
1981; No. 100, pg. 59). Breathnach (CRÉ
IV), 1986; No. 214 (appears as untitled hornpipe). Roche Collection, 1982, vol. 2, No. 226.
MISS LAINGTON’S. See “Dillon Brown’s Fancy [2].”
MISS LAMONT OF LAMONT. Scottish, Strathspey. G Major. Standard tuning. AB. Composed by William
Shepherd. Glen (The Glen Collection of Scottish
Music), vol. 2, 1895; pg. 13.
X:1
T:Miss Lamont of Lamont
M:C
L:1/8
R:Strathspey
S:Glen Collection, vol. 2 (1895)
Z:AK/Fiddler’s Companion
K:G
D | G>ABG c>dec | B>c
e/d/c/B/ A/G/F/E/ FD | G>B EF/G/ A>c B>C|
A,>c B/A/G/F/ GDG,D | G>ABG
c>dec | B>c e/d/c/B/ A/G/F/E/ FD |
B,>GC>A D>BE>c |
A,/c/A/F/ G/D/E/C/ B,G,G, ||
d|g>ab>g f>ga>d |
e(3e/f/g/ Bg/f/ e/d/c/B/ c>A | g>ab>g f>ga>d |
B>g/e/ f/d/e/^c/ d2 d=c/B/|
c>a AB/c/ B>g GA/B/ | c>EA>G F>EF>D |
G>B EF/G/ A>c B,>C |
A,/c/A/F/ G/D/E/C/ B,G,G, ||
MISS LANE'S FANCY. AKA and see “Anderson’s (Reel) [2],” "The Five Mile Chase [2]," “My Love is on the Ocean [1],"
"The New Mown Meadows," "The Old Silver Spear," "The Silver Tip [1]," "The Silver Spear," "Sliabh Bana," "The
Threepenny Bit," "The
Top of (the) Cliff.”
MISS LANGFORD (Inion Langfort). AKA and see “The Lass of Carracastle [1].”
Irish, Reel. D Major. Standard tuning. AB (Cranitch): AA'B (Breathnach).
Popularized by County Sligo fiddler James Morrison, who recorded the tune in
New York in 1935. Morrison, who also played the tin whistle, was nicknamed “The
Professor” for his teaching and his formal musical skills. The alternate title
“Lass of Carracastle” comes from Morrison’s contemporary, another Sligo fiddler
by the name of Paddy Sweeney, who had recorded the tune a year prior to
Morrison, again in New York. There is a related, untitled, reel in Breathnach’s
CRÉ V (1999, No. 201, pg. 96).
Sources for notated versions: whistle player Johnny Maguire, 1966 (Co. Cavan
and Belfast, Ireland) [Breathnach]; Jimmy McGettrick (b. 1909, Aughris,
Rathmullen, Ballymote) [Flaherty]. Breathnach (CRÉ II), 1976; No. 144, pg. 77. Ceol,
I, 2, pg. 4. Cranitch (Irish Fiddle Book),
1996; pg. 111. Flaherty (Music from Sligo),
1990; pg. 138 (appears as “Unknown”). Rounder 1123,
James Morrison - “Milestone at the Garden” (Morrison originally recorded the
melody in 1935). Tara CD 4011, Frankie Gavin – “Fierce Traditional.”
X:1
T:Miss Langford
L:1/8
R:Reel
K:D Major
A2dB AFFA|B2AF GFDE|FFDF A2FA|Bdeg
fdd2:||:
fgaf gfef|gefd eAA2|1 fgaf g2fg|afge
fdd2:|2 BABd cBce|d2eg fdd2||
MISS LATON’S HORNPIPE.
AKA and see “Long Odds.”
MISS LAURA ANDREW. Scottish, March or Air (4/4 time). E Major. Standard tuning. AAB.
Composed by the great Scottish fiddler and composer J.
Scott Skinner (1843-1927). Source for notated version: Winston Fitzgerald
(1914-1987, Cape Breton) [Cranford]. Cranford (Winston Fitzgerald), 1997; No. 226, pg. 90. Henderson (Flowers of Scottish Melody), 1935.
Hunter (Fiddle Music of Scotland),
1988; No. 40. Skinner (Harp and Claymore
Collection), 1904; pg. 22. Olympic 6151, Florence
Burns ‑ "Scottish Traditional Fiddle Music" (1978).
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:Miss Laura Andrew
M:C
L:1/8
R:”Pastoral” air (sometimes a march)
N:”Slowly and sweetly.”
S:Skinner – Harp and Claymore (1904)
Z:AK/Fiddler’s Companion
K:E
B | ({d}e2) (g/f/).e/.d/
({d}e).E.G.B | cA BG ({G}A>)F .D.B | ({d}e2) (g/f/).e/.d/ ({d}e).E.G.B |
c/B/A/G/ ({E/G/}F>)E (E2E :| g/a/
| b>g eb gb (ee’) | f>d .B.f .d.f (Ba) | b>g eb gb (ee’) |
({A}c’/)b/a/g/ ({e/g/}f>)e e2
e.g/.a/ | b>g eb gb ee’ | f>d Bf dfBd | ({d}e2) (g/f/).e/.d/ ({d}e).E.G.B
|
({A,/E/}c/)B/A/G/ ({E/G/}F>)E E2
E ||
MISS LENOYS MINUET. Scottish, Minuet. The melody appears in the Gillespie Manuscript of Perth (1768).
MISS LESLIE OF ST.
ANDREWS.
AKA and see “Leslie,” “Miss Annie Livingston.”
Scottish, Reel. Composed by Donald Grant and published by him around 1820.
MISS LESLIE’S RANT. American (?), Reel. D Major.
Standard tuning. AABB. From the music manuscript copybook of Henry Livingston,
Jr. Livingston purchased the estate of
Locust Grove, Poughkeepsie, New York, in 1771 at the age of 23. In 1775 he was
a Major in the 3rd New York Regiment, which participated in
Montgomery’s invasion of Canada in a failed attempt to wrest Montreal from
British control. An important land-owner in the Hudson Valley, and a member of
the powerful Livingston family, Henry was also a surveyor and real estate
speculator, an illustrator and map-maker, and a Justice of the Peace for
Dutchess County. He was also a poet and musician, and presumably a dancer, as
he was elected a Manager for the New York Assembly’s dancing season of
1774-1775, along with his 3rd cousin, John Jay, later U.S. Chief
Justice of Governor of New York.
X:1
T:Miss Leslie’s Rant
M:C|
L:1/8
R:Reel
S:Henry Livingston’s manuscript
copybook, late 18th century
Z:AK/Fiddler’s Companion
K:D
(A/4B/4c/4) | dB AD GE2G | (F/E/)D
(F/E/)D | A2 Ac | dBAF GE2g |
(f>a)ec d2d :: g | (f>d.f).a
(e>c.e).g | (f>d.f).a be2g | f>d.f.a e>c.e.g | agfe d2.d2 :|
MISS LEXIE SMITH. Canadian, Strathspey. Canada, Cape Breton. B Flat Major. Standard
tuning. AB. Composed by Cape Breton fiddler and composer Dan R. MacDonald
(1911-1976). Source for notated version: Winston Fitzgerald (1914-1987, Cape
Breton) [Cranford]. Cranford (Winston
Fitzgerald), 1997; No. 109, pg. 45. CX 34, Winston
Fitzgerald.
MISS LILLIE RITCHIE. Scottish. John Glen (1891) finds the earliest appearance of this tune
in print in John Riddell's 1782
collection (pg. 36).
MISS LINDSAY. Scottish. John Glen (1891) finds the earliest appearance of this tune
in print in Daniel Dow's c. 1775
collection (pg. 36).
MISS LOONEY'S REEL. Irish, Reel. D Major. Standard tuning. AB. Roche Collection, 1982, vol. 1; No. 171, pg. 67.
MISS LOUDON. Scottish, Reel. B Flat Major. Standard tuning. AAB. Composed by Robert
Lowe, the brother of Joseph, the editor of the Lowe Collection of Scottish music. Hunter (The Fiddle Music of Scotland), 1988; No. 273.
MISS LOUISA CAMPBELL'S
DELIGHT. AKA and see "Lady Mary Menzies Reel,” “Lucy Campbell’s [1]." Scottish,
Strathspey. D Major. Standard tuning. AABBCCDDEEFF. John Glen (1891) finds the
earliest appearance of this tune in print in Alexander McGlashan's 1780
collection. McGlashan (Collection of
Strathspey Reels), c. 1780; pg. 2.
X:1
T:Miss Louisa Campbell’s Delight
M:C|
L:1/8
R:Strathspey
S:McGlashan – Strathspey Reels (c. 1780)
Z:AK/Fiddler’s Companion
K:D
B|A<DA<F
A<DB<F|A<DA<F B<EEF|A<DA<F d>ef>e|d>B A/B/d/F/
ADD:|
|:f|d>BA>F
d>ef>e|d>BA>F eEEe|d>B AF d>ef>e|d>B d/B/A/F/ AD D:|
|:B|AD A/G/F AD A/G/F|AD A/G/F
BEEF|AD A/G/F d>ef>e|d>B A/B/d/F/ AD D:|
|:f|d>fA>f
d>fA>f|d>fA>f eEEe|d>fA>f defe|d>B A/B/d/F/ AD D:|
|:A|A,>D F/E/D AD F/E/D|A,>D
F/E/D BEEF|A,>D F/E/D AD F/E/D|d>B A/B/d/F/ ADD:|
|:f|a>baf d>efd|e>fd>f
eEEf|a>b a/b/a/f/ d>ef>e|d>B A/B/d/F/ AD D:|
MISS LOUISA DUFF. AKA and see "Miss Gordon of
Glastirum's Reel." Scottish, Reel. G Minor. Standard tuning. AABB'.
Composed by William Marshall (1748-1833). Marshall, Fiddlecase Edition, 1978; 1845
Collection, pg. 2 (also appears in the 1781 Collection, pg. 6, under the title
"Miss Gordon of Glastirum's Reel"). Stewart-Robertson
(The Athole Collection), 1884; pg.
198.
X:1
T:Miss Louisa Duff
M:C|
L:1/8
R:Reel
B:Stewart-Robertson – The
Athole Collection (1884)
Z:AK/Fiddler’s Companion
K:Gmin
~B2 GB DGBG|A2 Fc AFcA|~B2 GB DGBG|AG^FA G/G/G G2:|
dgga
bgaf|cffg afge|1 dgga bgaf|ag^fa g/g/g g2:|2 defg fdcB|AG^FA G/G/G G2||
MISS LOUISA JOHNSTON’S
FANCY.
Scottish, Country Dance Tune (2/4). G Major. Standard tuning. AABCCB.
Composition credited to “the late Sir R. Sinclair” by Gow. It was dedicated to
the incomparable Lucy Johnston (for more of whom see "Miss Johnston of Hilton's Fancy").
Gow (Second Collection of Niel Gow’s
Reels), 1788; pg.31 (3rd ed.).
X:1
T:Miss Louisa Jonston’s Fancy
M:2/4
L:1/8
B:Gow – 2nd Collection of Niel Gow’s Reels, 3rd ed.,
pg. 31 (orig. 1788)
Z:AK/Fiddler’s Companion
K:G
c2 cB|(g/a/b/g/)
dB|”tr”c>dee|(e2d2):||BB/c/ Bd|cc/d/ cd|
B”tr:BdB|({B}A2) Ac|BB/c/ Bc|cc/d/
ce|.B.B.A.A|G2 Gd||
|:”tr”gb/g/ “tr”fa/f/|eg/e/
dB|”tr”c>dee|(e2 d)d:||BB/c/ Bd|cc/d/ cd|
”tr”BBdB|({A}A2) Ac|BB/c/ Bd|cc/d/
ce|.B.B.A.A|G2G2||
MISS LOVE'S WALTZ. English, Waltz (3/8 time). G Major. Standard tuning. AABBCC. Trim (Thomas Hardy), 1990; No. 15.
MISS LUCIA CAMPBELL. AKA and see "Ball Na Grandach."
Scottish, Strathspey. D Major. Standard tuning. AABBCCDDEEFF. The Gows printed
the tune as “Ball na Grandach.” It appears as “Miss Mucia Campbell’s Delight”
in Joshua Campbell’s A Collection of New
Reels and Highland Strathspeys (1786). Jones [Ed.] (Complete Tutor Violin), c. 1815; pg. 3.
X:1
T:Miss Lucia Campbell's Strathspey.
R:strathspey
M:C
L:1/8
B:Complete Tutor Violin (c. 1815)
Z:Dr. Evan Jones, 2005
K:D
N:1st full bar after first repeat, replaced third note which was written as a quaver
(B | A)<DA>F A<DA>F | A<DA>F BE-E>F | A<DA>F Td>ef>e | d>B A/B/d/F/ ADD :||:
f | d>BA<F Td>ef>e | d>BA<F eEE>e | d>BA<F Td>ef>e | d>B A/B/d/F/ AD D :||:
B | AD (A/G/F) AD (A/G/F) | AD (A/G/F) BETE>F | AD (A/G/F) Td>ef>e | d>B A/B/d/F/ AD D :||:
f | d>fA>f d>fA>f | d>fA>f eEE>e | d>fA>f Td>ef>e | d>B A/B/d/F/ AD D :||:
F | A,>D (F/E/D) A>D (F/E/D) | A,>D (F/E/D) BE-E>F | A,>D (F/E/D) A>D (F/E/D) | d>B A/B/d/F/ AD D :||:
f/g/ | (a>ba>f) ~d>ef>d | e<fd>f eE-E>e | ~a>b a/b/a/f/ Td>ef>e | d>B A/B/d/F/ AD D :|]
MISS LUCY CAMPBELL. AKA and see "Lucy
Campbell's Strathspey [4]," "The Pass of
Kilicranke/Kelecrankie." Scottish, Strathspey. D Major (Kerr, Skye): A
Major (Glen). Standard tuning. AABB (Glen, Kerr): AABBCCDDEEFFGG (Skye).
Composed by Neil Gow. John Glen (1891) finds the earliest appearance of a tune
by this title in print in Neil Stewart's
1761 collection (pg. 51); a different variant is to be found in Kerr. The tune
has proved popular as both a strathspey (in Cape Breton as well as Scotland)
and a popular reel (in Ireland), under the title “Lucy Campbell.” Glen (Glen Collection of Scottish Music), vol.
1, 1891; pg. 2. Kerr (Merry Melodies),
vol. 3; No. 9, pg. 4. MacDonald (The Skye
Collection), 1887; pg. 36.
X:1
T:Miss Lucy Campbell
M:C|
L:1/8
R:Strathspey
S:Glen Collection, vol. 1 (1891)
Z:AK/Fiddler’s Companion
K:A
e|c>AE>A c>AE>e|e>cA>c
d>BB>d|c>A A/A/A e>af>A|(a/g/f/e/ a>)e cA [CA]:|
|:g|a>ef>e
a>ef>e|f(bb>a) b>ff>g|a>ef>e a>ef>e|(c/d/e) (B>d)
cA [CA]:|
MISS
LUCY JOHNSTON'S COMPLIMENTS TO NIEL GOW. Scottish, Slow Strathspey or Reel.
C Major. Standard tuning. AB (Gow): AAB (Evans, Hunter). Composed by Lucy
Johnston of Hilton (1765‑1797), who was "one of a number of
aristocratic amateur composers of the late 18th century. A noted belle of the
Edinburgh Dance Assembly, she was much admired by the Gows, Burns and Robert Mackintosh, who dedicated his
second collection to her" (Hunter, 1979). See note for "Miss Johnston of Hilton's Fancy"
for biographical information. Carlin (The
Gow Collection), 1986; No. 148. Gow (Third
Collection of Niel Gow’s Reels), 1792; pg. 5 (3rd ed.). Hunter (The Fiddle Music of Scotland), 1988; No.
2. Jones [ed]. (Complete Tutor Violin),
c. 1815; pg. 2.
X:1
T:Miss L. Johnston's Compliments to Niel Gow.
M:C
L:1/8
B:Complete Tutor Violin (c. 1815)
Z:Dr. Evan Jones [Ed.]
K:C
U:T=!trill!
%%graceslurs false
G| c3 G/2E/2 {G}TF>G ({B}A)G/2F/2 | E>F {A} GF/2E/2 FDDG |
c3 G/2E/2 {G}TF>G {FG} AG/2F/2 | (E/2F/2)G/2E/2 (D/2E/2)F/2D/2 ({D/2}E)CC :[]:
G| c2 {e} g>e {f} a>fg>e | c>e a/2g/2f/2e/2 dd/2c/2 BG |c2 {e} g>e {f} a>fg>c |
B>f e/2d/2c/2B/2 {B} c2 c>G |c>egc' {c'} ba/2b/2 c'>Tg | f>de>c (d/2c/2)TB/2A/2 (G/2F/2)TE/2D/2 |
EcFd GeAf | ({f}e)d/2c/2 E/2F/2G/2F/2 ECC |]
X:2
T:Miss L. Johnston’s Compliments to Niel Gow
M:C
L:1/8
N:”Slow”
C:”Miss Johnston of Hilton”
B:Gow – 3rd Collection of Niel Gow’s Reels, 3rd ed., pg. 5 (orig. 1792)
Z:AK/Fiddler’s Companion
K:C
G|c3 G/E/ {G}”tr”F>(G {B}A)G/F/|E>F {A}GF/E/ FDDG|c3 G/E/ {G}”tr”F>G {F/G/}AG/F/|
(E/F/)G/E/ (D/E/)F/D/ ({D}E)CC:||G|c2 {e}g>e {f}a>f g>e|c>e a/g/f/e/ dd/c/ BG|c2 {e}g>e {f}a>f g>c|
A>f e/d/c/B/ {B}c2 c>G|c>egc’ {c’}ba/b/ c’>”tr”g|f>de>c (d/c/)”tr”B/A/ (G/F/)”tr”E/D/|
Ec Fd Ge Af|({f}e)d/c/ (E/F/)G/F/ “tr”ECC||
MISS LUCY LONG.
American, Air (2/4 time). C Major. Standard tuning. One part. A minstrel-era
song popular in the early 19th century. Various sets of words were
published to it. One version begins:
***
Now I am come
afore you
To sing a littel song
I play upon de banjo,
An' dey call it Lucy Long.
***
Chorus:
Oh, take time, said Lucy,
Oh, Miss Lucy Long;
Den take time, said Lucy,
Oh, Miss Lucy Long.
***
Howe (Complete Preceptor for the Accordeon),
1843; pg. 34.
X:1
T:Miss Lucy
Long
M:2/4
L:1/8
R:Air
S:Howe – Complete Preceptor for the Accordeon
(1843)
Z:AK/Fiddler’s Companion
K:C
(c/d/) | .e.e .c.c | .Bd ze | .f.f B.B | c2 z (c/d/) | .e.e .c.c | Bg z g/g/ | ff AB |
c2 z c/d/ | .e.e
.c.c | B>d ze | ff AB | c2 z c/d/ | .e.e .c.c | B>d ze | ff AB | c2 z :|
MISS LYALL [1]. AKA ‑ "Miss Lyle." AKA and see “Bonnie Lassie,” “The Cat that Kittled in
Jamie’s Wig” (Donegal), “File-na-mBan,” “File na Mon,” “Faill na Mban,” “Paddy Stack’s Fling,” “Panmure House.” Scottish (originally),
Canadian; Strathspey. Canada; Cape Breton, Prince Edward Island. A Minor.
Standard tuning. One part (Hunter, Martin & Hughes): AB (Athole, Honeyman,
Kerr, Perlman, Skye): AA’BB’ (Kennedy). Hunter (1988) states Cameron's version
is a development of a "fine old strathspey named after Mrs. Grant of
Laggan (1755‑1838)." “Miss
Lyall,” strathspey and reel, are Cape Breton standards and are often played as
the first and last of a set with “King George IVth('s
Welcome) [1]” and “The King’s Reel.”
In County Donegal, Ireland, the tune is set as a highland and known as “The Cat
the Kittled in Jamie’s Wig.” See also the County Donegal variant “Old Cameronian.” Caoimhin Mac Aoidh
has said that “Miss Lyall” is the basis of the reel “Mooney’s Reel” or more popularly in
Ireland as O’Neill’s “Paddy Ryan’s
Dream [1],” although Paul de Grae believes that “Miss Lyall [2]” is the
source for those tunes, not “Miss Lyall [1].” Sources for notated versions:
Angus Cameron (Scotland) [Hunter]; Peter Chaisson Jr. (b. 1942, Bear River,
North-East Kings County, Prince Edward Island) [Perlman]. Honeyman (Strathspey, Reel and Hornpipe Tutor),
1898; pg. 17 (appears as "Miss Lyle"). Hunter (Fiddle Music of Scotland), 1988; No. 67. Kennedy (Traditional Dance Music of Britain and
Ireland: Reels and Rants), 1997; No. 135, pg. 32. Kerr (Merry Melodies), vol. 1; Set 5, No. 1,
pg. 5. MacDonald (The Skye Collection),
1887; pg. 103. Martin & Hughes (Ho-ro-gheallaidh),
1990; pg. 24. Perlman (The Fiddle Music
of Prince Edward Island), 1996; pg. 192. Stewart-Robertson
(The Athole Collection), 1884; pg.
41. AMI 92 EMI 94, Ashley MacIssac - “Close to the
Floor” (1992). Atlantica Music 02 77657 50222 26, Ashley MacIssac - “Atlantic
Fiddles” (1994). Green Linnet SIF 1035, Brian Conway & Tony DeMarco ‑
"The Apple in Winter" (1981. Learned from the Rounder recording of
Cape Breton fiddler Joe Cormier, though "substantially adapted" by De
Marco). Green Linnet SIF‑1101, Brian Conway & Tony DeMarco ‑
"Playing with Fire: the Celtic Fiddle Collection" (1989). Rounder
7001, Joe Cormier ‑ "Scottish Violin Music from Cape Breton
Island" (1974). Rounder 82161-7032-2, Bill Lamey – “From Cape Breton to
Boston and Back: Classic House Sessions of Traditional Cape Breton Music
1956-1977” (2000). Shanachie 14001, "The Early Recordings of Angus
Chisholm" (Cape Breton).
X:1
T:Miss Lyall [1]
M:C
L:1/8
R:Strathspey
B:Stewart-Robertson – The
Athole Collection (1884)
Z:AK/Fiddler’s Companion
K:Aminor
c/B/|A<A, A,>B, C>DE>^F|G2 B>A G2 Gc/B/|A<A, A,>B, C>DE>A|
c>AB>^G A2 Ac/B/| A<A, A,>B, C>DE>^F|G2 B>A G2 Gc/d/|e>cd>B c>AB>G|
E<A c/B/A/^G/ A2A||c/B/|A<a a>b g>g a/g/^f/g/|e<a a>^f g2 f>g|
e<a a>b g>g a/g/^f/g/|e>cd>B A2 Ac/B/|A<a a>b g>g a/g/^f/g/|e<a a>^f g2 f>g|
(3ag^f
(3gab (3edc (3Bcd|e>cd>B A2A||
MISS LYALL [2]. AKA and see “Humours
of Ennistymon [2],” "Mrs. Grant
of Laggan.” Scottish (originally), Canadian; Reel. Canada; Prince Edward
Island, Cape Breton. A Minor (Hunter, MacDonald, Martin & Hughes,
Stewart-Robertson): A Dorian {’A’ part} & A Mixolydina {’B’ part}
(Perlman). Standard tuning. AAB. Composed by the 19th century Scottish fiddler,
compiler and composer Captain Simon Fraser. The reel version of the strathspey
“Miss Lyall [1]," and there are some nice modal passages in the 'B' part.
The two are often paired as a set. Paul de Grae believes this tune is the
ancestor of O’Neill’s “Paddy
Ryan’s Dream [1].” Sources for notated versions: Angus Cameron (Scotland)
[Hunter]; Peter Chaisson, Sr. (b. 1929, Bear River, North-East Kings County,
Prince Edward Island) [Perlman]. Hunter (Fiddle
Music of Scotland), 1988; No. 191. MacDonald (The Skye Collection), 1887; pg. 103. Martin & Hughes (Ho-ro-gheallaidh), 1990; pg. 24. Perlman
(Fiddle Music of Prince Edward Island),
1996; pg. 85. Stewart-Robertson
(The Athole Collection), 1884; pg.
42. AMI 92 EMI 94, Ashley MacIssac - “Close to the
Floor” (1992). Atlantica Music 02 77657 50222 26, Ashley MacIssac - “Atlantic
Fiddles” (1994). Green Linnet GLCD 1145, Wolfstone – “Year of the Dog.”
X:1
T:Miss Lyall [2]
M:C|
L:1/8
R:Reel
B:Stewart-Robertson – The
Athole Collection (1884)
Z:AK/Fiddler’s Companion
K:Aminor
c/B/|AE E/E/E cABG|EGDG B,G,DB,|A,/A,/A, EA, CDEd|cAB^G A/A/A A:|
B|Aaa^g ae^cA|Bgg^f gdBG|Aaa^g ae^fd|e^cdB =cAAB|Aaa^g ae^cA|
Bgg^f
gdBG|AcBd ced^f|ea^g^f ed^cB||
MISS LYLE. AKA and see "Miss Lyall [1]."
MISS LYON'S FANCY (Rogha Iníon Uí Liatháin). AKA and see "The Early Breakfast," “The Green Hills of Kerry,” “Knocknagree Reel,” "Larry Redigans/Redican’s
(Reel) [1]," "Over the Hill,"
“Sonny Brogan’s Favorite,”
"Up Against the Boughalauns."
Irish, Reel. D Major. Standard tuning. AB (Black): AABB' (Breathnach,
Mulvihill). See also the related “Quinn’s Reel
[1].” Sources for notated versions: fiddler James Morrison (County
Sligo/New York) [Black, Breathnach]; Tony Smith (County Cavan & Dublin)
[Mulvihill]. Black (Music’s the Very Best
Thing), 1996; No. 192, pg. 102. Breathnach (CRÉ III), 1985; No. 103, pg. 52. Mulvihill (1st Collection), 1986; No. 31, pg. 8. Shanachie Records 33004, "The Pure Genius of James
Morrison" (1978). Shanachie 78031, James Keane – “Sweeter As the Years
Roll By.”
X:1
T: Miss Lyons' Fancy
S: Mick Moloney
Q: 350
R: reel
Z:Transcribed by Bill Black
M: 4/4
L: 1/8
K: D
D2 FA D2 FA | defd eB (3BBB | d2 cA (3Bcd AF | GBAG (3FED EC |
D2 FA D2 FA | defd eB (3BBB | d2 cA (3Bcd AF | GBAG FD D2 ||
a2 fd faaf | gfed efge | a2 fd faaf | gbag fddf |
a2
fd faaf | gfed efge | fdec dBAF | GBAG FD D2 ||
MISS M. ROSS. Scottish, Reel. E Dorian. Standard tuning. AB. Stewart-Robertson
(The Athole Collection), 1884; pg.
265.
X:1
T:Miss M. Ross
M:C|
L:1/8
R:Reel
B:Stewart-Robertson – The Athole Collection (1884)
Z:AK/Fiddler’s Companion
K:E Minor
B|e(EE)F GAB^c|dABG FDAF|e(EE)F GABg|afbf g(ee)B|
e(EE)F GAB^c|dABG FDAF|GEAF BGcA|BAGF GEE||
B|e/e/e ge bege|dAfd afdf|e/e/e ge bege|dfBa geef|
e/e/e ge bege|dAfd afdf|geaf bgaf|gef^d e/e/e e||
MISS MACDORMACK. Canadian, Jig. Canada, Cape Breton. C Major. Standard tuning. AABB.
Composed by Cape Breton fiddler and composer Dan R. MacDonald (1911-1976).
Cameron (Trip to Windsor), 1994; pg.
50.
MISS MACDERMOTT. AKA and see "The Princess
Royal [1]."
MISS MACDONALD'S [1]. See listings for several tunes by this name under the spelling "Miss McDonald."
MISS MACDOUGALL OF
WALLASTON. Canadian, Reel. Canada; Cape
Breton, Prince Edward Island. D Mixolydian (‘A’ part) & D Dorian (‘B’
part). Standard tuning. AA’B. Composed by the late Cape Breton musician Gordon
MacQuarrie. Source for notated version: Emmett Hughes (b. 1921, Dromore,
Queen’s County, Prince Edward Island) [Perlman]. Perlman (The Fiddle Music of Prince Edward Island), 1996; pg. 76.
MISS
MACDOWAL GRANT'S STRATHSPEY--OF ARNDILLY. Scottish, Strathspey. C Minor.
Standard tuning (fiddle). AAB. Composed by William
Marshall (1748-1833). Miss McDowell Grant was the daughter of David
McDowell Grant of Arndilly, a land improver, according to Moyra Cowie (The Life and Times of William Marshall,
1999). They lived at Arndilly House at the foot of Ben Aigan in a wooded area.
Her grandfather was Colonel Alexander Grant Chief of Grant, at Arndilly.
Marshall, Fiddlecase Edition, 1978;
1822 Collection, p. 27. Stewart-Robertson (The
Athole Collection), 1884; p. 272.
X:1
T:Miss MacDowal Grant of Arndilly
M:C
L:1/8
R:Strathspey
B:Stewart-Robertson – The Athole Collection (1884)
Z:AK/Fiddler’s Companion
K:Cmin
g|G<G c>d e2 e>g|f<bd<f B>c d<B|G<G c>d e2 e>g|f>b g/f/e/d/ c2c:|
g/a/|b<cg<c b<c g>a|b>gf>b d>Bf>d|b<cg<c b<c g>a|b>gf>d c2 cg/a/|
b<cg<c
b<c g>a|b>g f<b d>bf>d|G<G c>d e2 e>g|f>b
g/f/e/d/ c2 c||
MISS MACGREGOR’S. Scottish, Pipe Jig or March. A Major. Standard tuning (fiddle). AABB. David
Glen ('''Collection of Highland Bagpipe Music'''), book 1, 1874; No. 62, p. 34.
Cranford (Jerry Holland’s), 1995; No.
200, p. 57. Miller (Fiddler’s Throne),
2004; No. 78, p. 58. Boot Records, Jerry Holland -
“Master Cape Breton Fiddler” (1982).
X:1
T:Miss MacGregor’s March
M:6/8
L:1/8
B:David Glen's '''Collection of
Highland Bagpipe Music''', book 1 (1874, No. 62)
Z:AK/Fiddler’s Companion
K:A
e|A>AA A>Bc|B>cA B2c|A>AA
A2a|f2e fga|
A>AA A>Bc|B>cA B2c|A>AA
A2 f/g/|a>Aa f>ec|A>AA A2:|
|:f|e>cc a>cc|B>cA B2f|e>cc
a>cc|f2e fga|
e>cc a>cc|B>cA B2g|a>Aa f>ec|A>AA
A2:||
MISS
MACINNES FANCY. AKA – “Miss McInnes’ Fancy.”
Scottish, Strathspey. A Major. Standard tuning (fiddle). AB. Composed by William Marshall (1748-1833). Marshall, Fiddlecase Edition, 1978; 1845
Collection, p. 26.
X:1
T:Miss
McInnes’ Fancy
L:1/8
M:C
S:Marshall
– 1845 Collection
Z:AK/Fiddler’s Companion
K:A
c|A,AA>c
A,<A A>c|A,<A AB/c/ ~d2 d>e|f<d d>B e<c c>A|B>c
d/c/B/A/ F2 F>c|
A,<A
A>c A<A A>c|A,<A AB/c/ d2 d>e|f<d d>B e<c B>A|B>c
e/d/B/A/ F2F||
f|e>f
e>c a<e ec/d/|e>f e<c a2 ef/g/|agf>e d>cBA|G<B B>c d2
d>e|
e>f
e<c ae ec/d/|e>f e<c a2 ef/g/|a/g/f/e/ f/e/d/c/ d/c/B/A/ G/F/E/D/|
E<B G>E A2A||
MISS MACINNES('
REEL--DANDALEITH). Scottish, Reel. F Major. Standard
tuning (fiddle). AAB. Composed by William Marshall
(1748-1833). Marshall, Fiddlecase Edition,
1978; 1822 Collection, p. 55. Stewart-Robertson
(The Athole Collection), 1884; p.
243.
X:1
T:Miss MacInnes
M:C|
L:1/8
R:Reel
B:Stewart-Robertson – The Athole Collection (1884)
Z:AK/Fiddler’s Companion
K:F
d|cF F/F/F dcBA|GABc dGBd|cF F/F/F dcBA|cfeg fFB:|
d|cfAf cfaf|egba gGBd|cfAf Bfcf|dfeg fFBd|dfAf cfaf|
egba
gGBd|bgaf agfe|gfed cFB||
MISS MACINTYRE'S. Scottish, Strathspey. The piece was composed by Duncan MacIntyre, and
expatriate Scots dancing master in London at the end of the 18th century.
MacIntyre spent some years in India and died about 1806.
MISS MACKAY. Scottish, Reel. A Major. Standard tuning (fiddle). AAB. MacDonald (The Skye Collection), 1887; p. 8.
X:1
T:Miss MacKay
M:C|
L:1/8
R:Reel
S:MacDonald - Skye Collection (1887)
Z:AK/Fiddler’s Companion
K:A
a|A/A/A cA eAcA|Bffe fBBa|A/A/A cA
eAcA|EFAB cA A:|
a|faea da c2|Bffe fBBa|faea
dacA|EFAB cAAa|
faea daca|dffe fBBg|afbg afed|EFAB
cA A||
MISS MACKENZIE OF COUL. Scottish. John Glen (1891) finds the earliest appearance of this tune
in print in Robert Ross's 1780
collection (p. 27).
MISS MACKENZIE OF
GAIRLOCH. AKA and see "C(h)aillach Oidche" ("The Owl"). Scottish (originally), Canadian; Reel
or Strathspey. Canada, Cape Breton. A Mixoldian or A Mixolydian ('A' part)
& A Dorian/Mixolydian ('B' part). Standard tuning (fiddle). AAB (Kerr,
Lerwick, Stewart-Robertson): AA’B (Cranford). Cranford (Jerry Holland’s), 1995; No. 34, p. 10. Kerr (Merry Melodies), vol. 1; Set 9, No. 5, pg. 7. Lerwick (Kilted Fiddler), 1985; pg. 28. Stewart-Robertson
(The Athole Collection), 1884; pg.
49. Fiddlesticks cass., Jerry Holland - “A Session
with Jerry Holland” (1990).
X:1
T:Miss MacKenzie of Gairloch [2]
M:C
L:1/8
R:Strathspey
B:Stewart-Robertson – The
Athole Collection (1884)
Z:AK/Fiddler’s Companion
K:Aminor
B|A/A/A B>d e>de>g|G/G/G B>d g>ed>B|A/A/A B>d e>de>g| G/G/G B>d e>AA:|
|:^g|a^fea ed^cA|g>ed>g d>cB>G|1 a^fe>a
e>d^c>A|G/G/G B>d e>AA:|2
A>Bc>d e>de>g|G/G/G B>d e>AA||
MISS MACLEAN. AKA and see “Miss McLean of Inverscadle’s Reel.” Scottish, Reel.
MISS MACLEAN OF DUART. Scottish. Composed by Daniel Dow
and first appearing in his c. 1775 collection (p. 19). Gow in his 1788
collection appears to have used the second strain of this melody for his
composition "Mrs.
Donaldson's Strathspey [2]."
MISS MACLEOD OF AYR. AKA and see "Mrs.
MacLeod (of) Raasay," "Miss
McLeod's/MacLeod's Reel [1]." English, Scottish; Strathspey. A Major.
Standard tuning (fiddle). AABB. The famous "Miss McLeod's Reel." The
English novelist Thomas Hardy mentions the tune in his book The Mayor of Casterbridge:
***
Farfrae was footing a quaint little dance with Elizabeth‑Jane ‑
an
old country thing, the only one she knew, and though he
considerately toned down his movements to suit her demurer
gait, the pattern of the shining little nails in the soles of his
boots became familiar to the eyes of every bystander. The
tune had enticed her into it; being a tune of a busy, vaulting,
leaping sort – some low notes on the silver string of each fiddle,
then a skipping on the small, like running up and down ladders –
'Miss McLeod of Ayr' was it name, so Mr. Farfrae said, and that
it was very popular in his own country.
***
Trim (Thomas Hardy), 1990; No. 4.
MISS MACLEOD OF
COLBECK. AKA – “Miss McLeod of Colbeck.” AKA
and see "Mrs. Captain Stewart."
Scottish, Strathspey. F Major. Standard tuning (fiddle). AAB. The melody
appears in Malcolm McDonald's c.
1792 3rd Collection, dedicated to
Miss Drummond of Perth. Under the title "Mrs. Captain Stewart’s
Strathspey," it appears in Robert Petrie's 1st Collection (1790). Glen (The
Glen Collection of Scottish Music), vol. 1, 1891; p. 38 (appears as “Miss
McLeod of Colbeck). MacDonald (A Third
Collection of Strathspey Reels), c. 1792; p. 9. Stewart-Robertson
(The Athole Collection), 1884; p.
303.
X:1
T:Miss
MacLeod of Colbeck
M:C
L:1/8
R:Strathspey
B:Stewart-Robertson
– The Athole Collection (1884)
Z:AK/Fiddler’s Companion
K:F
f | c<F
c>A c<F c>A | d<G d>c d<G G>f | c<F c>A f>gf>c
| d/c/B/A/ G>B A<FF :|
c |
~f>ga>f cf/g/ a>f | b>ag>f e<cg<c | ~f>ga>f
c>fa>f | b/a/g/f/ c>f a<f ~f>c |
~f>ga>f
cf/g/ a>f | b>ag>f e<c g>c | d<fc<f B<fA<c |
d/c/B/A/ G>B A<FF ||
X:2
T:Miss
McLeod of Colbeck’s Strathspey
M:C|
L:1/8
R:Strathspey
S:MacDonald
– 3rd Collection of Strathspey
Reels (c. 1792)
Z:AK/Fiddler’s Companion
K:F
f | c<F
”tr”c>A c<F “tr”c>A | d<G “tr”d>c dGGf | c<F “tr”c>A
f>gfc | d/c/B/A/ GB AFF :|
c |
f>gaf cf/g/ af | bagf ecgc | f>gaf cfaf | b/a/g/f/ cf affc | f>gaf
cf/g/ af | bagf e<cg<c |
d<fc<f
B<fA<c | d/c/B/A/ GB AFF ||
MISS MACLEOD'S REEL. AKA and see "Miss McLeod's Reel,"
"Miss MacLeod of Ayr."
MISS MACMURDO'S
FAVORITE. Scottish, Slow Strathspey. E Minor.
Standard tuning (fiddle). AAB. Perhaps Jean or Philadelphia (Phillis) McMurdo,
celebrated in several of Robert Burns’ songs. They were daughters of the poet’s
friend, John McMurdo of Drumlanrig, factor of the Duke of Queensberry. Carlin (The Gow Collection), 1986; No. 150. Gow
(Third Collection of Niel Gow’s Reels),
1792; p. 25 (3rd ed.).
X:1
T:Miss Macmurdo’s Favorite
M:C
L:1/8
R:Strathspey
N:”Slow”
B:Gow – 3rd Collection of Niel Gow’s Reels, 3rd ed.,
p. 25 (orig. 1792)
Z:AK/Fiddler’s Companion
K:Emin
B|e>f e^d {d}e2 Be|”tr”d>efg
(f<a)gf|e>fe^d {d}e2 B>A|”tr”G>ABB, E3:||d|
“tr”B>cdB “tr”c>Bag|(fg)ef
Bbgf|e>fe^d e2 “tr”A>B|”tr”G>ABB, E3d|
B>cdB ~c>Bag|(fg)(ef)
(^db).g.f|(eg)(fa) (gb)(eg)|(GB)(B,^D) E3||
MISS MACMURRAY. Irish, Planxty (6/8 time). C Dorian. Standard tuning (fiddle). AB.
Composed by blind Irish harper Turlough O'Carolan (1671-1738). Complete Collection of Carolan's Irish Tunes,
1984; No. 90, p. 71.
MISS MACNIELL. Scottish. John Glen (1891) finds the earliest printing of this tune in Robert Ross's 1780 collection (p. 23).
MISS
MACPHERSON GRANT OF BALLINDALLOCH. Scottish, Strathspey. F Major.
Standard tuning (fiddle). AABB'. Stewart-Robertson
(The Athole Collection), 1884; p.
214.
X:1
T:Miss MacPherson Grant of Ballndalloch
M:C
L:1/8
R:Strathspey
B:Stewart-Robertson – The
Athole Collection (1884)
Z:AK/Fiddler’s Companion
K:F
a|c<c c>B A<c ~f2|d<d d>c d>fg>a|f>FA>F A<c ~f2|d>g f/e/d/c/ ~f2 f:|
|:g|a>f a/g/f/e/ f>c ~f2|b>g b/a/g/f/ e/f/g/a/ gf/g/|1 a>f a/g/f/e/ f>c d<f|
~c>f
e/f/g/e/ ~f2f:|2 b/a/g/f/ g>e f>c d<f|~c>f e/f/g/e/ ~f2f||
MISS
MACPHERSON GRANT'S JIG--OF BALLINDALLOCH. Scottish, Jig. A Major. Standard
tuning (fiddle). AB. Composed by William Marshall (1748-1833).
A Scottish fiddler and composer, Marshall is most famous for his many fine
strathspeys. Marshall worked for much of his life for the Duke of Gordon as the
Steward of his Household, and it is fortunate that the Duke was an enthusiastic
supporter and patron of Marshall’s music. Marshall, Fiddlecase Edition,
1978; 1822 Collection, p. 21.
X:1
T:Miss MacPherson Grant’s Jig—of
Ballindalloch
M:6/8
L:1/8
R:Jig
S:Marshall – 1822 Collection
Z:AK/Fiddler’s Companion
K:A
E|E2A A2F|GAB Bcd|c2E (AG)A|~B3
E3|E2e e2c|dcd Bcd|cde fed|cBA GFE|
E2A A2F|GAB Bcd|c2E (AB)A|~B3 E3|E2e
e2c|dcd Bcd|cBA EFG|A3 A2||E|
C2E A2=G|FEF D2F|d2c BcA|~G3 E2E|FGA
Bcd|cde fga|gfe Bc^d|e3 e2z|
F2D fed|e2c ecA|FGA BcA|~G3 E3|F2d
E2c|D2B C2e|cBA EFG|A3 A,2||
MISS MACPHERSON'S REEL--EDINBURGH. Scottish, Reel. B Flat major.
Standard tuning (fiddle). AAB. Composed by William
Marshall (1748-1833). MacDonald (The
Skye Collection), 1887; p. 129. Marshall, Fiddlecase Edition, 1978; 1822 Collection, p. 12.
X:1
T:Miss MacPherson’s Ree—Edinburgh
M:C|
L:1/8
R:Reel
S:Marshall – 1822 Collection
Z:AK/Fiddler’s Companion
K:B_
E|D2 B,D FDBF|DB,FD ECCE|D2 B,D
FDBF|ecdA BB,B,:|
e|d>efd gefd|ecdB e(cc)e|d>efd
gefd|gabf d(BB)e|d>efd gefd|
ecdB e(cc)d|DB,FD GEBG|Fdec dBB||
MISS MACQUEEN'S REEL. Scottish, Strathspey. F Major. Standard tuning (fiddle). AABB'.
Composed by William Marshall (1748-1833), first
appearing in his 1781 collection (pg. 5). A Scottish fiddler and
composer, Marshall is most famous for his many fine strathspeys. Marshall
worked for much of his life for the Duke of Gordon as the Steward of his
Household, and it is fortunate that the Duke and Duchess were enthusiastic
supporters and patrons of Marshall’s music. Miss McQueen lived at Strathdown,
now called Strathavon (Cowie, 1999). Marshall, Fiddlecase Edition,
1978; 1781 Collection, p. 5.
X:1
T:Miss McQueen’s Reel
M:C
L:1/8
R:Strathspey
S:Marshall – 1781 Collection
Z:AK/Fiddler’s Companion
K:F
F>G (B/A/)(G/F/) c<Ad<B|f>dc>A G/G/G G2|F>G (B/A/)(G/F/) c<Ad<B|
f>dc>A F/F/F F2:|
|:f>g (b/a/)(g/f/) c<fa<f|b>ga>f g/g/g g2|1 f>g (b/a/)(g/f/) c<fa<f| b>ga>e f/f/f f2:|2
c>f
(d/c/)(B/A/) d<fd<B|c>BA>G F/F/F F2||
MISS MACQUEIR. Scottish. John Glen (1891) finds the earliest appearance of this tune
in print in John Riddell's 1782
collection (p. 24).
MISS MAHANY’S POLKA. Irish, Polka. D Major. Standard tuning (fiddle). AABB’. Composed by
Kansas City musician Mike Dugger. Black (Music’s
the Very Best Thing), 1996; No. 231, p. 124.
X:1
T: Miss Mahany's
C: M. Dugger
Q: 275
R: polka
Z:Transcribed by Bill Black
M: 2/4
L: 1/8
K: D
A/ | dd B/c/d | AF DF | ec Ac | de fe |
dd B/c/d | AF DA | ec Ac | d2-d-d/ :|
e/ | f>e f/g/a | bg ed | c/B/A Bc | de fe |
f>e f/g/a | bg ed |1 cB/A/ Bc | d2-dd/ :|
|2
cB/A/ | Bc | d2 d2 ||
MISS MALCOLM'S
HORNPIPE. Scottish, Hornpipe. E Flat Major
(Marshall): D Major (Miller). Standard tuning. AB (Marshall): AABB (Miller).
Composed by William Marshall (1748-1833). A
Scottish fiddler and composer, Marshall is most famous for his many fine
strathspeys. Marshall worked for much of his life for the Duke of Gordon as the
Steward of his Household, and it is fortunate that the Duke was an enthusiastic
supporter and patron of Marshall’s music. Marshall, Fiddlecase Edition,
1978; 1822 Collection, pg. 22. Miller (Fiddler’s
Throne), 2004; No. 299, pg. 177.
X:1
T:Miss Malcolm’s Hornpipe
M:C|
L:1/8
R:Hornpipe
S:Marshall – 1822 Collection
Z:AK/Fiddler’s Companion
K:Eb
E2 GE BEGE|F2 AF cFAF|~G2 ag
fedc|BAGF EDCB,|E2 GE BEGE|F2 AF cFAF|
GbeG Acfe|dBcd e2 e2||eEGB egfe|dBdf
bfdB|c=Bcd ec_BA|GEDE FDCB,|
EB,GE FB,AF|GEBG AA,cA|GbeG
Acfe|dBcd e2e2||
MISS MALEY EDMONSTONS
MINUET. Scottish, Minuet. The melody
appears in the Gillespie Manuscript of
Perth, 1768.
MISS MALLY MONTGOMERIE'S
MINUET. Scottish, Minuet. The melody
appears in the Gillespie Manuscript of
Perth, 1768.
MISS MANNER’S HORNPIPE. AKA and see "Back of the Haggard," “Black’s Hornpipe [2],” “Duke’s Hornpipe,” “Kershaw’s Hornpipe,” "Lady Flashdash Hornpipe,"
“Loyalist Hornpipe.”
MISS MANNING’S REEL.
American (?), Reel. D Major. Standard tuning. AABCBC. Howe (1000
Jigs and Reels), c. 1867; pg. 48.
X:1
T:Miss
Manning’s Reel
M:2/4
L:1/8
R:Reel
S:Howe – 1000 Jigs and Reels (c. 1867)
Z:AK/Fiddler’s Companion
K:D
|: A/d/A/d/
B/d/B/d/ | e/d/e/f/ a/f/e/d/ | A/d/A/d/ B/d/B/d/ | e/d/e/f/ d ||
a | a/a/a/f/ d/f/d/f/ | g/b/f/a/ ee
| a/b/a/f/ d/f/d/f/ | A/g/f/e/ d :|
MISS MANNS REEL. English, Reel. G Major/Mixolydian. Standard tuning. AABB. Huntington (William Litten's), 1977; pg. 10.
MISS MARGARET BLACK OF
FORESTHILL. Scottish, Strathspey. Composed by
Archibald Duff, c. 1812.
MISS MARGARET BROWN. AKA and see “Maggie
Brown’s Favorite.” AKA – “Miss Margaret Brown, Now Lady Camden.” Scottish,
Irish, Jig.
MISS
MARGARET CAMPBELL (OF SADDELL'S). Scottish, Reel. A Major. Standard
tuning. AAB. Composed by Robert
Mackintosh. Glen (The Glen Collection
of Scottish Dance Music), vol. 2, 1895; pg. 2. Stewart-Robertson
(The Athole Collection), 1884; pg.
37.
X:1
T:Miss Margaret Campbell (Saddell)
M:C|
L:1/8
R:Reel
B:Stewart-Robertson – The
Athole Collection (1884)
Z:AK/Fiddler’s Companion
R:Reel
K:A
c|AecA ecae|fdec dBBc|AecA ecae|fdBe cAA:|
e|agae cAec|Bbba bffg|agae cAec|dfed cAAe|
agae
cAec|Bbba bffg|afbg afed|ceBe cAA||
MISS MARGARET CHISHOLM. Canadian, Jig. Canada, Cape Breton. C Major. Standard tuning. AABB’.
Composed by Cape Breton fiddler and composer Dan R. MacDonald (1911-1976).
Cameron (Trip to Windsor), 1994; pg.
49.
MISS MARGARET GORDON
OF LESSMORE. Scottish, Reel. G Major. Standard
tuning. AAB. Composed by John MacGlashan. Glen (The Glen Collection of Scottish Dance Music), vol. 2, 1895; pg. 16.
X:1
T:Miss Margaret Gordon of Lessmore
M:C|
L:1/8
R:Reel
S:Glen Collection, vol. 2 (1895)
Z:AK/Fiddler’s Companion
K:G
c|BG B/c/d cBAG|FDAG FDDc|BG B/c/d
gfed|e/f/g df gGG:|
g|bgba gfed|edgB cAAc|dbba
gfed|e/f/g f/g/a bgga|bgba gfed|
edgB cAAc|B/c/d Ac BGDB, CEDF G2
[B,G]||
MISS
MARGARET GRAEME/GRAHAM OF INCHBRAKIE. Scottish, Strathspey. G Minor.
Standard tuning. AAB. Composed by Niel Gow (1727-1807), and published in his First Collection, 2nd edition, 1801. The
second section appears quite similar, but not identical to, William Marshall's
"Marquis
of Huntly's Reel, A Strathspey," published in 1781. Margaret Graeme,
born in 1756, was the second daughter of Patrick Graeme and his wife Margaret
Oliphant, a Jacobite family. She remained unmarried, and resided with her
parents as long as they lived. Gow composed other tunes for the family: see
“Major Graham of Inchbrakie.” Gow (The
First Collection of Niel Gow’s Reels), 1784 (revised 1801); pg. 15.
MacDonald (The Skye Collection), 1887;
pg. 134. Stewart-Robertson
(The Athole Collection), 1884; pg.
192.
X:1
T:Miss Margaret Graeme of Inchbrakie
M:C
L:1/8
R:Strathspey
B:Stewart-Robertson – The
Athole Collection (1884)
K:Gmin
g|d<G d>c d>G G<f|c<F c>A c>F A<f|d<G d>c d>G G<g|f>dc>A G2G:|
d|g<a b>g a>^fg>d|f>d c<f A<F c>A|g>ab>g a>^fg>d|f<c f>A G2 G>d|
g>ab>g
a>^fg>d|f>d c<f A<F c>A|G<BA<c
B<dc<g|f>dc>A G2G||
MISS MARGARET GRAHAM
OF GARTMORE'S. Scottish, Strathspey. Composed by
fiddler Robert 'Red Rob' MacIntosh
(born c. 1745), whose nickname was awarded doubtless because of having red
hair.
MISS
MARGARET GRAHAM OF GARTMORE'S FAVOURITE. Scottish, Reel. B Flat Major. Standard
tuning. AAB. Attributed by Hunter to William Marshall
(1748-1833). Hunter (Fiddle Music of
Scotland), 1988; No. 274.
X:1
T:Miss Margaret Graham of Gartmore’s
Favourite
M:C
L:1/8
R:Reel
C:William Marshall
K:Bb
{B}b2 (fd) g(edc)|f2 (dB) AcAF|{B}b2
(fd) g(edc)|dfAc (dB) B2:||
DFBF EGcB|Acfe dbfd|DFBF EGcB|AcFe
(dB)B(F|
DF)BF EGcB|(Ac)fe dfbf|gedc
fdcB|(A/B/c) Fe (dB) B2||
MISS MARGARET
MACKERACHER. Scottish, Strathspey. G Major.
Standard tuning. AAB. Composed by D. MacKeracher. MacDonald (The Skye Collection), 1887; pg. 92.
X:1
T:Miss Margaret Mackeracher
M:C
L:1/8
R:Strathspey
S:MacDonald – Skye Collection
(1887)
Z:AK/Fiddler’s Companion
K:G
D|G>AB>c dBB>g|Bdd>B
cee>g|GABc dBg>e|dGc>B A2G:|
f/g/|abea g2 d>g|bgfg
dgBg|bgd>g ecg>e|dGcB A2 Gf/g/|abea g2 dg|
bgfg dgBg|b>gd>B
ecg>e|(3gfe (3dcB (3ced (3cBA||
MISS MARGARET
McLACHLAN. Scottish, Jig. D Major. Standard
tuning. AA’B.
X:1
T:Miss Margaret McLachlan
B:The Piper's Assistant (1877)
N:Slightly amended by Nigel Gatherer
Z:Nigel Gatherer
M:6/8
L:1/8
K:D
e[|:Add dcd|e>de fef|gfg
B>cd|e>cA GFG|Add dcd|e>de fef|
Bgf edc|1d3 dcB:|]2d3 d2|]f/g/|afa
ded|faf def|gfg Bcd|ecA Afg|
afa ded|faf def|gfg ecA|d3 dfg|afa
ded|faf def|
gfg Bcd|efd cBA|Add dcd ede fef|Bgf
edc|d3 d2|]
MISS MARIA CARR. Scottish, Slow Air. Composed in 1927 by Aberdeenshire fiddler and
composer J. Murdoch Henderson (1902-1972), named in honor of a famed blind
pianist of Aberdeen. Henderson (Flowers
of Scottish Melody), 1935.
MISS MARIA DUNDAS. Scottish, Reel. G Major (Athole, Kerr): F Major (Athole, Gow, Little).
Standard tuning. AAB (Athole, Gow, Little): AABB (Kerr). Attributed to Nathaniel
Gow (1763-1831) in the Fourth Collection (1800). The Maria Dudas
(1787-) of the title perhaps the Maria who was the 2nd daughter of
West Lothian landowner George Dundas, 24th of Dundas, and Christian
Stirling. She married Robert Cunnyngham. Her father was a captain on an East
Indiaman, but was lost off the coast of Madagascar in 1793 when his ship
foundered. Gow (Fourth Collection of Niel Gow’s Reels), 2nd
ed., originally 1800; pg. 21. Kerr (Merry
Melodies), vol. 2; No. 125, pg. 15. Little (Scottish and Cape Breton Fiddling in New Hampshire), 1984; pg. 7. Stewart-Robertson
(The Athole Collection), 1884; pgs.
168 & 235.
X:1
T:Miss Maria Dundas
M:C|
L:1/8
R:Reel
B:Stewart-Robertson – The
Athole Collection (1884)
Z:AK/Fiddler’s Companion
K:G
g|dG G/G/G d2Bd|egfg dBBg|dG G/G/G d2Bd|egdB A/A/A A:|
a|g/a/b ab geeg|dgBg dBBd|g/a/b ab geeg|dgdB A/A/A a2|
g/a/b ab geeg|dgBg GABd|gbab gaeg|dBgB A/A/A A||
X:2
T:Miss Maria Dundas
M:C|
L:1/8
R:Reel
B:Stewart-Robertson – The Athole Collection (1884)
Z:AK/Fiddler’s Companion
K:F
f|cF F/F/F c2 Ac|dfef cAAf|cF F/F/F c2 Ac|dfcA G/G/G G:|
g|f/g/a ga fddf|cfAf cAAc|f/g/a ga fddf|cfcA G/G/G Gg|
f/g/a
ga fddf|cfAf cAAc|faga fgdf|cdAf G/G/G G||
MISS MARIA STEWART’S
JIG.
Scottish, Jig. F Major. Standard tuning. AABB. Rooster
Records RSTR 122, Laurie Andres – “Fantastic Hornpipe” (1983. Appears as “Miss
Marie Stewart’s Jig.”
X:1
T:Miss Maria Stewart’s Jig
L:1/8
R:Jig
Z:AK/Fiddler’s Companion
K:F
c | f2c f2c | fga gfe | d2f c2A |
BGG G2c | f2c f2c | fga gfe |
d2f c2B | AFF F2 :: B | AFF cFF |
dFF cFF | d2f c2A |
BGG G2c | fef gab | agf efg | f2d
c2B | AFF F2 :|
MISS MARIANNE OLIPHANT (ROSSIE). Scottish, Strathspey. G Major/Mixolydian. Standard tuning. AAB.
Composed by Robert Mackintosh in
the late 18th century. Gatherer (Gatherer’s
Musical Museum), 1987; pg. 36. Glen (The
Glen Collection of Scottish Dance Music), vol. 2, 1895; pg. 13. Mackintosh,
Third Collection (1796). Rounder 7059, Alex Francis MacKay with Gordon MacLean –
“Gaelic in the Bow” (2005).
X:1
T:Miss Marianne Oliphant (Rossie)
M:C
L:1/8
R:Strathspey
K:G
D|G,>B,D=F EC
C>B,/4C/4|D>FA>c BG G>F/4G/4|G,>B, D<=F Ecc<e|
Dc/B/ cB/A/ [B,2G2] [B,G]:|
g/a/|b>ggb a<df<a|gf
a/g/f/e/ fB Bc/d/|c>e g<c B>d g<B|AedF g2 G,g/a/|
b/a/g g/a/b a<df<a|g>f
a/g/f/e/ f<B B>d|c>c’ a<c B>d g<B|c<a d>f g2G||
MISS MARIE MACEACHERN. Canadian, Reel. Canada, Cape Breton. C Major. Standard tuning. AB.
Composed by Cape Breton fiddler and composer Dan R. MacDonald (1911-1976).
Cameron (Trip to Windsor), 1994; pg.
15.
MISS MARION LAMEY. Canadian, Hornpipe. Canada, Cape Breton. G Major. Standard tuning. AB.
Composed June 16, 1968, by Cape Breton fiddler and composer Dan R. MacDonald
(1911-1976). Cameron (Trip to Windsor),
1994; pg. 72.
MISS MARION CAMPBELL
OF ARDMORE. Reel.
MISS MARY ANNE
ROBERTSON.
Scottish, Reel. D Major. Standard tuning. AB. Surenne (Dance Music of Scotland), 1852; pg. 129.
X:1
T:Miss Mary Anne Robertson
M:C
L:1/8
R:Reel
S:Surenne – Dance Music of Scotland, pg. 129
(1852)
Z:AK/Fiddler’s Companion
K:D
A | FDDD FDFA | BGAF GEEA | FDDD
FDFA | dABG FDDA | FDDD FDFA |
BGAF GEEA | FDDD FDAF | dABG FDD ||
A | defg abaf | gefd edBc |
Defg abaf | geag fddc | defg abaf |
gefd edBd | AdFA BcdB | AFGE FDD ||
MISS MARY BALFOUR’S STRATHSPEY.
Scottish, Strathspey. E Minor. Standard tuning. AB. Composed by John Gow
(1764-1826), youngest son of famed Scots fiddler-composer Niel Gow (1727-1807).
John, along with his older brother Andrew, established a branch of the Gow
family publishing business in London in 1788. They were the English
distributors of the Gow publications, but also published independently. Gow (Fifth
Collection of Strathspey Reels), 1809; pg. 31.
X:1
T:Miss Mary Balfour’s Strathspey
M:C
L:1/8
C:John Gow (1764-1826)
B:Gow – Fifth Collection of
Strathspey Reels (1809)
Z:AK/Fiddler’s Companion
K:Emin
G/F/|E E2 E2E2 E|E E2 E D>E
(G/F/)E/D/|E E2 E2 E2 G|(Fc)B^D E3 G/F/|E E2 E2E2 E|E E2 E D>E (G/F/).E/.D/|
E(g/f/) (g/f/)(g/f/) g(e/^d/) e(B/^A/)|B(G/F/)
G(E/^D/) E3||g/f/|(e/f/g/a/) b>g (e/f/g/a/) b>g|(e/f/g/a/) b>g
(d/e/f/g/) {fg}ag/f/|
(e/f/g/a/) b>g e/f/g/a/
bg|(fc’)b^d ~e3 g/f/|(e/f/g/a/) b>g (e/f/g/a/) b>g|(e/f/g/a/) bg
(d/e/f/g/ {b}ag/f/|
e(b/^a/) (b/a/)(b/a/) b(g/f/)
g(e/^d/)|e(B/^A/) B(G/F/) E3||
MISS MARY BEATON. Canadian, Jig. Canada, Cape Breton. A Major. Standard tuning. AABB’.
Composed by Cape Breton fiddler and composer Dan R. MacDonald (1911-1976) for a
member of the Beaton family of Mabou, famous for numerous Cape Breton style
musicians. Cameron (Trip to Windsor),
1994; pg. 42.
MISS MARY DAPHNE
MACLEAN'S REEL. Canadian, Reel. Canada, Cape
Breton. Composed by Cape Breton fiddler and composer Dan R. MacDonald
(1911-1976). Rounder 7011, "The Beatons of Mabou:
Scottish Violin Music from Cape Breton" (1978).
MISS MARY DOUGLASS’S
REEL.
Scottish, Reel. B Flat Major. Standard tuning. AABB’. Composed by James
Macdonald, according to Gow. Gow (Second
Collection of Niel Gow’s Reels), 1788; pg. 31 (3rd ed.).
X:1
T:Miss Mary Douglass’s Reel
M:C
L:1/8
R:Reel
C:James Macdonald
B:Gow – 2nd Collection of Niel Gow’s Reels, 3rd ed.,
pg. 31 (orig. 1788)
Z:AK/Fiddler’s Companion
K:Bb
f|dBfB ({e}d2) “tr”(cB)|cFdB
A(cd>)e|dBGc ecAc|gecf dBB:|
|:F|(DF)BF (DF)”tr”BA|GF”tr”(ED)
C(cc)d|1 (DF)BF (DF)BA|
GFED B,(BB):|2 (DF)BF DFBd|”tr”cAFA
BB,B,||
MISS MARY GARDEN (DELGATY’S) REEL. Scottish, Reel. D
Major. Standard tuning. AB. One of several tunes composed by Kirkmichael,
Perthshire, fiddler and composer Robert
Petrie (1767-1830) for the Garden family. His Second Collection of Strathspey Reels and Country Dances (1796), in
which this melody appears (pg. 15), was dedicated to his patron and employer,
Mrs. Garden of Troup, Banffshire. The Delgaty estate in Aberdeenshire had come
into the hands of the Garden family in the 1760’s.
X:1
T:Miss
Mary Garden (Delgaty's) Reel
C:R.
Petrie
S:Petrie's
Second Collection of Strathspey Reels and Country Dances &c.
Z:Steve
Wyrick <sjwyrick'at'astound'dot'net>, 6/11/04
N:Petrie's
Second Collection, page 15
L:1/8
M:C
R:Reel
K:D
f|eAcA
aAcA|Bgdg BGdB|eAcA aecA|dfed cAAf|
eAcA
aAcA|Bgdg BGdB|AAcA dBcA|afea cAA||
^g|(Ta^ga)e
ceaf|gfgd BGdB|(Ta^ga)e ceaf|gdBe cAA^g|
(Ta^ga)e
ceaf|gfgd BGdB|cAdB ecaf|gdBe cAA|]
MISS MARY GRANT. Scottish. John Glen (1891) finds the earliest appearance of this tune
in print in Angus Cumming's 1780
collection (pg. 20).
MISS MARY L. ROBERTSON. Scottish, Reel. C Major. Standard tuning. AABB'. Composed by William Marshall (1748-1833). A Scottish fiddler
and composer, Marshall is most famous for his many fine strathspeys. Marshall
worked for much of his life for the Duke of Gordon as the Steward of his
Household, and it is fortunate that the Duke was an enthusiastic supporter and
patron of Marshall’s music. Marshall,
Fiddlecase Edition, 1978; 1845
Collection, pg. 14.
X:1
T:Miss Mary L. Robertson
M:C
L:1/8
R:Reel
S:Marshall – 1845 Collection
Z:AK/Fiddler’s Companion
K:C
F|E(GG)A c2 (ce)|defe dDDF|E(GG)A c2 (ca)|gefd c/c/c c:|
|:f|(ef/g/) (cg) egcg|(fg) a/(g/f/e/) fddf|1 (ef/g/) (cg) egcg|
fdge cc/c/ c:|2 ecdB (dc)(BA)|GcGE C/C/C C||
MISS MARY LEE'S
DELIGHT. Scottish, Hornpipe. Composed by Abraham Mackintosh.
MISS MARY LUMSDANE'S FAVORITE. Scottish, Slow Air (3/2 time). G Major. Standard tuning. AABB. Composed by Nathaniel Gow (1763-1831), son of renowned Scots fiddler-composer Niel Gow (1727-1807). Nathaniel was a popular Edinburgh fiddler, music publisher, composer, and bandleader. Carlin (The Gow Collection), 1986; No. 581. Gow (Fifth Collection of Strathspey Reels), 1809; pg. 30. Jones [Ed.] (Complete Tutor Violin), c. 1815; pg. 3.
X:1
T:Miss Mary Lumsden's Favorite.
M:3/2
L:1/4
B:Complete Tutor Violin (c. 1815)
Z:Dr. Evan Jones, 2005
K:G
U:w=!wedge!
(DG).G.G(FA) | (GB).B.B(ce) | (dB)wBwG(FG) | (AB)wcEF2 | (DG)wGwG(FA) | (GB)wBwA(ce) | (dB)BG(A/c/)(B/d/) | cEFG3 :||
wd(gf)(gd)wB | (AB)wcdc2 | wd(gf)(gf)wg | (eb)wa^cd2- | (d=fe)(dcB) | (ce)AGF2 | (dB)wBF (A/c/)(B/d/) | wc wE wF G3 :|]
MISS MARY MACDONALD OF
CLANRANALD. Scottish, Reel. D Minor. Standard
tuning. AAB. Composed by Robert
Mackintosh. Glen (The Glen Collection
of Scottish Music), vol. 2, 1895; pg. 42.
X:1
T:Miss Mary MacDonald of Clanranald
M:C|
L:1/8
R:Reel
S:Glen Collection, vol. 2
(1895)
Z:AK/Fiddler’s Companion
K:Dmin
A|d/d/d Ad FDD^c|dfA=c ECC^c|~d2 Ad
FAdf|egAa fdd:|
e|fdad Aafd|ecgc Gceg|fdad Aafd|egAa
f(dde)|
fdad Aafd|ecgc Gceg|fdge afbg|afge
f(dd)||
MISS MARY MACDONALD('S
REEL). Scottish, Reel. G Mixolydian.
Standard tuning. AABB. Gatherer (Gatherer’s
Musical Museum), 1987; pg. 5. Gow (Second
Collection of Niel Gow’s Reels), 1788; pg. 31 (3rd ed.). Stewart-Robertson
(The Athole Collection), 1884; pg.
185.
X:1
T:Miss Mary MacDonald
M:C|
L:1/8
R:Reel
B:Stewart-Robertson – The
Athole Collection (1884)
Z:AK/Fiddler’s Companion
K:Gmin
B|GGBG AFFA|GGBG AGBG|EGBG AFFA|GcBA G3:|
|:B|GGgB A=FFA|GGgd gagd|fgfc AFFA|GcBA G2G:|
X:2
T:Miss Mary Macdonald’s Reel
M:C
L:1/8
R:Reel
B:Gow – 2nd Collection of Niel Gow’s Reels, 3rd ed., pg. 31 (orig. 1788)
Z:AK/Fiddler’s Companion
K:G
B|G<GBG A=FFA|G<GBG
AGBG|D>GBG A=FFA|(GcBA) G3:|
|:B|G<Gg_B A=FFA|G<Ggd
gagd|=fgfc A=FFA|(GcBA) G3:|
MISS MARY STEPHANIE
MACLEAN. Canadian, Reel. Canada; Cape
Breton, Prince Edward Island. D Major. Standard tuning. AABB. Composed by Cape
Breton fiddler and composer Dan R. MacDonald (1911-1976). Source for notated
version: Allan MacDonald (b. 1950, Bangor, North-East Kings County, Prince
Edward Island) [Perlman]. Perlman (The
Fiddle Music of Prince Edward Island), 1996; pg. 76.
MISS
MARY STEWART/STUART OF DERCULICH. Scottish, Reel. D Major/Mixolydian.
Standard tuning. AA'BB'. Composition credited to Robert Petrie by James Stewart-Robertson.
Stewart-Robertson
(The Athole Collection), 1884; pg.
101. Atlantica Music 02 77657 50222 26, Carl MacKenzie
- “Atlantic Fiddles” (1994). CLM Records, Carl MacKenzie - “Celtic Ceilidh”
(1986).
X:1
T:Miss Mary Stewart of Derculich
M:C|
L:1/8
C:R. Petrie
R:Reel
B:Stewart-Robertson – The
Athole Collection (1884)
Z:AK/Fiddler’s Companion
K:D
A|d2df e2eg|fdgf eEEe|1 d2df e2eg fdec dDD:|2 defd efga|fdec dDD||
|:f|abaf
dfaf|abaf geef|1 abaf dfaf|geag fdd:|2 dfeg fagb|afge fdd||
MISS MARY WALKER [OF
PETERHEAD]. Scottish, Reel. B Flat Major.
Standard tuning. One part. Composed by the great Scottish fiddler and composer J. Scott Skinner (1843-1927). Hunter (Fiddle Music of Scotland), 1988; No.
269.
MISS MAULE OF PANMURE. Scottish, Reel. A Minor. Standard tuning. AB (Surenne): AAB (Athole,
Gow): AABB' (Kerr). Composed by Scottish fiddler, composer, music publisher and
band- leader Nathaniel
Gow (1763-1831), for another member of the influential Maule family, for
who he composed a number of melodies (see “Mr.
Maule’s Frolick” for more). Carlin (The
Gow Collection), 1986; No. 288. Gow (Fourth Collection of Niel Gow’s
Reels), 2nd ed., originally 1800; pg. 16. Kerr (Merry Melodies), vol. 3; No. 130, pg.
16. Stewart-Robertson
(The Athole Collection), 1884; pg.
75. Surenne (Dance Music of Scotland),
1852; pg. 96.
X:1
T:Miss Maule of Panmure
M:C|
L:1/8
R:Reel
B:Stewart-Robertson – The
Athole Collection (1884)
Z:AK/Fiddler’s Companion
K:C
c|A/B/c d/c/B/A/ GEE>c|GcEc GEEc|A/B/c d/c/B/A/ GEEc|GEcE EDD:|
f|e/f/g g>f ecce|A/B/c Gc EcGc|e/f/g g>f ecce|d>B cE EDDf|
e/f/g g>f ecce|A/B/c Gc EcGc|egfd ecdB|cBcE EDD||
MISS MAULE’S REEL. AKA and see “Sheep Shanks.”
MISS MAULE('S
STRATHSPEY). Scottish (originally), Canadian;
Strathspey. Canada; Cape Breton, Prince Edward Island. A Major. Standard
tuning. AAB. An 18th century composition by Robert ‘Red Rob’ MacIntosh. The melody
is among the more popular of MacIntosh’s compositions on Cape Breton Island.
See note for “Mr. Maule’s Frolick” for
more on the Maule’s. Source for notated version: Francis MacDonald (b. 1940,
Morell Rear, North-East Kings County, Prince Edward Island) [Perlman]; Winston
Fitzgerald (1914-1987, Cape Breton) [Cranford]. Cranford (Winston Fitzgerald), 1997; No. 68, pg. 31. Hunter (Fiddle Music of Scotland), 1988; No.
145. MacDonald (The Skye Collection),
1887; pg. 181. Perlman (The Fiddle Music
of Prince Edward Island), 1996; pg. 194. Breton
Books and Records BOC 1HO, Winston “Scotty” Fitzgerald - “Classic Cuts”
(reissue of Celtic Records CX 17). RC2000,
George Wilson – “The Royal Circus” (2000). Rounder Records , John L. MacDonald
– “Formerly of Foot Cape Road: Scottish Fiddle Music in the Classic Inverness
County Style” (2005).
X:1
T:Miss Maule’s Strathspey
M:C
L:1/8
R:Strathspey
S:MacDonald – Skye Collection (1887)
Z:AK/Fiddler’s Companion
K:A
E|{AB}c2 A>E F>A E<C|{AB}c2
A>E F<B B>d|c>B A<E F>A E<C|
D>FE>G A/A/A A:|
e|c>ea>e f>a
e<d|c>ea>c {Bc}d<B B>d|c>ea>e f<a e>c|d<f e>d
c<A A>e|
c>ea>e f>a
e<d|c>ea>c {Bc}dBB(c/d/)|c>ed>f e<ag<b|a>fe>d cAA||
X:2
T:Miss
Maule's Strathspey
C:"By
R. Mackintosh"
S:Petrie's
Second Collection of Strathspey Reels and Country Dances &c.
Z:Steve
Wyrick <sjwyrick'at'astound'dot'net>, 6/5/04
N:Petrie's
Second Collection, page 3
L:1/8
M:C
R:Strathspey
K:A
E|({AB}c2)
A>E F<AE<C|({AB}c2) A>E F(BBd)|Tc>B A>E
F<AE<C|D>FE<G [C/E/A/][C3/2E3/2A3/2][CEA]:|
E|c<ea>e
f>ae<d|c<ea>c ({Bc}d)<(BBc/)d/|c<ea>e f>ae<c|d<fTe>d c<(AA>e)|
c<ea>e
f<ae<d|c<eac ({Bc}d)(BBc/)d/
|c<ed<f e<ag<b|a<fe>d
cAA |]
MISS MAXWELL. Scottish (originally), Canadian; Marching Air (4/4 time). Canada;
Prince Edward Island, Cape Breton. D Major. Standard tuning. AA’B
(Cranford/Hollan): AA’BB’ (Perlman). Composed by William Shepherd, a business
partner of Nathaniel
Gow (1763-1831) who published two collections of original dance pieces in
the late 18th century. Source for notated version: Allan MacDonald (b. c. 1950,
Bangor, North-East Kings County, Prince Edward Island) [Perlman]. Cranford (Jerry Holland’s), 1995; No. 113, pg. 33.
Rounder Records, “Jerry Holland” (1976).
MISS MAXWELL’S FANCY. Scottish, Jig. F Major.
Standard tuning. AABB’. “Miss Maxwell’s Fancy” was printed in John and Andrew
Gow’s A Collection of Slow Airs,
Strathspeys and Reels (London, c. 1795). Andrew (1760-1803) and younger
brother John (1764-1826) established a publishing business in London in 1788
and were the English distributors for the Gow family musical publications. S. Johnson (A Twenty
Year Anniversary Collection), 2003; pg. 26.
X:1
T:Miss Maxwell’s Fancy
M:6/8
L:1/8
R:Jig
S:John & Andrew Gow – A Collection of Slow Airs, Strathspeys and Reels (c. 1795)
K:F
C|F2f cAF|F2F {B/c/}d3|cAF F2A|GEC CDE|F2F cAF|F2F
{f/g/}a2a|
gaf efd|{=B}c3 c2::c2c gec|c2c c2a|b2g a2f|gaf edc|1 c2c
gec|
c2c b3|agf cde|f3 F3:|2 f3 cAc|d3 B2d|cba gfe|f3 F2||
MISS MAY HAY. Scottish, Rant. E Minor. Standard tuning. AABB. The piece meets the
criteria for a rant, though the word does not appear in the title. John Glen
(1891) finds the earliest printing of this tune in print in Daniel Dow's c. 1775 collection (pg. 20).
Cranford (Jerry Holland: The Second Collection), 2000; No. 158, pg. 60.
Emmerson (Rantin’ Pipe and Tremblin’
String), 1971; No. 39, pg. 134. Stewart-Robertson
(The Athole Collection), 1884; pg.
255.
X:1
T:Miss May Hay
M:C|
L:1/8
R:Reel
B:Stewart-Robertson – The
Athole Collection (1884)
Z:AK/Fiddler’s Companion
K:Emin
F|E/E/E GA B2 Ee|dBAd FDDF|E/E/E GA B2 Ad|FADF BE E:|
|:B|egfe
dBeg|fdAd FDDB|egfe dBeg|fdFA BEE:|
MISS MAYDELL ARMSTRONG. English, Hornpipe. England, Northumberland. D Major. Standard tuning.
AABB. Composed by Tom Clough. Hall & Stafford (Carlton Memorial Tune Book), 1974; pg. 30.
MISS McCLOUD. See “Miss McLeod.”
MISS McDONALD{'S} [1] ("Ingean Uí/Ni Mic Domnall" or "Iníon
Mhic Dhónaill"). Scottish, Irish; Reel. G Major. Standard tuning. AB (Tolman): ABCD
(Cole): AABBCCD (O'Neill): AA’BBCCDD’ (Kennedy): AA'BB'CD (O'Neill/1850 &
1001): ABB’CC’D (Vallely). Directions for the dance to this tune were written
down in 1752 by John McGill, a dancing master in Girvan, for his students. Cole
(1000 Fiddle Tunes), 1940; pg. 7.
Kennedy (Traditional Dance Music of
Britain and Ireland: Reels and Rants), 1997; No. 136, pg. 33. O'Neill
(Krassen), 1976; pg. 98. Tolman (Nelson
Music Collection), 1969; pg. 7. O'Neill (Music of Ireland: 1850 Melodies, 1903/1979; No. 1210, pg. 228.
O'Neill (Dance Music of Ireland: 1001
Gems), 1907/1986; No. 486, pg. 93. Ryan’s
Mammoth Collection, 1883; pg. 27. Vallely (Armagh Pipers Club Play 50 Reels), 1982; No. 46, pg. 22. Coleman Music Center CHC 009, fiddler Jim Rawl (Co. Leitrim)
– “The Coleman Archive, vol. 2: The Home Place” (2005. Various artists). Topic
12TS422, Flying Fish 263, Boys of the Lough - “In the Tradition” (1981). Shanachie
79083, Mary Bergin - “Feadoga Stain, vol. 2” (1989).
See also listings at: Jane Keefer’s Folk Music Index: An
Index to Recorded Sources Alan Ng’s Irishtune.info |
X:1
B:O'Neill MOI, no. 1210
M:4/4
L:1/8
K:G
dc |: BG (3GGG BGdG | BG (3GGG g2 fg
| aA (3AAA AcBA |1
(3Bcd ef gedc:|2 (3Bcd ef gedB ||
|: GFGD EDEF|GFGD B,G,B,D | GFGD
EDEG|1 (3efg dB BAAB:|2 (3efg dB BAAf ||
|| g>d (3ddd gagf|edef gdBd |
g>d (3ddd gagf|edef (3ggg ga | gdBd gdBd | edef gdBd |
g2 gf gbag | edef gbaf || e2 dB BAAB
| GBdB GBdg | e2 eB cABA | GEDE G2 g2 |
(3efg dB
cABA | GBdB GBdg | (3efg dB cABA | GEDE G2 ||
X:2
T:Miss
McDonald’s [1]
M:2/4
L:1/8
R:Reel
S:Ryan’s Mammoth Collection (1883)
Z:AK/Fiddler’s Companion
K:G
d/c/ |
B/G/F/G/ A/G/F/G/ | B/d/e/f/ gf/g/ | a/A/A/B/ c/B/A/^G/ | A/B/c/d/ f/e/d/c/ |
B/G/F/G/
A/G/F/G/ | B/d/e/f/ gf/g/ | a/A/A/B/ c/B/A/^G/ | A/.B/c/d/ ed/c/ ||
GG/D/
E/D/B,/D/ | GG/D/ B,/D/B,/D/ | GG/D/ E/G/g/f/ | .d/.G/(c/4B/4A/4G/4)
.B/.A/.A/.B/ |
GG/d/
E/D/B,/D/ | GG/D/ B,/D/B,/D/ | GG/D/ E/G/g/e/ | .d/.G/(c/4B/4A/4G/4) B/A/A ||
e/^d/e/f/
g(f/g/) | e/^d/e/f/ g/d/B/d/ | e/^d/e/f/ g(f/g/) | (3e/f/g/ (3f/g/a g/d/B/d/ |
e/^d/e/f/
g(f/g/) | e/^d/e/f/ g/d/B/d/ | e/^d/e/f/ g/f/g/d/ | (3e/f/g/ (3f/g/a/ g/d/e/f/
||
g(d/B/)
B/A/A/B/ | (3G/G/G/ (G/e/) d/B/B/d/ | (3e/f/g/ (d/g/) B/A/A/B/ | E/G/F/A/
G/g/f/a/ |
g(d/B/)
B/A/A/B/ | (3G/G/G/ (G/B/) d/B/B/d/ | (3e/f/g/ (d/g/) B/A/A/B/ | E/G/F/A/ G ||
MISS MACDONALD’S [2]. AKA and see “Lady Forbes,” “Lady Harriet Hope,” “Monday Morning [2],” “Victory [2].” Irish, Reel. G Major. Standard
tuning. AB. The tune is the “Victory Reel,” for some reason called “Miss
McDonald’s" in CRÉ III. O’Neill
prints the tune as “Monday Morning [2].”
Source for notated version: accordion player Jackie Daly (Ireland)
[Breathnach]. Breathnach (CRÉ III),
1985; No. 134, pg. 63. Green Linnet SIF 3002, Jackie
Daly & Kevin Burke – “Eavesdropper.”
X:1
T:Miss MacDonald [2]
T:Monday Morning
B:O'Neill MOI, no. 1525
M:4/4
L:1/8
R:Reel
K:G
GBdg edcB|g2 (3bag aAAB|GBdg
edcB|cedc BG G2||
MISS McDONALD’S [3]. AKA and see “Lady Belhaven('s),” “Miss Pensy MacDonald,” “The Spinning Wheel [2]."
Scottish, Reel.
MISS MACDONALD’S
(REEL) [4]. AKA and see “Charlie if you would only
come,” “Charlie’s Welcome,” “Thearlaich na’n Tigeadh Tu,” “Flora MacDonald.” “MacDonald’s Quickstep,” “MacDonald’s Reel [2],” “Miss Flora McDonald’s Reel,”
“Miss Macdonald’s Rant.” Scottish, Reel. E Dorian. Standard tuning. AB. McGlashan (A Collection of Reels), c. 1786; pg. 29.
X:1
T:Miss MacDonald’s Reel
M:C|
L:1/8
R:Reel
S:McGlashan – Reels (c. 1786)
Z:AK/Fiddler’s Companion
K:Edor
F|E2 EF BEEF|E2 EF dFDF|E2 EF
EFGA|B/c/d AG FDDF|E2 EF BEEF|
E2 EF dFDF|E2 EF EFGA|BGAG
FED||F|Eeed eEEF|Eeec dDDF|Eeed Bcdc|
Bgfe dDDF|Eeed eEEF|Eeec dDDF|Eeef
Bedf|Bgfe dDD||
MISS McGUINNESS [1] (Iníon Mhic Aonghusa). Irish, Reel or
Hornpipe. G Major/A Dorian. Standard tuning. AB (Breathnach, Flaherty): AAB
(Taylor). Sources for notated versions: piper Tommy Reck/Tomás Riabhach
(Ireland) [Breathnach]; flute player and piper Tommy Hunt (b. 1908, Lissananny,
Ballymote, County Sligo) [Flaherty]; set dance music recorded at Na Píobairí Uilleann, late 1980’s [Taylor]. Breathnach (CRÉ I),
1963; No. 121, pg. 50. Breathnach (CRÉ
III), 1985; No. 178 (appears as “Gan Ainm/No title”). Flaherty (Trip to Sligo), 1990; pg. 128. Taylor (Music for the Sets: Blue Book), 1995;
pg. 27. Green Linnet SIF 3041, Matt Molloy –
“Stony Steps.”
MISS McGUINNESS [2] (Iníon Mhic Aonghusa). Irish, Reel. A Dorian. Standard
tuning. AB. This “Miss McGuinness” is not the usual tune that goes by this
name. Source for notated version: from the playing of James McMahon (County
Fermanagh) collected in the mid-20th century by Liam Donnelly (County Tyrone
and Belfast) [Breathnach]. Breathnach (CRÉ
IV), 1996; No. 172, pgs. 80-81.
MISS McGUINNESS [3]. AKA
and see “Dan Backus’ Favorite,”
“Jim Coleman’s [1],” “Liverpool Jack’s,” “Take Your Choice,” “Terence’s Ramble.” Irish, Reel.
MISS McINNES’
REEL—DANDALEITH. Scottish, Reel. F Major. Standard
tuning. AAB. Composed by William Marshall
(1748-1833). Margaret McInnes of Dandelieth was Marshall’s grand-daughter,
according to Moyra Cowie (The Life and
Times of William Marshall, 1999). Marshall (Fiddlecase Edition), 1978; 1822 Collection, pg. 55.
X:1
T:Miss McInnes’ Reel—Dandaleith
L:1/8
M:C|
S:Marshall – 1822 Collection
Z:AK/Fiddler’s Companion
K:F
d|cF F/F/F dcBA|GABc dGBd|cF F/F/F
dcBA|cfeg fFB:| d | cfAf cfaf | egba gGBd |
cfAf Bfcf | dfeg fFBd | cfAf cfaf |
egba gGBd | bgaf agfe | gfed cFB ||
MISS McLAUCHLAN. Scottish, Reel. A Major. Standard or AEae tunings. AAB. The melody
appears in John Bowie's A Collection of Strathspey Reels and Country
Dances (1789). Glen (The Glen
Collection of Scottish Music), vol. 1, 1891; pg. 28. Martin (Traditional Scottish Fiddling), 2002;
pg. 28.
X:1
T:Miss McLauchlan
M:C
L:1/8
R:Reel
S:Glen Collection, vol. 1 (1891)
Z:AK/Fiddler’s Companion
K:A
B|A<AeA cAAc|BFBA GEEG|Aaed
cAAc|BFBG A2 A,:|
B|ceae cAAc|BFBA GEEf/g/|agae
cAAc|BFBG A2 A,d|
ceae cAAc|BFBA GEEB|ceae dfdB|c/d/e
EG A2A,||
MISS McLEAN OF
INVERSCADLE. AKA – “Miss McLean’s,” “Miss
MacLean’s Reel.” Scottish, Reel. G Minor. Standard tuning. AAB
(Cranford/Holland, Kerr, MacDonald, Stewart-Robertson): AABB' (Kerr). The
melody appears in the 4th collection (1797) of Malcolm MacDonald of Dunkeld, a volume
dedicated to the Countess of Breadalbane. Inverscadle house, a tacksman’s house
for the MacLean’s, is in the former district of Lochaber, Argyll, although it
has been largely replaced by an 1862 structure (a shooting house) called
Conaglen House, by architect David Bryce. It is located at the juncture of
Glens Cona and Scaddle, where their waters run into Inverscaddle Bay. An early
sound recording of the tune was by Cape Breton fiddler Donald MacLellan on 78
RPM. Cranford (Jerry Holland: The Second Collection), 2000; No. 217, pg.
80. Glen (The Glen Collection of Scottish
Music), vol. 2, 1895; pg. 38. Kerr (Merry
Melodies), vol. 3; No. 184, pg. 21. MacDonald (A Fourth Collection of Strathspey Reels), 1797; pg. 10. Stewart-Robertson
(The Athole Collection), 1884; pg.
191.
See also listings at: Alan Snyder’s Cape Breton Fiddle
Recording Index |
X:1
T:Miss McLean of Inverscadle
M:C|
L:1/8
R:Reel
S:Glen Collection
Z:AK/Fiddler’s Companion, vol. 2 (1895)
K:Gmin
c|BGDG BGdB|AFCF AFcA|BGDG BGdB|cAFA
BGG:|
d|gabg dgBg|fgfc AFcA|gabg dgBg|cAdc
BGGd|
gabg dgBg|fgfc AFcA|GABc dBfd|cAFA
BGG||
X:2
T:Miss MacLean of Inverscadle’s Reel
M:C|
L:1/8
R:Reel
B:MacDonald – 4th
Collection of Strathspey Reels (1797)
Z:AK/Fiddler’s Companion
K:Gmin
c | BGDG BGdB | AFCF AFcA | BGDG BGdB | cAFA BGG :|
d | gabg dgBg | fgfc AFcA | gabg dgBg | cAdc BGGd | gabg dgBg |
fgfc
AFcA | GABc dBfd | cAFA ~BGG ||
MISS McLEOD OF COLBECK. See “Miss MacLeod of Colbeck.”
MISS
McLEOD'S FAVORITE. Scottish, “Slow” Strathspey. D
Major. Standard tuning. AAB. Composed by William
Marshall (1748-1833). A Scottish fiddler and composer, Marshall is
most famous for his many fine strathspeys. Marshall worked for much of his life
for the Duke of Gordon, employed as the Steward of his Household, and it is
fortunate that the Duke was an enthusiastic supporter and patron of Marshall’s
music. Gow (Complete Repository), Part 4, 1817; pg.
16.
X:1
T:Miss McLeod’s Favorite
M:C|
L:1/8
R:Strathspey
S:Gow – 4th Repository
(1817)
Z:AK/Fiddler’s Companion
N:”Slow”
K:D
B,|(A,<D) D>E
{DE}F>EFD|(B,<E) E>F {F}~G3A|(B>c/4d/4) (B/A/)(G/F/) E>DEF|
A,>DCE {E}D2D:|
(A/4B/4c/)|{c}d>Adf {c}d>Adf|{c}d>A (d/e/f/g/) fe ef/e/|
{c}d>B (B/A/)G/F/ A>d
{d}f>e| {e}d>B {B}A>F FEEB|A<d d>e {de}f>efd|
B<e e>f {f}~g3a|bc’/d’/
{b}ag/f/ e>def| A<d c>e d3||
MISS McLEOD’S POLKA (Polca Iníon Mhic Leoid).
Irish, Polka. D Major. Standard tuning. ABC. Source for notated version:
from a manuscript attributed to the Pigott family, east Kerry, written in the
early 20th century in various hands. Editor Jackie Small (CRÉ V) believes it may have been copied
from a printed source [Breathnach]. Breathnach (CRÉ V), 1999; No. 90, pg. 47.
MISS
McLEOD'S/MacLEOD'S REEL [1]
(“Cor Ingean Ni Mic Leod” or “Cor Mhic Leoid”). AKA and "Billy Boy [2]," "The Cake's All Dough," "Did You Ever See
the/a Devil Uncle Joe?" “Enterprise
and Boxer,” “The Enterprising Boxer,” "The Girl with the Handsome Face,”
"Green Mountain,"
"Hop Up Ladies," "Hop High Ladies
(the Cake's all Dough)," "Hop Light Ladies," "John Brown [2]," "May Day [1]," "Miss MacLeod of
Ayr," "MacLeod's Reel," "McLeod's Reel," "Miss
McCloud," "Misses McCloud's Reel," "Mistress McCloud's
Jig," "Mr. McLaw'd." ""Mrs. MacLeod (of) Raasay,”
“Mrs. MacLeod Raasay,” "N....r
in the Woodpile [2]" (Pa.), "Old Mammy Knickerbocker"
(Pa.), "The Virginia Reel [5],”
"Walk Jaw Bone [1]." Irish,
Scottish (originally), American, Old‑Time; Reel and Breakdown. G Major
(most versions): A Major (Ashman, Cranford/Holland, Roche, Songer): F Major
(Harding’s). Standard tuning. AABB (most versions): AA’BB’ (Harker/Rafferty). A
universal favorite in the British Isles and North America. Apparently the tune
was first printed in Gow's Fifth Collection of Strathspey Reels of 1809 (pg. 36), with the note "An original
Isle of Skye Reel. Communicated by Mr. McLeod (of Raasay)." It is possible
that the “Miss McLeod” referred to was one or both of MacLeod of Raasay’s
sisters. These sisters raised their niece, the Countess of Loudoun, Flora
Charlotte Campbell, after the death of her mother and suicide of her father.
The family maintained a residence on St. John’s Street, Edinburgh, which
Chambers and Wallace (Life and Works of Robert Burns, 1896) refer to in
this passage:
***
Possibly Burns was introduced to the
(MacLeod) family by Gavin Hamilton who was factor of
the Loudoun estates. A Perthshire
lady used to tell how she met Burns at an evening-party in
the house of MacLeod of Raasay at
the St. John Street, where he seemed to be on easy terms.
‘He had been on the previous night
to a ball in Dunn’s Rooms (now the National Bank, St.
Andrew Square) and he spoke in high
terms of the beauty of the ladies, as well as the witchery
of the music. His manner, however,
was not prepossessing—scarcely manly or natural. It
seemed as if he affected a rusticity
or landertness,
so that when he said the music was “bonie,
bonie,” he spoke almost like a
child.’ [pg. 137]
***
“Miss MacLeod” was popular as long
ago as 1779 in Ireland as its playing is mentioned in an account by a foreign
visitor named Berringer or Beranger of a "cake" dance (i.e. where the
prize was a cake) he participated in while visiting in Connacht. O’Neill (1913)
relates Beranger’s observations somewhat differently and gives that it was one
of six tunes played by Galway pipers in 1779 for the entertainment of the
traveller. In modern times in Ireland the tune was included in a famous set of
the late Donegal fiddlers, brothers Mickey and John Doherty, who played it
as the last tune after “Enniskillen
Dragoons” and “Nora Criona” (Wise Nora),
though sometimes they substituted “The
Piper of Keadue” for “Miss McLeod’s.” The whole set was played in the rare
AAae tuning, which required playing in position (Caoimhin MacAoidh). See also “The Foxhunter’s (Reel) [1]” and “The Grey Plover” for a related tunes in
O’Neill.
***
The title “Peter Street” appears in
a list of tunes in his repertoire brought by Philip Goodman, the last
professional and traditional piper in Farney, Louth, to the Feis Ceoil in
Belfast in 1898 (Breathnach, 1997). At another Feis, this time in Munster in
1906 it was the only tune played all day long for the dancing competition
(James Kelly, 1996). The reel was mentioned in an account of one of the old
pipers of County Louth, a man named Cassidy, as recorded by William Carleton in
his Tales and Sketches of the Irish
Peasantry, published in 1845. Breathnach (1997) believes the first name of
this piper was Dan, and that he was blind. Carleton, born in 1794, was a
dancing master who taught in the 1820’s, and was engaged to teach the children
of the ‘dreadful’ Mrs. Murphy. It seems that Carleton:
***
having spent several nights at piper Cassidy’s
house weighing up the local
dancers …was impelled by vanity to show them
how good a dancer he was
himself. He asked one of the handsomest girls
out on the floor, and, in
accordance with the usual form, faced her
towards the piper, asking her to
name the tune she wished to dance to. Receiving
the customary reply, ‘Sir,
your will is my pleasure,’ Carleton called for
the jig Polthogue. He next
danced Miss McLeod’s Reel with his partner, and then called for a hornpipe,
a single dance, this is, one done without a
partner. It was considered
unladylike for girls to do a hornpipe. The College Hornpipe was his choice
for this dance. (pg. 59)
***
Charlie Piggott, in his book Blooming Meadows (1998) written with Fintan Vallely, relates that accordion player Johnny O’Leary was at the deathbed of his mentor, the famed Sliabh Luachra fidder Pádraig O’Keeffe, in St. Catherine’s Hospital, Tralee. O’Keeffe was lucid until the end, and engaged in witty repartee with O’Leary:
***
‘You know two great
reels,’ he said. ‘Don’t ever forget them.’
‘What are they?’ said
I.
‘”Miss McCloud” and
“Rolling in the Ryegrass”,’ he said.
‘You see, “Miss
McCloud” is a great reel,’ he said, ‘but we’re playing
it wrong.’
‘How do you mean it?’
says I.
‘I’m at it now,’ he
says, ‘but I suppose I won’t be left alive to do it—
play it backwards.
And,’ he says, ‘you’ll never in your life hear a nicer
reel.’
Whether ‘tis right or
not, I don’t know. He was just going to do it when
he died. He said he
had a sister that had the first part of it done backwards
with a concertina and,
Pádriag said, ‘twas double nicer than the way we’re
playing it. He was a genius, you know. He
was a genius.
***
The melody has had a long history in
America and has proved enduringly popular with fiddlers (as well as flute
players and fifers) in many regions. It was printed by William Williams in his New
and Compleat Preceptor for the Fife (Utica, N.Y., 1826). Cauthen (1990)
notes the tune's mention in the Marion Standard of April 30, 1909, which
reported its having been played at a housewarming in Perry County, Alabama, in
1827. Bronner collected the tune from central New York fiddlers, who also knew
it under the title "Virginia Reel" and, from one source, the
“inter-changeable title” of "Campbells are Coming," a jig. Some
confusion in his sources seems to stem from the inter-changeability of many
triple and duple meter tunes under the "Virginia Reel" moniker, but
Bronner states that versions of "Miss McLeod" in 12/8 time were
"not uncommon" in his collecting experience. Samuel Bayard (1981)
also wondered if "Miss McLeod" was a reworking of some set of the 6/8
time "The Campbells Are
Coming," a family which includes (among others) “The Burnt Old Man [1]” and “Hob or/and Nob.” O’Neill (1913) has no
doubts and states unequivocally that the ‘McLeod’ and ‘Campbell’ tunes either
had a common origin or that the former was derived from the latter (or its
Irish equivalent, “An Seanduine”). The title appears in a list of the
repertoire of Maine fiddler Mellie Dunham (the elderly Dunham was Henry Ford's
champion fiddler in the mid‑1920's) and it was cited as having commonly
been played for Orange County, New York, country dances in the 1930's (Lettie
Osborn, New York Folklore Quarterly).
Arizona fiddler Kenner C. Kartchner remembered the tune being played in the
Flagstaff‑Williams (Ariz.) area in 1903 (Shumway). The title (as
"MacLeod's Reel") appears in a list of traditional Ozark Mountain
fiddle tunes compiled by musicologist/folklorist Vance Randolph, published in
1954. A rendering of the tune under the title "Mistress McCloud's
Jig" was recorded by him for the Library of Congress from fiddlers in that
region in the early 1940's. Bayard (1981) noted that the tune was usually
played in the British Isles with the parts ending on the second of the scale,
resulting in an "endless" or "circular" tune, while
fiddlers in the Americas usually ended on the tonic. Also in the repertoire of
Uncle Jimmy Thompson (Texas, Tennessee) as "McLeod's Reel."
***
Novelist and fiddler Thomas Hardy,
of Devonshire, England, knew the tune and worked it into his novel The Mayor of
Casterbridge (1886):
***
Farfrae was footing a quaint little dance with Elizabeth-Jane--an old
country thing, the only one she knew, and though he considerately toned
down his movements to suit her demurer gait, the pattern of the shining
little nails in the soles of his boots became familiar to the eyes of
every
bystander. The tune had enticed
her into it; being a tune of a busy,
vaulting, leaping sort--some low notes on the silver string of each
fiddle,
then a skipping on the small, like running up and down ladders--'Miss
McLeod of Ayr' was its name, so Mr. Farfrae had said, and that it was
very popular in his own country [Scotland].
***
Words are sometimes set to the tune,
especially in American variants. These
words were collected in Scotland:
***
Macaphee turn yer cattle roon loch o' Forum (3 times)
Here and there and everywhere the kye are in the corn.
***
Waitin' at the shielin' o Mhaire bhan mo chroi (pronounced: varie van ma cree)
Waitin' at the shielin' o faur awa' tae sea
Hame will come the bonny boats Mhaire bhan mo chroi
Hame will come the bonny boys, Mhaire bhan mo chroi.
***
A curious alternate title for
“McLeod’s,” called “The Enterprising Boxer,” is a miss-hearing of the name
“Enterprise and Boxer,” which refers to a naval engagement between two ships of
those names.
***
The title is among those mentioned
in Patrick J. McCall’s 1861 poem “The Dance at Marley,” the first three stanzas
of which goes:
***
Murtagh Murphy’s
barn was full to the door when the eve grew dull,
For Phelim Moore his beautiful new pipes had brought to charm them;
In the kitchen thronged the girls - cheeks of roses, teeth of pearls -
Admiring bows and braids and curls, till Phelim’s notes alarm them.
Quick each maid her hat and shawl hung on dresser, bed, or wall,
Smoothed down her hair and smiled on all as she the bawnoge entered,
Where a shass of straw was laid on a ladder raised that made
A seat for them as still they stayed while dancers by them cantered.
***
Murtagh and his
vanithee had their chairs brought in to see
The heels and toes go fast and free, and fun and love and laughter;
In their sconces all alight shone the tallow candles bright -
The flames kept jigging all the night, upleaping to each rafter!
The pipes, with noisy drumming sound, the lovers’ whispering sadly drowned,
So the couples took their ground - their hearts already dancing!
Merrily, with toe and heel, airily in jig and reel,
Fast in and out they whirl and wheel, all capering and prancing.
***
“Off She Goes,”
“The Rocky Road,” “The Tipsy House,” and “Miss McLeod,”
“The Devil’s Dream,” and “Jig Polthogue,” “The Wind that Shakes the Barley,”
“The First o’May,” “The Garran Bwee,” “Tatther Jack Welsh,” “The River Lee,”
-
As lapping breakers from the sea the myriad tunes at Marley!
Reels of three and reels of four, hornpipes and jigs galore,
With singles, doubles held the floor in turn, without a bar low;
But when the fun and courting lulled, and the dancing somewhat dulled,
The door unhinged, the boys down pulled for “Follow me up to Carlow.”
***
One of the first sound recordings of
the tune (as “Mrs. McCloud’s Reel”) was by New York uilleann piper James C.
McAuliffe who recorded it on a wax cylinder for Edison in 1899 (McAuliffe
recorded some 14 sides for Edison between 1899 and 1903).
***
Sources for
notated versions: Michael Coleman (Co. Sligo/New York) [DeMarco and Krassen],
John McDermott, (New York State, 1926) [Bronner], 8 southwestern Pa. fiddlers
[Bayard]; a c. 1837-1840 MS by Shropshire musician John Moore [Ashman];
accordion player Johnny O’Leary (Sliabh Luachra region of the Cork-Kerry
border), recorded at Na Piobairi Uilleann, October, 1984 [Moylan]; New Jersey
flute player Mike Rafferty (born in Ballinakill, Co. Galway, 1926), who had it
from Micheal Raglaidh and/or Marcas O Murchú [Harker]. Adam, No. 20. Allan's Irish Fiddler, No. 69, pg. 17.
American Veteran Fifer, 1927; No. 6.
Ashman (The Ironbridge Hornpipe),
1991; No. 25a, pg. 6 (appears as "Mr. Mc Law'd a Popular Dance").
Bayard (Dance to the Fiddle), 1981;
No. 249A‑H, pgs. 211‑213. Brody (Fiddler’s Fakebook), 1983; pg. 192. Bronner (Old Time Music Makers of New York State), 1987; No. 4, pg. 26
(appears as 1st tune of "Virginia Reel Medley"). Burchenal (American Country Dances, vol. 1), 1918;
pgs. 10‑11 (appears as "Virginia Reel" [2]). Cazden (Dances from Woodland), 1945; pg. 24.
Cazden (Folk Songs of the Catskills),
pg. 29. Cole (1000 Fiddle Tunes),
1940; pg. 29 (appears as "Miss McCloud's"). Cranford (Jerry
Holland: The Second Collection), 2000; No. 19, pg. 8. DeMarco and Krassen (Trip to Sligo), 1978; pgs. 38, 52, 66.
Gale, No. 30. Harding’s All Round
Collection, 1905; No. 183, pg. 58. Harding’s
Original Collection and Harding
Collection, No. 36. Harker (300 Tunes
from Mike Rafferty), 2005; No. 138, pg. 42. Howe (Diamond School for the Violin), 1861; pg. 44. Howe, 1951; pg. 34.
Jarman (Old Time Fiddlin' Tunes), No.
or pg. 10. S. Johnson (The Kitchen
Musician No. 4: Collection of Fine Tunes), 1983 (revised 1991, 2001); pg.
15. Kennedy (Fiddlers Tune Book),
vol. 1, 1951; No. 48, pg. 24 (appears as "May Day"). Kerr (Merry Melodies), vol. 1; pg. 5. Lyth (Bowing Styles in Irish Fiddle Playing,
vol. 1), 1981; 17 & 18. Mattson & Walz (Old Fort Snelling... Fife), 1974; pg. 71. Miller & Perron (New England Fiddlers Repertoire), 1983;
No. 109. Moylan (Johnny O’Leary),
1994; No. 143, pg. 84. O’Farrell (Pocket
Companion, vol. IV), c. 1810; pg. 137. O'Malley, pgs. 10 & 22. O'Neill
(O’Neill’s Irish Music), 1915/1987;
No. 275, pg. 140. O'Neill (Krassen), 1976; pg. 134. O'Neill (Music of
Ireland: 1850 Melodies), 1903/1979; No. 1418, pg. 263. O'Neill (Dance
Music of Ireland: 1001 Gems),
1907/1986; No. 655, pg. 117. Robbins, No. 96. Roche Collection, 1982, vol. 1; No. 148, pg. 59. Ruth (Pioneer Western Folk Tunes), 1948; No.
112, pg. 39. Ryan’s Mammoth Collection,
1883; pg. 55. Smith (Scottish Minstrel), vol. 4, pg. 50.
Songer (Portland Collection), 1997;
pg. 136. Surenne, pg. 11. Sweet (Fifer’s
Delight), 1965/1981; pg. 32. Trim (Thomas
Hardy), 1990; No. 4 (appears as "Miss MacLeod of Ayr"). Tubridy (Irish Traditional Music, vol. 1), 1999;
pg. 19. White's Excelsior Collection,
pg. 42. White’s Unique Collection,
1896; No. 170, pg. 32. Biograph 6003, The Bogtrotters‑
"The Original Bogtrotters" (appears as "Hop Up Ladies").
Brunswick (78 RPM), John McDermott (N.Y. state), 1926 (appears as 1st tune of
"Virginia Reel Medley"). Capelhouse Records, James Kelly –
“Traditional Irish Music” (1996). CCF2, Cape Cod Fiddlers – “Concert Collection
II” (1999). County 201, The Old Virginia Fiddlers‑ "Rare
Recordings" (appears as "Hop Light Ladies"). Davis Unlimited
33015, Doc Roberts‑ "Classic Fiddle Tunes" (appears as
"Did You Ever See the Devil, Uncle Joe"). Gael-Linn Records 78 RPM, Tommy Reck (c. 1957). Gael-Linn CEF 045, “Paddy
Keenan” (1975. Appears as “McLeod’s Reel/Cor Mhic Leoid”). Glencoe 001, Cape
Breton Symphony‑ "Fiddle." Globestyle Irish CDORBD 085, The
Kerry Fiddle Trio - “The Rushy Mountain” (1994. Reissue of Topic recordings).
Green Linnet 1023, Joe Shannon and Johnny McGreevy‑ "The Noonday
Feast." Green Linnet SIF1122, Kevin Burke - "Open House" (1992).
John Edwards Memorial Foundation JEMF‑105, Uncle Joe Shippee ‑
"New England Traditional Fiddling" (1978). June Appal 007, Thomas
Hunter‑ "Deep in Tradition." Larraga MMR112000, Mike and Mary
Rafferty – “The Road from Ballinakill” (2001). Nimbus NI 5320, Ciaran Tourish
et al. - “Fiddle Sticks: Irish Traditional Music from Donegal” (1991). Rounder
0057, Frank Dalton and George Wood‑ "Old Originals, vol. 1"
(appears as "Hop Light Ladies"). Rounder 0058, John Patterson‑
"Old Originals, vol. II" (appears as "Did You Ever See the
Devil, Uncle Joe?"). Shanachie 33001, Patrick J. Touhey‑ "The
Wheels of the World." Shanachie 79053, Liz Carroll et al – “Cherish the
Ladies: Irish Women Musicians in America.” Tennvale 001S, Bob Douglas‑
"Old Time Dance Tunes Fron the Sequatchie Valley" (Appears as
"Hop Light Ladies"). Tennvale 003, Pete Parish‑
"Clawhammer Banjo." Topic 12T309, Padraig O’Keeffe, Denis Murphy
& Julia Clifford - “Kerry Fiddles.” Transatlantic 341, Dave Swarbrick‑
"Swarbrick 2." Victor 20537 (78 RPM), Mellie Dunham, 1926 (appears as
1st tune of "Medley of Reels"). Mickey Doherty – “The Gravel
Walks.”
See also listings at: Jane Keefer’s Folk Music Index: An
Index to Recorded Sources Alan Ng’s Irishtune.info |
X:1
T:Miss McLeod’s Reel [1]
M:C|
L:1/8
K:G
|:G2 BG dG BG|GB BA Bc BA|G2 BG dG BG|A2AG (3ABc BA|
G2BG dG BG|GB BA Bc d2|(3efg ed Bd ef|ge dB Ac BA:|
|:G2 gf ed eg|B2BA BcBA|G2 gf ed Bd|ea ag fd ef|g2 gf ef ge|
dB BA Bc d2|(3efg ed Bd ef|ge dB Ac BA:|
X:2
T:Miss MacLeod’s
M:4/4
L:1/8
Q:240
S:Liz Carroll
R:reel
D:Cherish the Ladies, Shanachie 7905
Z:Philippe Varlet
K:G
G,B,DG c2BA|DGBA BcBG|G,B,DG B2AG|AFDF AdBA|
GABG dGEG|cGDG BGdG|c2Bd cded|Bd{e}dB AdBA:||
GBdb ageg|dB{e}BA B2AB|GBdb aged|eaga gedB|
GBdb ageg|dB{e}BA B2GB|edcB cded|Bd{e}dB AdBA:||
X:3
T:Virginia Reel
T:Mre. McLeod’s Reel
M:C
L:1/8
R:Reel
B:George P. Knauff –
Virginia Reels
N:Published in
Baltimore by Geo. Willig n.d. (1839?)
Z:AK/Fiddler’s Companion
K:A
c2|A2a2 f>ef>a|c2 c>B c2
c>B|A2a2 f>ef>a|B2 B>A B2 B>c|A2a2 f>ef>a|
c2 c>B c2 e2|f>ef>g f2
ef/g/|a2 ec B2 B>c|A>Ac>A e>cc>f|c2 c>B c2 c>a|
A>Ac>A e>ccf|c2 B>A B2
B>c|A>Ac>A e>cce|c2 c>B c2 c>e|f>ef>g f2 ef/g/|{f/g/}a2
ec A2||
MISS McLEOD'S REEL [2]. American, Jig (12/8 time). USA, New York State. D Major. Standard
tuning. AB. Source for notated verison: Les Weir, 1976 (central New York State)
[Bronner]. Bronner (Old Time Music Makers
of New York State), 1987; No. 30, pg. 119.
MISS McLEOD’S (REEL)
[3]. English, Country Dance Tune or
Reel. D Major. Standard tuning. AB. No relation to the famous Scottish “Miss
McLeod’s” [1]. Irregular parts--the ‘A’ part is four measures long, and the ‘B’
part is twice as long. Knowles (A
Northern Lass), 1995; pg. 28.
MISS McQUEEN’S REEL. See “Miss MacQueen’s Reel.”
MISS McQUIRE'S REEL. English, Jig. England, Northumberland. G Minor. Standard tuning. AABB.
Vicker's original MS. title is "Miss Bane (or Benne) McQuire's Reel."
Seattle (William Vickers), 1987, Part
3; No. 518.
MISS MENAGER'S
HORNPIPE. AKA – “(Miss) Menage’s Hornpipe.”
English, Hornpipe. G Major. Standard. AABB. A Major. Standard. AABB. The tune
appears in several printed collections from the early 19th century,
including Norfolk, Virginia, publisher Thomas Ball’s Gentleman’s Amusement (book 1, 1815 and 1830), New York published
E. Riley’s Flute Melodies vol. 2
(1817, pg. 35, as “Menage’s Hornpipe”) and New York publisher I. Paff’s The Gentleman’s Amusement No. 1 (1812,
as “Miss Menage’s Hornpipe”). It also appears in the music manuscript
collections of Lawrence Leadley (Yorkshire, as “Miss Menager’s Hornpipe”),
Beaumont (?) and William Clarke (c. 1820-58, Feltwell, Norfolk) [Callaghan,
2007]. An untitled hornpipe in the 1850 music manuscript book of fiddler
William Winter (West Bagborough, Somerset) is a version of “Miss
Menage(r)’s.”
***
Mary Menage (note spelling) was born
in 1778. By the age of 13 she was already dancing on stage at London’s Pantheon
Opera House in the early 1790’s. She was a popular dancer and featured stage
performer at London’s Theatre Royal, Drury Lane, and other venues at the end of
the 18th and beginning of the 19th centuries. Miss Menage
is listed as the performer for the song “See brother see on yonder bough” in
Longman & Broderip’s printed edition of The
Children in the Wood (1793), a ballad opera by Thomas Morton and Dr.
Arnold. She is also listed as one of the performers (along with Master Walsh
and Miss De Camp) for the song “And will you soothe my anguish” in The Prisoner (1792), authored by J. Rose
and Thomas Attwood, again published by in London by Longman & Broderip. The
part of Frizaletta in Kane O’Hara’s “burlesque burletta” Tom Thumb was played by Miss Menage. Source for notated version: an
MS collection by fiddler Lawrence Leadley, 1827-1897 (Helperby, Yorkshire)
[Merryweather & Seattle]. Burgess & Monteith (The Coleford Jig). Callaghan (Hardcore
English), 2007; pg. 21. Merryweather & Seattle (The Fiddler of Helperby), 1994; No. 33, pg. 37. EFDSSCD13, Pheonix –
“Hardcore English” (2007. Various artists). Firebird FBR01, Phoenix – “After
the Fire.”
X:1
T:Miss Menager’s Hornpipe
M:4/4
L:1/8
R:Hornpipe
S:Paff’s – Gentleman’s Amusement, pg. 4 (1812)
Z:AK/Fiddler’s Companion
K:G
dc|BcAB GGAB|cdBc AABc|Bded
Aded|cdBc A2 dc|….
MISS MENZIES. AKA and see “Miss Gordon
of Park.” Canadian, Jig. The title is the name of Cape Breton Fiddler Winston’s
Fitzgerald’s (1914-1987) setting of William Marshall’s (1748-1833) melody “Miss
Gordon of Park.” Cape Breton’s Magazine,
Issue 39. Celtic CX34, Winston Fitzgerald.
MISS MENZIES OF
CULDARE(S) [1]. AKA and see "Mrs. Menzies of Culdare(s),"
"Braes of
Glendochart." Scottish, Reel. A Major. Standard tuning. AABB.
Composition claimed by Niel Gow (1727-1807) in his First Collection, 2nd edition, 1801, however, the tune also appears
in McGlashan's 1786 Third Collection as "Braes of
Glendochart." Gow wrote other tunes for the family: see also “Mr. Menzies
of Culdare(‘s Reel).” Kerr (Merry
Melodies), vol. 1; Set 25, No. 2, pg. 15. Stewart-Robertson
(The Athole Collection), 1884; pg. 1.
X:1
T:Miss
Menzies of Culdares [1]
L:1/8
B:Stewart-Robertson – The Athole Collection (1884)
Z:AK/Fiddler’s Companion
e|a2ae
fece|a2ae fBBg|a2ae fece|faec eAA:|
|:B|A/A/A ec acec|A/A/A ec fBBa|A/A/A
ec acec|faec eAA:|
MISS MENZIES OF CULDAR [2]. Scottish, Reel. D Major. Standard tuning. AAB. The tune was composed by Malcolm McDonald. It does not appear to be related to version #1. MacDonald paired the tune with his “Inch of Garth” on the page in his publication. Glen (The Glen Collection of Scottish Dance Music), vol. 1, 1891; pg. 30. MacDonald (A Collection of Strathspey Reels, vol. 1), pg. 4.
X:1
T:Miss Menzies of Culder [2]
M:C
L:1/8
R:Reel
S:Malcolm MacDonald – A Collection of Stathspey Reels, vol. 1
Z:AK/Fiddler’s Companion
K:D
AFDF A(dcB) | dfeg e/e/e e2 | AFDF
A(d”tr”cA) | BdAF D/D/D D2 :|
f/g/ | afdf abaf | geaf e/e/e
(ef/g/) | afdf abaf | geaf d/d/d (df/g/) | afdf abaf |
geaf e/e/e eg | fdec dBAF | GBAF
D/D/D D2 ||
MISS
MENZIES OF MENZIES. Scottish, Reel. B Flat Major.
Standard tuning. AB. Composition credited to William McLeish by James Stewart-Robertson
in The Athole Collection. The tune
was also played by Cape Breton fiddlers Little Jack MacDonald and Angus
Chisholm (Cranford, 1997). Source for notated version: Winston Fitzgerald
(1914-1987, Cape Breton) [Cranford]. Cranford (Winston Fitzgerald), 1997; No. 101, pg. 42. Stewart-Robertson
(The Athole Collection), 1884; pg.
292. Rounder CD 11661-7033-2, Natalie MacMaster – “My
Roots are Showing” (2000). Rounder 7059, Alex Francis MacKay with Gordon
MacLean – “Gaelic in the Bow” (2005).
X:1
T:Miss Menzies of Menzies
M:C|
L:1/8
R:Reel
S:Stewart-Robertson – The Athole
Collection (1884)
Z:AK/Fiddler’s Companion
K:Bb
g | fB B/B/B {B/c/}d2 (cB) | GBFD
ECCg | fB B/B/B {B/c/}d2 (cB) | GBFE DB,B,g |
fB B/B/B {B/c/}d2 (cB) | GBFD ECCE | FDFB GEGe | dfce dB~B ||
g | fBdf Bfdg |
fBdB (Ac)”tr”(cg) | fBdf bfdf | ecAf
dBBg | fBdf Bfdg | fBdB (Ac)(cB) | GEGB FDFe | dfce dB~B ||
MISS MEYNELL. AKA – “Miss Meynell’s Reel.” English, Scottish; Reel or Strathspey. C Major. Standard tuning. AABBCCDD. John Glen (1891) finds the earliest appearance of this tune in print in Robert Ross's 1780 collection (pg. 12), although it had earlier appeared in Charles and Samuel Thompson’s third country dance collection (London, 1773). Jones [Ed.] (Complete Tutor Violin), c. 1815; pg. 3. Thompson (Compleat Collection of 200 Favourite Country Dances, vol. 3), 1773; No. 11.
X:1
T:Miss Meynell's Strathspey.
R:strathspey
M:C|
L:1/8
B:Complete Tutor Violin (c. 1815)
Z:Dr. Evan Jones, 2005
K:C
U:T=!trill!
C(ccB) (BA)(AG) | gece Tdcde | C(ccB) (BA)(AG) | GEDE C/C/C C2 :||:
GcGc AcAc | defa gede | GcGc AcAa | gede c/c/c c2 :||:
g>age cece | f(a/f/) e(g/e/) dcde | g>age cece | (Afed) c/c/c c2 :||:
(AG)(GF) (FE)(ED) | (C/D/E/F/) (GE) DCDE | (AG)(GF) (FE)(ED) | FAGE C/C/C C2 :|]
X:2
T:Miss Meynell’s Reel
M:C|
L:1/8
B:Thompson’s Compleat Collection of 200 Favourite Country Dances, vol. 3 (London, 1773)
Z:Transcribed and edited by Flynn Titford-Mock, 2007
Z:abc’s:AK/Fiddler’s Companion
K:D
F|D(dd)(c c)(BB)A|afdf edef|D(dd)(c c)(BB)A|AFDF D/D/D D2:|
“German Flute”
|:[A,A][Dd][A,A][Dd] [B,B][Dd][B,B][Dd]|[Ee][Ff][Gg][Bb] [Aa][Ff][Ee][Ff]|[A,A][Dd][A,A][Dd] [B,B][Dd][B,B][Dd]|[Aa][Ff][Ee][Ff] [D/d/][D/d/][Dd][D2d2]:|
|:abaf dfdf|gb/g/ fa/f/ edef|abaf dfdf|Bgfe d/d/d d2:|
|:(BA)(AG) (GF)(FE)|(D/E/F/G/) AF EDEF|(BA)(AG) (GF)(FE)|GBAF D/D/D D2:|
MISS MILLER OF
DALSWINTON. Scottish, Strathspey. D Major.
Standard tuning. AAB. Composed by Robert Riddel. Glen (The Glen Collection of Scottish Dance Music),
vol. 2, 1895; pg. 10.
X:1
T:Miss Miller of Dalswinton
M:C
L:1/8
R:Strathspey
S:Glen Collection, vol. 2 (1895)
Z:AK/Fiddler’s Companion
K:D
f | D/D/D AF AD Af D/D/D AF E2 Ef | D/D/D AF AD fe | dB
d/B/A/F/ D3 :|
f/e/ | dAFA DAA,A | FdAF E3 f/e/ |
dAFA DAA,A | GEAF D3f/e/ |
dAFA DAA,A |FDAF E3f/e/ | dfeg faeg
| fdaf d3 ||
MISS MILLIKEN’S REEL.
Scottish, Strathspey. F Major. Standard tuning. AAB. Composition credited to William Marshall (1748-1833) by Alexander McGlashan. McGlashan (A Collection of Reels), Vol. 3, c. 1786; pg. 2.
X:1
T:Miss
Milliken’s Reel
M:C|
L:1/8
R:Strathspey
C:William
Marshall
S:McGlashan
– Collection of Reels (c. 1786)
K:F
F<CF<A
F>G A<f|c<A G>F D/D/D D2|F<CF<A F>G A<f|c<A f>A
F/F/F F2:|
f<cf<a
f<cf<a|g<c b>a g/g/g g2|f<cf<a f>c d<f|c>BA>G
F/F/F F2|f<cf<a f<cf<a|
g<c b>a g/g/g g2|f<ac<a
B<gA<f|c>BA>G F/F/F F2||
MISS MILL’S STRATHSPEY. Scottish, Strathspey. D Major.
Standard tuning. AABB. Barnes (English
Country Dance Tunes, vol. 2), 2005; pg. 93 (appears as “Nowton Park”, the
title of a dance by Ron Coxall set to the tune).
MISS MINA’S. Canadian, Strathspey. Canada,
Cape Breton. A Minor. Standard tuning. AAB. Source for notated version: fiddler
Brenda Stubbert (b. Point Aconi, Cape Breton, Nova Scotia). Cranford (Brenda Stubbert’s), 1994; No. 26, pg.
10. Brenda Stubbert - “House Sessions” (1992).
English, Reel. F Major. Standard
tuning. AABB. Seattle (William Vicker’s),
1987, Part 3; No. 571.
MISS MINERS REEL. English. England, Northumberland. One of the "missing tunes"
from William Vickers’s 1770 Northubrian dance tune manuscript.
MISS/MRS. MINZIES OF
CULDARE. See "Miss Menzies of Culdare(s) [1]."
MISS MOLLY DAKER. Scottish. John Glen (1891) finds the earliest appearance of this tune
in print in Neil Stewart's 1780
collection (pg. 65).
MISS MOLLY GRANT. Scottish. John Glen (1891) finds the earliest appearance of this tune
in print in Robert MacIntosh's 1783
collection (pg. 33).
MISS MONA(G)HAN('S
REEL) {"Ingean Uí
Muineacan," "Iníon Uí Mhuimhneacháin" or "Ingean Ni
Muineacain"}. AKA and see "The Barrow Castle,"
"Belles of Tipperary [2],”
"The Blea‑berry Blossom,"
"Connacht Lasses,"
"The Connacht Star,"
"The Dandy Girl/Lass/Lasses,"
"The Four Courts of Dublin,"
"Green Fields to America,"
"Jackson's Welcome to
Cork [1]," "Johnny
Shooting in the Glen," “Kerry Star,”
“Lamont’s Reel,” “Mel Roddy’s Tune,” “The New Policeman,” "O'Connell in Clare," “Shannon’s Shores,” "Stormy Weather [1]," "The White‑haired Piper.” Irish,
Reel. D Major. Standard tuning. ABC (O'Neill): AABB (most versions): AA’BB’
(Armagh Pipers): ABCDEF (Breathnach). “Miss Monaghan’s” is one variant of a
large family of inter-related tunes that share melodic themes (see alternate
titles) and general contour. The earliest appearance of the tune under this
title appears to be in Church of Ireland cleric James Goodman’s (1828-1896)
mid-19th century music manuscript collection. Goodman, an Irish
speaker and uilleann piper, collected in tradition in County Cork and elsewhere
in Munster, although he also obtained tunes from manuscripts and printed
sources. Fintan Vallely, in his book Blooming
Meadows (1998), relates that the famous piper and collector Séamus Ennis
particularly relished playing this tune, as his mother was from County Monaghan.
Some see similarities between this reel and the American tune “Johnny, Don’t Come Home
Drunk.” “Connaught Lasses” is a related tune. Sources for notated versions: Chicago
police patrolman, piper and flute player John Ennis, originally from County
Kildare [O’Neill]; Joe Shannon
and Johnny McGreevy [Brody]; piper Seamus Ennis (Ireland) [Breathnach]; fiddler
Kathleen Morris (Corlisheen, Ballyrush, Co. Sligo) [Flaherty]; Seattle
harmonica player Mark Graham [Songer]; set dance music recorded at Na Píobairí
Uilleann in the 1980’s [Taylor]. Allan's
Irish Fiddler, No. 50, pg. 12. Armagh Piper’s Club (Play 50 Reels), 1982; No. 12, pg. 7. Breathnach (CRÉ III), 1985; No. 93, pgs. 46‑47.
Brody (Fiddler’s Fakebook), 1983; pg.
193. Cotter (Traditional Irish Tin
Whistle Tutor), 1989; 65. Flaherty (Trip
to Sligo), 1990; pg. 58. Giblin (Collection
of Traditional Irish Dance Music), 1928; 43. Mallinson (Essential), 1995; No. 49, pg. 21.
O'Neill (O’Neill’s Irish Music),
1915/1987; No. 284, pg. 144. O'Neill (Music
of Ireland: 1850 Melodies), 1903/1979; No. 1312, pg. 246. O'Neill (Dance Music of Ireland: 1001 Gems),
1907/1986; No. 575, pg. 106. Roche
Collection, 1982, vol. 1; No. 158, pg. 62. Shields (Tunes of the Munster Pipers), 1998; No. 101, pg. 43. Songer (Portland Collection), 1997; pg. 136.
Taylor (Music for the Sets: Yellow Book)
, 1995; pg. 4. Cló Iar-Chonnachta CICD 167, Peter
Horan & Gerry Harrington – “The Merry Love to Play” (2007. Peter Horan
plays Michael Coleman’s version). Coleman Music Center CHC 009, whistle player
Dominic Rushe (Gorthaganny, Co. Mayo, d. 1994) – “The Coleman Archive, vol. 2:
The Home Place” (2005). Green Linnet 1020, Brenden Mulvihill‑ "The
Flax in Bloom." Green Linnet 1023, Joe Shannon and Johnny McGreevy‑
"The Noonday Feast." Green Linnet SIF 1000, Seamus Ennis ‑
"Forty Years of Irish Piping" (1977). Front Hall FHR‑024,
Fennigs All‑Star String Band ‑ "Fennigmania" (1981.
Learned from the McCusker Brothers Ceili Band). Green Linnet GLCD1182, The
Tannahill Weavers - “Choice Cuts 1987-1996.” Shaskeen - "My Love is in
America." Kerry Elkin - “Soir et Matin” (1990. Played in the key of G
Major). “Noel Hill and Tony Linnane.” “Joe Cooley.”
T:Miss Monaghan’s
M:C|
L:1/8
R:Reel
K:D
D2(3FED FAAd|BcBA FAAB|dedB
ABde|fede fe ~e2|D2FD FAA2|
BcBA FAAB|dedB ABdB|AFEG FD D2:|
|:faaf afdf|g2 fg edBc|dedB
ABde|fede feeg|faaf afdf|
gefd
edBc|dedB ABdB|AFEG FD D2:|
MISS MONCRIEFF OF
PITLOWER. Scottish, Reel. A Major. Standard
tuning. AAB. Composed by Alexander Leburn. Glen (The Glen Collection of Scottish Music), Vol. 2, 1895; pg. 6.
X:1
T:Miss Moncrieff of Pitlower
M:C|
L:1/8
R:Reel
S:Glen Collection, Vol. 2
(1895)
Z:AK/Fiddler’s Companion
K:A
F|E2 Ed cBAc|ecec fBBF|E2 Ed
cBAc|dfBd cAA:|
g|a2 ed cBAc|dfBd BGEg|a2 ed
cBAc|dfBd cAAg|
a2 ed cBAc|dfBc BGEB|EBFB GBAc|dfed
cAA||
MISS MONEYPENNY OF
PITMILLY. Scottish, Reel. G Minor. Standard
tuning. AAB. The melody appears in the 4th collection of Malcolm MacDonald of Dunkeld, a volume
dedicated to the Countess of Breadalbane. MacDonald (A Fourth Collection of Strathspey Reels), 1797; pg. 11.
Stewart-Robertson (The Athole Collection),
1884; pg. 201.
X:1
T:Miss Moneypenny of Pitmily’s Reel
M:C|
L:1/8
R:Reel
B:MacDonald – 4th Collection of Strathspey Reels
(1797)
Z:AK/Fiddler’s Companion
K:Gmin
D | G/G/G GA BGAG | FCDF fcAF | BGBd cedg | fd”tr”cA BGG :|
g | bgdg dgbg | afcf AFcA | bgdg dgbg | fdcA BGGg | bgdg dgbg |
afcf
AFcA | BGBd cedg | fd”tr”cA BGG ||
MISS/MRS. MONROE'S JIG (Port Ingean/Ingine Ui Munroe/Mongruaide). AKA and see “John Blessing’s Delight,” “The King,” “Mrs.
Monroe [1],” “Best in the Bag,” “The Happy Mistake,” “King of Jigs,” “Lady Shire’s Favourite,” “Mrs. Spens Monroe.” Irish, Double Jig. G
Major. Standard tuning. AABB. Philippe Varlet remarks the tune is the first two
parts of a 4-part jig he learned
under the title "The King of All Jigs," recorded by Tom Page's Siamsa
Gaedheal Ceilidhe Band in 1931. The original 78 RPM track can be heard Reg
Hall's CD "Past Masters of Irish Dance Music." O'Neill (Krassen), 1976; pg. 56.
O'Neill (O’Neill’s Irish Music),
1915/1987; No. 137, pg. 79. O'Neill (Music of Ireland: 1850 Melodies),
1979; No. 982, pg. 183. O'Neill (Dance Music of Ireland: 1001 Gems), 1986; No. 198, pg. 47. Ryan’s Mammoth Collection, 1883; pg.
111. White's Unique Collection, No.
39. The New Hampshire Fiddlers’ Union - “The Music of
John Taggart: Classic New England Fiddle Tunes” (1989).
X:1
T:Miss Monroe’s Jig
M:6/8
L:1/8
R:Jig
S:O’Neill – Dance Music of
Ireland: 1001 Gems (1907), No.
198
Z:AK/Fiddler’s Companion
K:G
D|G2G AGA|Bcd efg|GFG AGA|BGE
E2D|G2G AGA|Bcd efg|dcB AGA|BGG G2:|
|:f|gfg efg|fdd def|gfg aga|bge
e2f|gfg aga|bge efg|dcB AGA|BGG G2:|
MISS MUNRO'S MINUET. Scottish, Minuet. The melody appears in the Gillespie Manuscript of Perth (1768).
MISS MONTGOMERIE OF
SKELMORLIE. Scottish, Strathspey. F Major.
Standard tuning. AAB. The melody appears in Malcolm McDonald's c. 1792 3rd
collection, dedicated to Miss Drummond of Perth. Glen (The Glen Collection of Scottish Dance Music), vol. 1, 1891; pg. 37.
MacDonald (A Third Collection of
Strathspey Reels), c. 1792; pg. 1.
X:1
T:Miss Montgomerie of Skelmorlie
M:C
L:1/8
R:Strathspey
S:MacDonald – 3rd Collection of Strathspey Reels (c. 1792)
Z:AK/Fiddler’s Companion
K:F
f | c<F “tr”c>A G>AB>d |
c<F “tr”c>A c>df>a | fd”tr”c>A G>AB>d | cFc>A {A}F2F :|
f | F(ff>)a g>fga | F(ff>)a
f>afc | d>f”tr”c>A G>AB>d | c<FcA F2 F>f |
F<(ff)a “tr”g>fga | F(ff>)a
f<afc | d>f”tr”c>A G>AB>d | Ff/g/ af {e}f2 fd ||
MISS MONTGOMERY’S. AKA and see “Lady
Montgomery(‘s Reel) [1].” Irish, Reel. D Major. Standard tuning. AAB.
Recorded by Hugh Gillespie (paired with “Donegal Traveller Reel”). Black (Music’s the Very Best Thing), 1996; No.
193, pg. 102.
X:1
T: Miss Montgomery's
S: Hugh Gillespie
Q: 350
R: reel
Z:Transcribed by Bill Black
M: 4/4
L: 1/8
K: D
dcdA FDFA | dcdA cdec | dcdA FG A2 | Beed cABc :|
d2 ad bdad | d2 ad cdec | d2 ad bdad | gfge cdec |
d2
ad bdad | d2 ad cd e2 | bagf gfed | e2 ed egfe ||
MISS MONTGOMERIE'S
MINUET. Scottish, Minuet. The melody
appears in the Gillespie Manuscript of
Perth (1768).
MISS MONTGOMERY. Scottish, Strathspey. A Mixolydian. Standard tuning. AABB. Kerr (Merry Melodies), vol. 4; No. 1, pg. 3.
X:1
T:Miss Montgomery
M:C
L:1/8
R:Strathspey
S:Kerr – Merry Melodies, vol. 4, No. 1
(c. 1880’s)
Z:AK/Fiddler’s Companion
K:A
f | e<A e>c e<A =g>e |
d<=G d>B d<G f>d | e<A e>c e<A =g>e | d>B=g>B
A<A A :|
|: f | e>ac>a e>f=g>e |
d>=gB>g d>gf>d | e>ac>a e>f=g>e | d>B=g>B A<A
A :|
MISS MOORE. AKA and see "The Hawk of
Ballyshannon."
MISS MOORE’S RANT. American, Reel. G Major.
Standard tuning. AABBCC. A quite popular tune and vehicle for dancing during
and after the American War of Independence. The melody and/or dance figures
appear in numerous musicians’ and dancers’ manuscript copybooks from the era,
including that of Henry Livingston, Jr.
Livingston purchased the estate of Locust Grove, Poughkeepsie, New York,
in 1771 at the age of 23. In 1775 he was a Major in the 3rd New York
Regiment, which participated in Montgomery’s invasion of Canada in a failed
attempt to wrest Montreal from British control. An important land-owner in the
Hudson Valley, and a member of the powerful Livingston family, Henry was also a
surveyor and real estate speculator, an illustrator and map-maker, and a
Justice of the Peace for Dutchess County. He was also a poet and musician, and
presumably a dancer, as he was elected a Manager for the New York Assembly’s
dancing season of 1774-1775, along with his 3rd cousin, John Jay,
later U.S. Chief Justice of Governor of New York. The melody also appears in
the commonplace music books of East Hartford, Connecticut, musician James
Hosmer (1798-1799), Captain George Bush, and Pepperell, Massachusetts musician
Nancy Shepley (with dance figures). It also appears in a manuscript by Aaron
Thompson, fife-major in the 3rd New Jersey Regiment. Kate Van
Winkler Keller (“Fiddle,
Dance and Sing with George Bush”) notes the similarity between Bush and
Thompson’s music and dance figures, and believes it is possible the both
collected dances that may have been performed in the winter encampments at
Morristown, New Jersey (1778-1780).
X:1
T:Miss Moore’s Rant
M:C|
L:1/8
R:Reel
S:Henry Livingston’s manuscript
copybook, late 18th century
Z:AK/Fiddler’s Companion
K:G
Bcde dBgB | dBgB cAAc | Bcde dBgB |
A/G/A B G2G z z :|
|: DEDE GABG | AGAB GEED | DEDE GABG
| dcBA G2G2 :|
|: gecA efgB | A>GAB GE E2 | fdBG
efgB | A[Gc]AB G2G z:|
MISS MORGAN’S HORNPIPE. American, Hornpipe. A Major. Standard tuning. Howe (1000 Jigs and Reels), c. 1867; pg. 51.
X:1
T:Miss Morgan’s Hornpipe
M:2/4
L:1/8
R:Hornpipe
S:Howe – 1000 Jigs and Reels (c. 1867)
Z:AK/Fiddler’s Companion
K:A
(3e/f/g/ | a/>e/c/>e/ A/>c/e/>a/ | f/>dB/>G/ AB/>c/ | d/>fe/>d/ d/>c/B/>A/ |
G/>B/A/>F/ E(e/f/g/ | a/>e/c/>e/ A/>c/e/>a/ | f/>dB/>G/ AB/>c/ | d/>f/e/>d/ d/>c/B/>A/ |
BA A :: e | c/e/A/e/ c/e/A/e/ | d/f/B/f/ d/f/B/f/ | c/e/A/e/ c/e/A/e/ | G/B/e/B/ G/B/e/B/ |
c/e/A/e/
c/e/A/e/ | d/f/B/f/ d/f/B/f/ | B/a/g/f/ e/d/c/B/ | cA A :|
MISS MORISON. Scottish. John Glen (1891) finds the earliest appearance of the tune in
print in Neil Stewart's 1761 collection
(pg. 50).
MISS MOUNTA(I)N'S
HORNPIPE. AKA and see “Chase the Squirrel [2].” New
England, Hornpipe. F Major. Standard tuning. AABB. Tolman calls this tune an
example of the "degenerate period" of composition, by which he means
the highly arpeggiated and ornamented style of writing. Source for notated
verison: Gretchen and Rebecca Koehler [Phillips]. Burchenal (American Country Dances, vol. 1), 1918;
pg. 16 (appears as "Chase the Squirrel"). Cole (1000 Fiddle Tunes), 1940; pg. 106. Phillips (Traditional American Fiddle Tunes), vol. 2, 1995; pg. 208. Ryan’s Mammoth Collection, 1883; pg.
143. Tolman (Nelson Music Collection),
1969; pg. 22. Seamus Connolly – “Here and There”
(1993).
X:1
T:Miss Mountan’s
M:2/4
L:1/8
R:Hornpipe
S:Ryan’s Mammoth Collection (1883)
Z:AK/Fiddler’s Companion
K:F
c/B/ | A/c/f/a/ g/b/e/g/ | f/c/d/c/
B/A/G/F/ | E/G/c/e/ c/B/A/G/ | F/E/G/E/ C>B, |
A,/C/F/A/ c/f/a/f/ | e/d/b/g/
f/e/d/c/ | f/c/d/b/ g/e/c/e/ | fff :: g/a/ | g/e/c/e/ g/e/b/a/ |
g/f/e/d/ ^c/e/A/G/ | F/A/d/f/
A/d/f/a/ | g/f/e/f/ d/e/f/d/ | c/A/G/F/ E/G/C/B, |
A,/C/F/A/ c/f/a/f/ | B/d/g/b/
E/G/c/e/ | fff :|
MISS MUIR MACKENZIES. Scottish, Strathspey. E Major. Standard tuning. AB. Composed by
Perthshire fiddler-composer Niel Gow (1727-1807). Composed for one of the eight
daughters of Alexander Muir-Mackenzie (1764-1835), for whom the baronetcy was
created in November, 1805. Born Alexander Muir of the Muirs of Cassencarie, he
assumed the additional surname Mackenzie when he succeeded to the estates of
his great-uncle, John Mackenzie of Delvine. Alexander married in September,
1787, Jane, the eldest daughter of Sir Robert Murry, 6th Bart. of
Clermont, co. Fife. See also other tunes for the family: “Mr. Muir Mackinzie’s Favorite,”
“Mrs. Muir MacKenzies” “Lady Muir MacKenzie’s
Favorite.” Susan Muir Mackenzie (d. 1852) was the eldest daughter and
married in 1817. The others did not marry. Carlin (The Gow Collection), 1986; No. 151. Gow (Fifth Collection of
Strathspey Reels), 1809; pg. 16. Stewart-Robertson
(The Athole Collection), 1884; pg.
277.
X:1
T:Miss Muir MacKenzie
M:C
L:1/8
R:Strathspey
B:Stewart-Robertson – The
Athole Collection (1884)
Z:AK/Fiddler’s Companion
K:E
g|e>B e<g e>B e<g|f>eg>e c2 c<f|e>B e<g e>B e<g|e>cB>G E2 E>g|
e<Be<g e<Be<g|f<eg<e c2 c<f|e<a g>f e>cB>c|B<G F>G E2E||B|
G>BE>g f>ef>g|e>cB>G F2 F>B|G>BE>g f>ef>g|e>cB>G E2 E>B|
G>BE>g
f>ef>g|e>cB>G F2 F>B|G>BE>g e<a g>f|e>cB>G
E2E||
MISS MURPHY [1]. Irish, Planxty (cut time). C Major. Standard tuning. AB. Composed by
blind Irish harper Turlough O'Carolan (1670-1738). Donal O’Sullivan, in his seminal work on O’Carolan (Carolan: The Life, Times and Music of an
Irish Harper) noted that, in the absence of any words or other information,
it was not possible to identify the “Miss Murphy” of the song. O'Sullivan's
source for the tune is The Hibernian
Muse; a Collection of Irish Airs, including the Most Favourite Compositions of
Carolan, the Celebrated Irish Bard, by S., A. and P. Thompson, London, c.
1786. There is a "similar, but not
identical" setting in John Lee's A
Favourite Collection of the so much admired old Irish Tunes, the original and
genuine compositions of Carolan, the celebrated Irish Bard. Set for the
harpdischord, violin and German-flute, published in Dublin in 1780. Complete Collection of Carolan's Irish Tunes,
1984; No. 105, pg. 79.
X:1
T:Miss Murphy
C:Turlough Carolan
B:Carolan by Donal O'Sullivan, no.
105
N:Allegretto
Z:Transcribed by Paul de Grae
M:4/4
L:1/8
K:C
gf|e2 g2 d2 g2|c2 g2 B2 g2|fedc B2
d2|cB~AG G2 cB|
A2 c2 G2 c2|F2 d2 cBAG|FG A2 D2
G2|{F}E2 ~DC C2 z2 ||
GAGF E2 C2|EF G2 G2 c2|Bc d2
dedc|~B2 G2 G4|
~g2 f2 ~g2 f2|efge de B2|a2 a2 ~g2
f2|fgfe d2 g2|
{f}e2 dc c'2 c2|f2 a2 a2 gf|edec
{e}d2 cB|c2 c2 c2 ||
MISS MURPHY [2]. AKA and see “Bonnie Annie [3],”
"Follow me down to
Carlow [2]," "The Crooked
Reel” (An Ril Cam). Irish, Reel. A Minor. Standard tuning. AABB. The tune
appears under this title in the mid-19th century Goodman Manuscripts at the Library of
Trinity College, Dublin. Goodman (1828-1896) was an uilleann piper, and an
Irish speaker who collected locally in County Cork and elsewhere in Munster. He
also obtained tunes from manuscripts and printed collections. Shields/Goodman (Tunes of the Munster Pipers), 1998; No.
483, pg. 188.
X:1
T:Miss Murphy [2]
M:C
L:1/8
R:Reel
S:James Goodman manuscripts (mid-19th
century)
B:Hugh Shields – Tunes of the Munster Pipers, No.
483 (1998)
K:A Minor
A2 AG EFGE|A2 AB cded|A2 AG
EFGE|efed cA A2:|
|:g2 ge cded|g2 ge gaba|g2 ge
cdef|gfed cA A2:|
MISS MURRAY OF
ABERCARNEY. Scottish, Reel. G Minor. Standard
tuning. AAB. The melody appears in Malcolm
McDonald's 1789 2nd collection, dedicated to the Earl of Breadalbane. Glen
(Collection of Scottish Dance Music,
vol. 1), 1891; pg. 44. MacDonald (A
Second Collection of Strathspey Reels), 1789; pg. 7.
X:1
T:Miss Murray of Abercarney
M:C|
L:1/8
R:Reel
S:MacDonald – 2nd Collection of Strathspey Reels (1789)
Z:AK/Fiddler’s Companion
K:G Minor
G | D(GG)d BAGF | CFAf cFAF | D(GG)A
Bcdf | cA^Fd BGG :|
B | dcBc defd | cBAB deAc | dcBb
dBfd | cA^Fd BGGB | dcBc defd |
CBAB ceAF| DG^FG DBc=f | cA^Fd BGG
||
MISS
MURRAY OF AUCHTERTYRE/OCHTERTYRE'S STRATHSPEY. Scottish, Strathspey. F Major. Standard tuning. AAB. Composed by John Bowie (1759‑1815) of Perthshire,
and published by him in 1801. Miss Murray of Auchtertyre was Euphemia Murray,
She was a composer herself, with at least one composition, a slow strathspey,
published by the Gows (Fifth Collection, 1809) –- see “Rosabell.” Poet Robert Burns was struck by her
teenage beauty when he visited Sir William Murray at Auchtertyre in 1787 and
composed a famous ode in her honor, “Blythe was she.” ‘She’ was not amused, by
one report and did not care for it. Beautiful she was, however, and was known
as the ‘Flower of Strathmore.’ Another account has it that she was warm towards
Burns:
***
[She] happened to forgather with
Burns during on of his northern tours, and her affability and beauty
charmed this lyric from him.
***
Euphemia married Lord Lethven, a
Scottish judge.
***
When a fashion for Scottish dancing
hit London at the turn of the 18th century, ”Miss Murray of
Auchtertyre” was one of the tunes danced to, 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.
***
One of the oddest appearances of
“Miss Murray’s Strathspey” is on the barrel organ from the polar expedition of
Admiral Parry of 1810. In place of a ship’s fiddler (common in those days),
Parry introduced a mechanical barrel organ on board ship to provide
entertainment and a vehicle to which the men could exercise (i.e. by dancing).
“Miss Murray’s Strathspey” was one of eight tunes on barrel no. 4. Gow (Complete Repository), Part 1, 1799; pg.
30. Stewart-Robertson
(The Athole Collection), 1884; pg.
217. Saydisc SDL 234, Parry’s Barrel Organ (vol. 11 in
the Golden Age of Mechanical Music).
X:1
T:Miss Murray of Auchtyre
M:C
L:1/8
R:Strathspey
B:Stewart-Robertson – The
Athole Collection (1884)
Z:AK/Fiddler’s Companion
K:F
c|A/B/c f>c d>cf>c|A/B/c f>c d>c d<f|A/B/c f>c d/e/f/g/ a>g|f>dc>A F2F:|
A/B/|c<Fd<F c<F d>f|c<F cB/A/ G2 GA/B/|c<f c>A f<ag<a|f>d c<A F2 FA/B/|
c<Fd<F
c<F f>d|c<F cB/A/ G2 GA/B/|c<F c>A f<ag<a|f>dc>A
F2F||
MISS MURRAY OF
LINTROSE. English?, Country Dance Tune (2/4
time). A Major. Standard tuning. AABB. Sources for notated versions: Vince
O'Donnell (Boston) [Hinds]; Calum MacKinnon [Silberberg]. Hinds/Hebert (Grumbling Old Woman), 1981; pg. 19.
Silberberg (93 Fiddle Tunes I Didn’t
Learn at the Tractor Tavern), 2004; pg. 30.
MISS
MURRAY OF OCHTERTYRE'S STRATHSPEY. See "Miss Murray of Auchtertyre."
MISS MURRAY'S REEL [1]. English, Reel. England, Northumberland. D Major. Standard tuning. AAB.
Hall & Stafford (Charlton Memorial
Tune Book), 1974; pg. 35. Raven (English
Country Dance Tunes), 1984; pg. 181.
MISS
MURRAY’S REEL [2]. Scottish, Old Hornpipe or Jig (3/2
time). A Minor. Standard tuning. AABB. May be the "Miss Murrays" reel
to which directions for dancing were written down in 1752 by John McGill,
dancing master in Girvan, for his students. John Glen (1891) finds two Scottish
reels in print by this title; one in Robert
Bremner's 1757 collection and one in Joshua
Campbell's 1778 collection (pg. 30).
Paul Cranford finds the first turn reminiscent of the Irish slip jig
“The Butterfly.” Bremner (A Collection of
Scots Reels), 1757; pg. 11.
X:1
T:Miss
Murray’s Reel [2]
M:3/2
L:1/8
S:Bremner –
Scots Reels (1757)
Z:AK/Fiddler’s Companion
K:A Minor
e2(A2A2)c2
“tr”B4 | e2 (A2A2)c2 BcdB | e2(A2A2)c2 “tr”B4 | d2(G2G2)c2 BcdB :|
|: c2c2e2c2g2c2 | e2 c2 g2c2 efge |
c2c2a2g2 “tr”e4 | d2(G2G2)c2 BcdB :|
MISS NANCY CAMPBELL’S. Scottish, Scots Measure (cut time). D Major. Standard tuning. AABB. McGlashan (Collection of Scots Measures), 17__; pg. 12.
X:1
T:Miss Nancy Campbell’s
M:C|
L:1/8
R:Scots Measure
B:McGlashan – Collection of Scots Measures (c. 177?)
Z:AK/Fiddler’s Companion
K:D
A2|F3E DEFG|A4 d3e|f3e defd|e2 E4
AG|F3E DEFG|A4 a3g|f3e defe|d2 D4:|
|:g2|fgab a2 gf|efga g2 fe|d3e
fdgf|e2 E4 AG|F3E DEFG|A4 a3g|f3e defe|d2D4:|
MISS
NANCY CAMPBELL’S REEL. Scottish, Strathspey. E Major.
Standard tuning. ABCDEF. Alexander
McGlashan notes the tune is “for the harpsichord.” McGlashan (A Collection of Reels), c. 1786; pgs.
42-43.
X:1
T:Miss
Nancy Campbell’s Reel
M:C|
L:1/8
R:Strathspey
S:McGlashan
– Reels (c. 1786)
N:The first
four parts are given.
Z:AK/Fiddler’s
Companion
K:E
E/F/G/A/|B>EGE
B>Ee>c|d>EG>B c3 e|B>EG>E B>Ge>c|B>GF>G E2
E/F/G/A/|
B>EG>E
B>Ee>c|B>EG>B c>Bce|B>EG>E B>G e>f/4g/4|B<G
F>G E2 e/f/g/a/||
b>eg>e
b>e e’>c’|b>eg>b c’3 e’|b>eg>e c>de>c|B>GF>G E2
e/f/g/a/|b>eg>e b>e e’>c’|
b>eb>g
f>agf|e>Bc>A G>Be>g|B<G F>G E2||B/A/G/F/|E>BG>B
E>ec>e|E>BG>B c3 e|
E>BG>B
E>ec>e|B>GFG EAGF|E>BG>B E>ec>e|E>BG>B c>Bce|
E>BG>B
Eb a/g/f/e/|B<G F>G E2||b/a/g/f/|e>bg>b
e>e’c’>e’|e>bg>b c>ed>c|
BGFG E2 b/a/g/f/|e>bg>b
e>e’c’>e’|e>bg>b f>ag>f|e>Bc>A GB e>g|B>GF>G
E2 B/A/G/F/||
MISS NANCY FROWNS. English, Jig. G Major. Standard
tuning. AABB. The melody and dance instructions first appear in John Hinton’s
periodical Universal Magazine of Knowledge and Pleasure (London, 1755).
It was also published in John Johnson’s 200 Favourite Country Dances,
vol. 8 (London, 1758). The tune has become a favorite with Scottish Country
Dancers. Thompson (Compleat Collection of 200 Favourite Country
Dances, vol. 1), 1757; No. 119. Parlophone Records
CE 13398, Jimmy Shands (78 RPM).
X:1
T:Miss Nancy frowns
M:6/8
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:G
G|GAG G2e|dBG AFD|GAG G2e|dBG A2::A|GAB d2g|dBG AFD|
GAB
d2g|dBG A2g|bag agf|egc BAG|ABG FED|EAF G2:||
MISS NANCY GIBSON. See “The Cumberland,” “Miss Gibson [2],” “The New Brig of Glasgow.”
MISS NANCY KENNEDY. Scottish. John Glen (1891) finds the earliest appearance of this tune
in print in John Riddell's 1782
collection (pg. 48).
MISS NANCIE LOW. Scottish, Reel. F Major. Standard tuning. AAB. Stewart-Robertson
(The Athole Collection), 1884; pg.
239.
X:1
T:Miss Nancie Low
M:C|
L:1/8
R:Reel
B:Stewart-Robertson – The
Athole Collection (1884)
Z:AK/Fiddler’s Companion
K:F
d|cAfd cAFA|FGAB cdcf|a/g/f/e/ fdcA FA|GdcA F/F/F ~F:|
B|A/B/c Fc dBcA|BdcA G/G/G GB|A/B/c Fc dBcA|BgcA F/F/F ~FB|
A/B/c
Fc dBcA|GdcA G/G/G GB|AcfA Bdgb|afce f/f/f ~f||
MISS NAPIER. Scottish. John Glen (1891) finds the earliest appearance of this tune
in print in Daniel Dow's c. 1775
collection (pg. 3).
MISS NAPIER OF
MERCHISTON HALL. Scottish, Jig. D Minor. Standard
tuning. AAB. Composed by Robert Mackintosh.
Glen (The Glen Collection of Scottish
Dance Music), vol. 2, 1895; pg. 42.
X:1
T:Miss Napier of Merchiston Hall
L:1/8
M:6/8
S:Glen Collection, Vol. 2
(1895)
Z:AK/Fiddler’s Companion
K:D Minor
A|d3 ed^c|dAG FED|d3 =c=BA|GAF
EDC|f2 ed^c|d=cB AGF|(GFG) EAG|FDD D2:|
a|bag afd|bag afd|ecg efg|efd
gec|bag afd|bag afd|^cde Aae|fdd d2a|
bag afd|bag afd|ecg efg|efd gec|def
deg|fga gab|agf gfe|fdd d2||
MISS NEIGHBOUR’S FANCY. English, Country Dance Tune (6/8 time). G Major. Standard tuning. AAB.
Knowles (A Northern Lass), 1995; pg.
9.
MISS NELLY FERGUSON. Scottish. John Glen (1891) finds the earliest appearance of this tune
in print in John Riddell's 1782
collection (pg. 43).
MISS NELLY KENNEDY. Scottish. John Glen (1891) finds the earliest appearance of this tune
in print in John Riddell's 1782
collection (pg. 37).
MISS NICHOLSON’S
HORNPIPE. English, Hornpipe. G Major.
Standard tuning. AB. Knowles (A Northern
Lass), 1995; pg. 25.
MISS NISBET OF
DIRLETON. Scottish, Reel. A Mixolydian (most
versions): G Mixolydian (Surenne). Standard tuning. AB (Surenne): AAB (Athole,
Collinson, Gow, Skye): AABB' (Kerr). A double‑tonic melody composed by Nathaniel Gow,
the piece features "a rather self‑conscious show of modulatory
dexterity and cleverness" (Collinson, 1966). The tune is dedicated to, Mary (1778-1855), the daughter of William Hamilton Nisbet
(1747-1822) and Mary (nee Manners) Nisbet of Dirleton, him being an East
Lothian laird and amateur musician who was a member of the Edinburgh Musical
Society for much of his life (Johnson, 1984). She became Mrs. Hamilton Nisbet
Ferguson of Raith, previously countess of Elgin, and heiress to Dirleton, but
was the last of the line. Dirleton is an ancient castle and estate in
Haddington, Lothian and Tweeddale, and the Nisbet family, through a series of
inheritances were immensely rich and powerful. They were not, however, ennobled
primarily due to their staunch Jacobite history. Stephen Bunyan has written a
sketch of her, “Two ladies of Dirleton” (1995), and says of Mary:
***
Mary was obviously brought up as the centre of a devoted family. She was
certainly
indulged, but at the same time clearly stood in awe of her mother. She
comes through
in Mary’s letter’s as a woman of strong views, but there is a directness
and frankness
in the letters which demonstrates a close relationship between mother
and daughter. Mary’s
affection for her father also shows, not least in her tendency to refer
to him by the nickname
Sir Philip O’Kettle…By 1789 she had grown into an attractive woman of
twenty-one, dark,
lively and with a shapely figure. She played the pianoforte, loved
reels, played whist and read
novels. She was the centre of attraction in Edinburgh society. We can
readily believe it: apart
from the lively disposition, the idea of which is supported by a glance
at portraits of her, she
had the enormous attraction of being the heiress to vast wealth….
***
In 1799, Mary married Thomas, 7th
Earl of Elgin and 11th of Kincardine (see “Earl of Elgin”). He was of an ancient
family, a member of the House of Lords, but relatively diminished in lands and
wealth. Eglin’s career prospered and he became the ambassador to the Ottoman
Empire of Turkey. While there they managed to retrieve the famous sculptured
marbles which bear the Elgin name from the Acropolis in Athens, prevailing upon
the Royal Navy to transport them home as ballast. The couple was caught up in
the upheavals of the Napoleonic wars, however, and Elgin was detained, then
imprisoned by the French. Mary worked for his release during the course of
which she became involved with Robert Ferguson (1777-1846) of Raith, who was
also helping to secure Elgin’s freedom. Tragically for all, Mary and Robert
feel in love and began a long affair. Perhaps in part because Elgin suffered
from an ailment that was described as rheumatism but which was almost certainly
syphilis. This malady caused disfigurement of his face, and made him the target
of cruel jokes. After Elgin was released in 1806 the triangle came to a head,
with the result that Elgin left and sued for divorce on the grounds of adultry,
forbidding her the couple’s children. See the note for “Tail Tod(d)le” for more on Nisbet. Carlin (The Gow Collection), 1986; No. 289.
Collinson (The Traditional and National
Music of Scotland), 1966; pg. 220. Gow (Third
Collection of Niel Gow’s Reels), 1792; pg. 3 (3rd ed.). Kerr (Merry Melodies), vol. 2; No. 69, pg. 10.
MacDonald (The Skye Collection),
1887; pg. 114 and pg. 26 (two settings). Stewart-Robertson
(The Athole Collection), 1884; pg.
53. Surenne (Dance Music of Scotland),
1852; pg. 94.
X:1
T:Miss Nisbet of Dirleton
M:C|
L:1/8
R:Reel
B:Stewart-Robertson – The
Athole Collection (1884)
Z:AK/Fiddler’s Companion
K:A Minor
e|AAec BGGB|AAeA cde^f|gdec BGGB|AAeB cAA:|
^g|aee=g BGG^g|aee^f =gbaf|gdec BGGB|AAeB cAA^g|
aee=g BGG^g|aee^f =gbaf|gdec GdGB|AaeB cAA||
X:2
T:Miss Nisbet of Dirleton
M:C
L:1/8
R:Reel
S:Surenne – Dance Music of Scotland, pg. 94 (1852)
Z:AK/Fiddler’s Companion
K:G
d | G<Gd>_B A=FFA } GGdG =B>cde | =fcd_B A=FFA | G<Gd>A BGGd |
G<Gd>_B A=FFA } GGdG =B>cde | =fcd_B A=FFA | G<Gd>A BGG ||
f | gdd=f A=FF^f | gdde =f>age | =fcd_B A=FFA | G<GdA BGG^f |
gdd=f A=FF^f | gdde =fage | =fcd_B Ac=FA | Ggde BGG ||
X:3
T:Miss Nisbet of Dirleton’s Reel
M:C|
L:1/8
R:Reel
B:Gow – 3rd Collection of Niel Gow’s Reels, 3rd ed., pg. 3 (orig. 1792)
Z:AK/Fiddler’s Companion
K:A Mixolydian
e|A<A”tr”e>=c BGGB|AAeA “tr”c>def|gde=c BGGB|A<A”tr”e>B cAA:||
(^g|a)eeg BGG(^g|a)eef g>baf|”tr”g>de>=c BGGB|A<A”tr”e>B cAA(^g|
a)ee=g BGG(^g|a)eef gbaf|gde^c BdGB|Aaef cAA||
MISS NISBET OF DIRLETON'S MINUET. Scottish. The gentleman fiddler and composer
Thomas Erskine, the Earl of Kelly, dedicated this tune to the daughter of
Nisbet of Dirleton, an East Lothian laird and amateur musician who was a member
of the Edinburgh Musical Society for much of his life (Johnson, 1984).
MISS NOBLE. Irish, Planxty (6/8 time). G Mixolydian. Standard tuning. AB. Composed
by Turlough O'Carolan. Complete
Collection of Carolan's Irish Tunes, 1984; No. 106, pg. 79.
MISS O/ BANCHORY. Canadian, Reel. Canada, Cape Breton. A Major. Standard tuning. AB.
Composed by Cape Breton fiddler Dan R. MacDonald (1911-1976). Cameron (Trip to Windsor), 1994; pg. 4.
MISS ODDISON. Irish. Ireland, County Donegal. The tune was published by Padraig Mac
Aodh O’Neill in his Songs of Uladh,
and was collected by him in 1903 in Donegal from the playing of an elderly
fiddler named Nabla Ni hAnluain. Caoimhin Mac Aoidh (1994) states this is an
unusual tune featuring triplets accented by bouncing the bow on the strings.
MISS OLIPHANT. Scottish, Strathspey. D Major. Standard tuning. AAB. "A favourite
tune in {the Isle of} Skye" (Skye). MacDonald (The Skye Collection), 1887; pg. 38.
X:1
T:Miss Oliphant
M:C
L:1/8
R:Strathspey
S:MacDonald – Skye Collection (1887)
Z:AK/Fiddler’s Companion
K:D
d|(A<F) (F>D) EDEF|(A<F)
(F>A) BABd|A<F F>D DCDF|(DB,A,B,) D2D:|
(d/4e/4f/4g/4) a3 g<f
dd|f<gf<a f<e de/f/|a>baf f<e de/f/|(dBAB) d2d2|
(d/4e/4f/4g/4) a3 g<f
dd|f<gf<a f<e de/f/|dBBd AFEF|(DB,A,B,) D2D2||
MISS OMMANY’S REEL. AKA and see “Bashful Maid,” “Biddy Maloney,” “Maloney’s
Fancy,” “Maloney’s Wife”
“Mellonie’s Jig,” “Miss Ommany’s Reel,” “Paddy in
London,” “What do you think
of her now?” English, Reel.
MISS OSWALD OF
AUCHINCRUIVE. Scottish, Slow Quickstep (March). A
Minor. Standard tuning. AAB. Composed by Nathaniel Gow
(1763-1831). Auchincruive is an estate in the parish of St. Quivox, Ayrshire.
During the Gows’ time it was held by Richard Oswald, a London merchant and
negotiator with the Americans at the close of the War for Independence. His
trading empire included a majority interest in a slaving factory on Bance
Island in the mouth of the River Sierra Leone. Upon his death in 1784 it passed
to his widow, then his son, Richard Alexander Oswald (1771-1841), who had been
a government contractor during the same conflict. His wife, Lucy (Louisa)
Oswald (d. 1797), whom he married in 1793, was a celebrated beauty. They had a
son and daughter, the latter named Mary-Hester, who married in 1818. It is perhaps
to her this tune is dedicated. Carlin (The
Gow Collection), 1986; No. 575. Gow (Fourth Collection of Niel Gow’s
Reels), 2nd ed., originally 1800; pg. 8.
X:1
T:Miss Oswald of Auchincruive
M:2/4
L:1/8
R:March
B:Gow – Fourth Collection of Niel
Gow’s Reels (1800)
Z:AK/Fiddler’s Companion
K:Amin
(c/>B/)|.A.A .A(B/c/)|GG
G(c/B/)|AAA>B|{d}c/B/c/d/ {c/d/}e>c|AA A(B/c/)|
GG
Gc/d/|{c/d/}edcB|{B}A2A:||c’/b/|aa ~ab/c’/|gg ~gc’/b/|aa a>e|”tr”a/^g/a/b/
{a/b/}c’>b|
a~a a(b/c’/)|gg
ga/b/|{a/b/}c’>ab>^g|”tr”a2 {^g/a/}Ac’/b/|aa “tr”a(b/c’/)|gg ~g(c’/b/)|
aa ~a>b|c’/b/c’/d’/
{c’/d’/}e’/>d/|c’/e’/d’/c’/ b/c’/b/a/|g/a/b/c’/ d’e’/>d’/|c’>a
b>^g|{g}a2 A||
MISS OSWALD OF
DUNAKEER. Scottish, Reel. G Minor. Standard
tuning. AAB. John Glen (1891) finds the earliest appearance of this tune in
print in Daniel Dow's Thirty Seven New Reels and Strathspeys
(Edinburgh, c. 1775, pg. 3). Glen (The
Glen Collection of Scottish Dance Music), vol. 1, 1891; pg. 19. S. Johnson (A Twenty
Year Anniversary Collection), 2003; pg. 28.
X:1
T:Miss Oswald of Dunakeer
M:C
L:1/8
R:Reel
S:Glen Collection, vol. 1
(1891)
Z:AK/Fiddler’s Companion
K:Gmin
d|BGB(c d2) (c>B)|Afcf AFFA|BGBc
d2 (dg)|fdcA BGG:|
d|gdbd gddg|^fgd=f AFFd|gdbd
gdfd|BdcA BGGd|
gdbd ^fgdg|=fdcf AcFd|BdGd Bdbg|fdcA
BGG||
MISS OTTOES REEL.
English, Jig. A Major. Standard tuning. AABB. The melody is unique to
Charles and Samuel Thompson’s Compleat Collection, vol. 3 (London,
1773). Thompson (Compleat Collection of 200 Favourite Country Dances,
vol. 3), 1773; No. 76.
X:1
T:Miss Ottoes Reel
M:6/8
L:1/8
B:Thompson’s Compleat Collection of 200 Favourite Country Dances, vol. 3 (London, 1773)
Z:Transcribed and edited by Flynn Titford-Mock, 2007
Z:abc’s:AK/Fiddler’s Companion
K:A
A3 cec|A3 cec|d2f ecA|BGE EF=G|FEF DFD|E3 d3|cec dcB|A3
A,3:|
|:a3 g2a|bge ege|f3 fga|ecA ABc|d3 fdB|c3 ecA|
B3
Bcd|BGE EF=G|FEF DFD|E3 d3|cec dcB|A3 A,3:||
MISS OUSTEIN’S
STRATHSPEY. Scottish, Strathspey. G Minor.
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. 8.
X:1
T:Miss Oustein’s Strathspey
M:C|
L:1/8
R:Strathspey
S:MacDonald – 3rd Collection of Strathspey Reels (c. 1792)
Z:AK/Fiddler’s Companion
K:Gmin
^f | g<d d>c B<AGA | B>c
{e}(dc/B/) {B}A2 D^f | g<d d>c B>cd>c | {c}BA/G/ {B}AG/^F/ G2 G, :|
A | B>dfb A>cfa | B>c
{e}(dc/B/) {B}A2 D>A | B>dfb A>cfa | {c}BA/G/ {B}AG/^F/ G2 G,A |
B>dfb A>cfa | B>c
(e/d/).c/.B/ {B}A2 D^f | (ga/b/) “tr”a>g (^fg/a/) d>c | {c}B.A/.G/
{B}AG/^F/ G2 G, ||
MISS PARK. Scottish. John Glen (1891) finds the earliest appearance of this tune
in print in Joshua Campbell's 1778
collection (pg. 57).
MISS PARKER'S REEL. Scottish. A composition by Charles Stewart, an Edinburgh musician and
later a dancing master. John Glen (1895) remarks: "There are some grounds
for suspecting that Stewart, in 1811 or 1812, had either been bereft of his
reason, or had become an imbecile, as his name dropt out of the public
announcements about that time. This suspicion is strengthened by the appearance
of two appeals made by his wife on behalf of his family." One of these
appeals read:
***
Benefit ball. On 1st March, Mrs. Charles Stewart (wife of Mr.
most respectfully to inform her friends and the public that the
pressing necessities of a young and helpless family have again
induced her humbly to solicit their countenance and support on
the present occasion.
***
Charles Stewart died in 1818, though
his age is not known.
MISS PARK’S REEL. Irish, Reel. G Major. Standard
tuning. AB. Source for notated version: L. Donnelly [Mulvihill]. Mulvihill (1st Collection), 1986; No.
162, pg. 44.
MISS PATTERSON (Ingean Ui Mic-Padraic). AKA and see "Miss Patterson's Slipper," "Shark's Favorite," "Master Crowley('s Reel) [1]
." Irish, Reel. E Minor. Standard tuning. AA'B (O'Neill/1850): AA'BB'
(Breathnach, O'Neill/Krassen). The title “Miss Patterson’s Slipper” usually
refers to two reels played together--”Miss Patterson” and “The Roscommon Reel,” two and three-part
reels respectively. It is also called “Master Crowley’s.” Source for notated
version: fiddler Paddy Galckin (Ireland) [Breathnach]. Breathnach (CRÉ III), 1985; No. 180, pg. 81. O'Neill
(Krassen), 1976; pg. 133. O'Neill (Music
of Ireland: 1850 Melodies), 1903; No. 1407, pg. 261. Gael‑Linn Records CEF 018, Paddy Glackin ‑
"Ceol ar an bhFidil" (1977). Gael-Linn Records CDFCD 153, Paddy
Glackin - “In Full Spate” (1991). Maggie's Music MM107, "Music in the
Great Hall" (1992).
MISS PATTERSON'S
SLIPPER (Slipéir Iníon Mhic
Pháidín). AKA
and see “Crowley’s Reel [3],” “Master Crowley,” "Miss Patterson.” Irish, Reel. E Dorian/Minor.
Standard tuning. AAB (Kennedy): AABB (O’Malley): AABBCCDE (Feldman &
O’Doherty). Caoimhin Mac Aoidh says “Miss Patterson’s Slipper” is the title
source John Doherty used for the tune, although parts ‘A’ and ‘B’ of his
version are actually a version of “Master Crowley’s Reel” and
parts ‘C’ and ‘D’ together are the “Roscommon Reel.” Sources for notated
versions: fiddler John
Doherty (1895-1980, County Donegal) [Feldman & O’Doherty]; fiddle and
accordion player John McGrath (1900-1955) [O’Malley]. Feldman & O’Doherty (The Northern Fiddler), 1979; pg. 71.
Kennedy (Traditional Dance Music of
Britain and Ireland: Reels and Rants), 1997; No. 137, pg. 33. O’Malley (Luke O’Malley’s Collection of Irish Music,
vol. 1), 1976; No. 63, pg. 32. Gael-Linn CEF060,
“Paddy Glackin.” Green Linnet 3077, John Doherty - “Bundle and Go.”
X:1
T:Miss Patterson's Slipper
R:reel
Z:Henrik Norbeck
M:C|
L:1/8
K:Ddor
[D3A,3][DA,] [D2A,2]FD|ECB,C
G,CEC|A,D~D2 D2FD|EGcG EDDC|
A,D~D2 D2FD|ECB,C G,CEC|A,D~D2
D2FD|EGcG EDD2:|
|:Ag^fg egdg|ecBc Gcec|Ag^fg
egdB|cGEG (3^FED EC|
Dg^fg egdg|ecBc e^fgG|^FGAB
cGEG|A2GE EDD2:|
|:Ad^fd Adfd|ecBc Gcec|Ad^fd
Adfa|gebe ^fde^c|
Ad^fd Adfd|ecBc e^fgG|^FGAB cGEG|1
A2GE EDD2:|2 A2GE EDDC||
X:2
T:Miss Patterson’s Slippers
M:C|
L:1/8
R:Reel
B:Luke O’Malley’s Collection of Irish Music, vol. 1, No. 63 (1976)
Z:AK/Fiddler’s Companion
K:E Minor
B,E ~E2 BEFE|{F}EDB,D A,DFD|B,E ~E2
B,EFD|A,DFD E2 {F}ED|
B,E ~E2 B,E ~E2|D2 B,D A,DFD|B,EFE
DFAG|1 F2 dF EB,~B2:|2 F2 dF EB,~B,2||
|:ebga faeg|fdad bdfd|ebga (3fga
e^c|dBAF EB,~B,2|
ebga (3fga eg|fd ~d2 fa~a2|EFGA B2
dB|1 AFdF EB,~B,2:|2 AFdF E2 z2||
MISS PAUL. Scottish, Reel. A Major. Standard tuning. AABB. Composed by the great
Scottish violinist and composer J. Scott Skinner (1941-1927),
from his Logie Collection. Skinner
directs that the tune be a vehicle for a Circassian Circle. Skinner (The Scottish Violinist), pg. 46.
X:1
T:Miss Paul
M:2/4
L:1/8
R:Reel
S:Skinner – The Scottish
Violinist
Z:AK/Fiddler’s Companion
K:A
[C/A/] [C4A4] |: E | A/G/A/B/
c/B/c/d/ | e/f/e/d/ cB/A/ | d/c/B/d/ c/B/A/c/ |
B/F/B/A/ {B}A/G/F/E/ | A/G/A/B/
c/B/c/d/ | e/f/e/d/ cB/A/ | d/c/B/d/ c/B/A/G/ |
{G}BA [CA] :: (e/f/4/g/4) | a/g/f/a/
g/f/e/g/ | f/e/d/f/ ec/e/ | d/c/B/d/ c/B/A/c/ |
B/F/B/A/ {A/B/}A/G/F/E/ | A/G/A/B/
c/B/c/d/ | e/f/e/d/ (d/c/).B.A |d/c/B/d/ c/B/A/G/ | {G}BA [CA] :|
MISS PEACHY’S DELIGHT.
English, Jig. D Major. Standard tuning. AABB. The melody and dance
instructions were first published in John Hinton’s periodical Universal
Magazine of Knowledge and Pleasure (London, 1755). Thompson (Compleat
Collection of 200 Favourite Country Dances, vol. 1), 1757; No. 116.
X:1
T:Miss Peachy’s Delight
M:6/8
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:D
(f/e/)|d2A (F>E)D|(EF)E (cB)c|d2A F2E|(FD)D D2::A|(dc)d (Bc)d|efd “tr”c2A|
(dc)d
(ef)g|(fd)d d2f|(gf)g (Bc)d|efd “tr”c>Bc|d2A F2E|FDD D2:||
MISS PEGGY MONTGOMERIE. Scottish. John Glen (1891) finds the earliest appearance of this tune
in print in John Riddell's 1782
collection (pg. 54).
MISS PENNY M'KINNON. Scottish. John Glen (1891) finds the earliest printing of the tune in Robert Ross's 1780 collection (pg. 30).
MISS PENSY MACDONALD. AKA and see “Lady
Belhaven('s),” “Miss McDonald('s) [3].”
Scottish, Reel. C Major. Standard tuning. AAB. See also O’Neill’s “Miss
McDonald” for an Irish variant. “Miss Pensy MacDonald” was the older Scottish
name, for the title in the Gow’s 2nd
Collection of Strathspey Reels (1788) and Beauties of Niel Gow (1819) is "Miss Pensy Macdonald now Lady
Balhaven's Reel." ‘Pensy’ was Penelope Macdonald, the daughter of Ronald
Macdonald of Clanranald and Flora Mackinnon. She married William Hamilton of
Wishaw, 7th Lord Belhaven and Stenton in March, 1789, in Edinburgh.
Pensy died in 1816. “Miss Ferrier and Miss Penelope Macdonald of Clanronald,
were rival belles,” says James Grant in his book Old and New Edinburgh, vol. 3, “the former married General Graham
of Stirling Castle, the latter Lord Belhaven.” See also the tunes later
composed in her honor, “Mrs. Hamilton
of Wishaw” and “Mrs.
Hamilton of Wishaw’s Strathspey.” Gow (The
2nd Collection of Niel Gow’s Reels), 1788; pg. 4. Stewart-Robertson
(The Athole Collection), 1884; pg.
75.
See also listing at: Alan Snyder’s Cape Breton Fiddle
Recording Index |
X:1
T:Miss Pensy MacDonald
M:C|
L:1/8
R:Reel
B:Srewart-Robertson – The
Athole Collection (1884)
Z:AK/Fiddler’s Companion
K:C
c|BG G/G/G dBgd|BG G/G/G cAFA|BG G/G/G dBga|b^fgd BGG:|
f|e/f/g dg cgBg|Affc AFFf|e/f/g dg cgBg|Aggd BGGf|e/f/g dg cgBg|
Affc
AFFf|gefd ecdB|Ag^fa gGG||
X:2
T:Lady Belhaven
T:Miss Pensy Macdonald
B:The Piper's Assistant (Edinburgh
1877)
Z:Nigel Gatherer
M:4/4
L:1/8
K:Amix
d|cA A/A/A ecae|cA A/A/A dBGB|cA
A/A/A eceg|afge dBG:|]
g|faea daca|Bggd BGGg|faea daca|Baae
cAAg|
faea daca|Bggd BGGg|afge
f>dec|dBge aAA|]
MISS PERCY’S REEL. AKA and see “The Jolly Seven.”
Irish, Reel. Ireland, County Donegal. A Dorian. Standard tuning. AAB. Source
for notated version: Simon Doherty (County Donegal) [Feldman & O’Doherty].
Feldman & O’Doherty (The Northern
Fiddler), 1979; pg. 104.
MISS PLAUDY'S. AKA and see “General Drummond,”
“McGuffim’s.” American (?), Reel. G Major.
Standard tuning. AABB. The tune appears to be Scottish in origin. Paul Wells
suggests it might be a variant of “Lord McDonald’s Reel” on
the strength of some shared melodic phrases and similar harmonic structure.
Cole (1000 Fiddle Tunes), 1940; pg.
35. Ryan’s Mammoth Collection, 1883;
pg. 62.
MISS PLAYTOFF'S
WEDDING. Scottish. Composed by Nathaniel Gow,from
his 1788 second collection.
MISS
POLLY SKINER. Scottish, Reel. D Major. Standard
tuning. AABB. John Glen (1891) finds the earliest appearance of the tune in
print in Robert Bremner's 1757
collection (pg. 2). Bremner (Scots Reels),
1757; pg. 2.
X:1
T:Miss Polly Skiner’s Reel
M:C|
L:1/8
R:Reel
S:Bremner – Scots Reels (1757)
Z:AK/Fiddler’s Companion
K:D
F | DdFd E/E/E EF | DdFd DdFd | (e/d/c/B/ d)F E/E/E EF | DdFA D/D/D D :: f |
(d/e/f/g/
a)f geef | (d/e/f/g/ a)f bgaf | gefd geef | (d/c/B/A/ d)F D/D/D D :|
MISS POLLY WELSH. Scottish. John Glen (1891) finds the earliest appearance of the tune in
print in Neil Stewart's 1761 collection
(pg. 56).
MISS PORTERFEELD'S
MINUET. Scottish, Minuet. The melody
appears in the Gillespie Manuscript of
Perth (1768).
MISS POULTNEY’S DELIGHT.
English, Jig. G Major. Standard tuning. AABB. The melody is unique to
Charles and Samuel Thompson’s Compleat Collection, vol. 3 (London,
1773), although dance instructions are given in the Thompson’s Twenty-Four
Country Dances for the Year 1768. Thompson (Compleat Collection
of 200 Favourite Country Dances, vol. 3), 1773; No. 164.
X:1
T:Miss Poultney’s Delight
M:6/8
L:1/8
B:Thompson’s Compleat Collection of 200 Favourite Country Dances, vol. 3 (London, 1773)
Z:Transcribed and edited by Flynn Titford-Mock, 2007
Z:abc’s:AK/Fiddler’s Companion
K:G
B/c/|dGBG|F(A
A)B/c/|dGBG|B/c/d/c/ BG|c/d/e/c/ A/B/c/A/|F(A A)B/c/|dg A/B/c/A/|B(G G):|
|:g/f/|gd g/a/b/a/|g(d d)c/B/|c/d/e/c/ A/B/c/A/|F(A A)B/c/|de/f/ gf/g/|a/g/f/e/
d/c/B/A/|Bg A/B/c/A/|B(G G):||
MISS
X:1
T:Miss Preston Fernton
M:C
L:1/8
R:Reel
S:Kerr – Merry Melodies, vol. 3, No. 12
(c. 1880’s)
Z:AK/Fiddler’s Companion
K:D
B|ABAG FDdF|E/E/E (FA) BEEd|ABAG
FDdg|fdef d/d/d d:|
|:f|adfd (f/g/a) (fd)|Beed cAAf|1
adfd (fga) (fd)|Ggfe d/d/d d:|2 fdaf bgaf|edef d/d/d d||
MISS PRIMROSE. Scottish, Strathspey. A Major. Standard tuning. AAB. Composed by J. Scott Skinner (1843-1927), originally published in
his Harp and Claymore collection.
Skinner (The Scottish Violinist), pg.
4. Skinner (Harp and Claymore), 1904;
pg. 92 (includes variation sets).
See also listing at: Alan Snyder’s Cape Breton Fiddle
Recording Index |
X:1
T:Miss Primrose
M:C
L:1/8
R:Strathspey
C:J. Scott Skinner
Z:AK/Fiddler’s Companion
K:A
{B,/A,/G,/}A,>C E>>G
{G}[A>>A]c [e>>e]g | a/g/f/e/ f/e/d/c/ B/A/G/F/ E/D/C/B,/ |
A,>>C E>>G
{G}[A>>A]c [e>>e]g | b/a/g/f/ e<e’ c’<a [A2a2] :|
|| c’ | e’>c .a.c’ ec’ae’ |
d’>b .g.e dBGb | e’>c’ ac’ eaca | b/a/g/f/ .e<e’ c’<a [A>a]c’ |
e’>c .a.c’ ec’ac’ | c’>b .g.e
d/B/G E/D/B, | A,>>C E>>G {G}[A>>A]c [e>>a] |
.b/.a/.g/.f/ e<e’ c’A [A2a2] ||
MISS PRINGLE. Scottish. John Glen (1891) finds the earliest appearance of the tune in
print in Neil Stewart's 1761 collection
(pg. 58) and Robert M'Intosh's 1783
collection (pg. 32).
MISS PRINGLE’S MINUET. Scottish, Minuet. The melody appears in the 1768 Gillespie Manuscript of Perth.
MISS PROUD. Scottish, Reel. G Major (Kerr, McGlashan): A Major (
X:1
M:C|
L:1/8
R:Reel
S:McGlashan – Reels (1786)
Z:AK/Fiddler’s Companion
K:G
c|B/A/B/c/ dc BGgd|d/c/B/c/ dB AFcA|B/A/B/c/ dc BGge|dBcA G2:|
|:c|BGBd AFAc|BGBd gedc|BGBd AFAc|dBcA G3:|
|:c|B/c/d dd ddgb|A/B/c cc ccfa|B/c/d dd ddgb|afge d3:|
|:c|B/c/d
BG A/B/c AF|GABc dgec|B/c/d BG A/B/c AF|GcBA G3:|
MISS RAE. Scottish, Slow Strathspey. C Minor. Standard tuning. AAB. Composed by
Andrew Gow (1760-1803), second son of Perthshire fiddler-composer Niel Gow.
Andrew composed several tunes for the various Gow publications, but was
primarily involved in a publishing business with his younger brother John in
X:1
T:Miss Rae’s Strathspey
M:2/4
L:1/8
R:Strathspey
N:”Slow”
C:Andrew Gow
B:Gow – 3rd Collection of Niel Gow’s Reels, 3rd ed.,
pg. 8 (orig. 1792)
Z:AK/Fiddler’s Companion
K:C Minor
D|”tr”E>DCD|”tr”E>F
(A/G/)F/E/|”tr”D>B,”tr”FB,|G”tr”B,F”tr”B,|”tr”EDCD|”tr”E>F
A/G/F/E/|(D<A) G=B,|{B,}C2C:||
G|”tr”c>def|”tr”g>a
(a/g/).f/.e/|(f/g/a/g/) f/e/d/c/|(=B/c/d/B/)
“tr”G2|”tr”c>def|g>agf|g(3e/d/c/ f(3d/c/=B/|”tr”c2 {=B/c/}CG|
“tr”c>def|g>a
(a/g/f/e/)|(f/g/a/).g/ (f/e/)d/c/|(=B/c/d/B/) G2|E>eg>e|cG E2|(D<A)
G=B,|{=B,}C2 C||
MISS RAE OF ESKGROVE’S JIG.
Scottish, Jig. C Major. Standard tuning. AAB. The tune is probably named
for the daughter of Sir David Rae (c. 1724-1804), 1st Lord Eskgrove
(who was roundly ridiculed by Henry Cockburn in Memorials of His Time, 1856) and Margaret Stuart, youngest daughter
of John Stuart of Blairhall, Perthshire. They married in 1761 and had two sons
and one daughter, Margaret, who married on
X:1
T:Miss Rae of Eskgrove’s Jig
M:6/8
L:1/8
R:Jig
B:Gow – 2nd Collection of Niel Gow’s Reels, 3rd ed.,
pg. 29 (orig. 1788)
Z:AK/Fiddler’s Companion
K:C
E|”tr”C2(c c)GE|cGE C2E|C2c
“tr”cBc|dDD D2E|C2c cGE|GAB cGE|
FdF EcE|dDD D2:||e|c2(g “tr”g)ea|gec
“tr”c2e|ceg geg|afd “tr”d2e|
c(g “tr”g)eg|agf edc|(f/g/a).f
(e/f/g).e|afd “tr”d2e|c2(g “tr”g)ea|gec “tr”c2e|
ceg geg|afd “tr”d2f|e>fg def|edc
dBG|A>Bc GEc|GEC “tr”C2||
MISS RAE'S REEL. AKA and see "Rachel Rae,"
"The Moving Bog(s) [2],"
"Courting them all,"
"Bashful Bachelor [1],"
"Don't Bother Me."
MISS RAMSAY [1]. Scottish, Reel. G Major. Standard tuning. AB (Surenne): AAB (Gow): AABB
(Bremner). "Very old" (Gow). John Glen (1891) finds the earliest
appearance of the tune in print in Robert
Bremner's 1757 collection (pg. 3). Bremner (Scots Reels), 1757; pg. 3. Carlin (The Gow Collection), 1986; No. 386. Surenne (Dance Music of
X:1
T:Miss Ramsey’s Reel [1]
M:C|
L:1/8
R:Reel
S:Bremner – Scots Reels (1757)
Z:AK/Fiddler’s Companion
K:G
g | (b/a/g/f/ g)d BGGB | cABG “tr”A>GEg | (b/a/g/f/ g)d BGGB | cAdB G/G/G G :|
|: e | d(gg)e d(bb)a | gedB
“tr”A>GEe | d(gg)e d(bb)a | gedB G/G/G G :|
MISS RAMSAY [2] (Iníon Ramsey). AKA and see “Boy in the Gap,” “Forget Me Not [3],” “Kilkenny Boys,” “Lady Mary Ramsey [2],”
"Lady Ramsey's Reel,” “The Queen’s
Shilling." Irish, Reel.
See also listings at: Alan Ng’s Irishtune.info |
MISS RAMSAY [3]. Scottish, Strathspey. G Major. Standard tuning. Not version #1, which
could be a strathspey. Green Linnet SIF‑1035,
Brian Conway & Tony DeMarco ‑ "The Apples in Winter" (1981.
Learned from a Michael Coleman recording). Green Linnet SIF‑1101, Brian
Conway & Tony DeMarco ‑ "Playing with Fire: the Celtic Fiddle
Collection" (1989).
See also listings at: Jane Keefer’s Folk Music Index: An
Index to Recorded Sources Alan Ng’s Irishtune.info |
MISS RANDON’S DANCE. Scottish, Jig. G Minor.
Standard tuning. ABB’. “Miss Randon’s Dance” was printed in John and Andrew
Gow’s A Collection of Slow Airs,
Strathspeys and Reels (
X:1
T:Miss Randon’s Dance
M:6/8
L:1/8
R:Jig
S:John & Andrew Gow – A Collection of Slow Airs, Strathspeys and Reels (c. 1795)
K:G Minor
d/B/|G3 (g3|g)(dB) (GDB,)|(A,CF)
.A.c.f|baf cA^F|G3 G2g|
dgb Bdf|cba dg^f|g3 G2||:B|(GBd)
bdg|(dba) .g.d.B|
(FAc) .A.c.f|cag .f.c.A|1 dgb
dcB|c^fa cBA|Bag dg^f|
g3 G2:|2 GAB ABc|(Bcd) .c.d.e|(dcB)
AG^F|G3 G,2||
MISS RANKEN’S REEL. Scottish, Reel. D Major.
Standard tuning. AA’B. The melody appears in the 4th collection of Malcolm MacDonald of Dunkeld, a volume
dedicated to the Countess of Breadalbane. MacDonald (A Fourth Collection of Strathspey Reels), 1797; No. 12.
X:1
T:Miss Ranken’s Reel
M:C|
L:1/8
R:Reel
S:MacDonad – 4th Collection of Strathspey Reels (1797)
Z:AK/Fiddler’s Companion
K:D
A/G/ | F2 DF ABAG | F2 DF GEEA/G/ |
F2 DF ABAG |1 A,DCE FDD :|2
Adeg fdd || f | Adfd gefd | Adfd
ceef | Adfd gefd | Adeg fddf |
Adfd gefd | Adfd ceeg | faef deBd |
Adeg fdd ||
MISS RATTRAY. Scottish, Reel. D Major. Standard tuning. AAB. This piece was first
published in J.T. Surrene’s The Dance
Music of Scotland (1851), according to Paul Stewart Cranford (1995).
X:1
T:Miss Rattray
M:C|
L:1/8
R:Reel
B:Stewart-Robertson – The
Athole Collection (1884)
Z:AK/Fiddler’s Companion
K:D
A/B/c|d2 AG FDDF|GEEA FDDA|d2AG FDDg|fdec d2d:|
A|defg affa beed cAAc|defg affa|beec d2AB|defg affa|beed cAAc|
BGGB
FDDg|fdec d2d||
MISS RATTRAY OF DALRULLZIAN. Scottish, Jig. G Major. Standard tuning. One
part. Composed by Kirkmichael, Perthshire, fiddler Robert Petrie. Petrie (Collection of Strathspey Reels and Country
Dances), 1790; pg. 8.
X:1
T:Miss Rattray of Dalrullzian
C:Robert Petrie
S:Petrie's Collection of Strathspey Reels and Country Dances &c., 1790
Z:Steve Wyrick <sjwyrick@ca.astound.net> 2/25/03
N:transcribed from Elke Baker, Glenelg
M:6/8
L:1/8
K:G
f | g2GB2d | gab agf | gfe dgc | Bdg G3 | gfg dBG | gab a2g | fga AB^c | d3 d2c
|!
BAG de=f |
G3A3 | B3c3 | dec B2A | GBg G2D | GFG AGA | BAB cde | dBG AFD | G3G2d |!
dBG dBG | e=fd c3 | e^cA e^cA | fge d3 | ece dBd | cBA B2G | EcB AGF | G3G2 ||
MISS REDMOND'S
HORNPIPE. Irish, Hornpipe. G
Major/Mixolydian. Standard tuning. AABB. "Sent to me a good many years ago
by Mr. (now Dr.) W.H. Grattan Flood of Enniscorthy Co. Wexford" (Joyce).
Alan Jabbour says the tune is from a large tune family that includes O’Neill’s
“Touch Me if You Dare [1]”
and “Kit O’Mahony’s Hornpipe,”
Petrie’s “Take Her Out and Air
Her [3]” and Ford’s “Gilderoy [2].”
American fiddler Henry Reed had a variant (called simply “British Field March”)
from an elderly fiddler and fife player named Quince Dillon, and claimed it had
been played by the British to retreat in the Battle of New Orleans. Joyce (Old Irish Folk Music and Song), 1909; No.
42, pgs. 23‑24.
X:1
T:Miss Redmond’s Hornpipe
L:1/8
M:C
S:Joyce – Old Irish Folk Music and Songs (1909)
Z:AK/Fiddler’s Companion
R:Hornpipe
K:G
GA|B2 BG ABAG|FGAB c2 Bc|dcde
cAGF|E2A2A2 GA|B2 BG ABAG|
FGAB c2 de|=fefd cAG^F|D2G2G2:|
|:D2|GABc d2g2|de=fd cAG^F|GABc d2
e=f|edce d2 ef|gfge =fefd|
e=fed cdeg|=fefd cAG^F|D2G2G2:|
MISS RICHARDS’
HORNPIPE.
English, Hornpipe. D Major. Standard tuning. AABB. From the early 19th
century Hardy family manuscripts,
MISS RITCHIE. Scottish, Reel. F Major. Standard
tuning. AB. Surenne (Dance Music of
X:1
T:Miss Ritchie
M:C
L:1/8
R:Reel
S:Surenne – Dance Music of
Z:AK/Fiddler’s Companion
K:F
A | F2 FG FAcd | cAFA BGGA | F2 FG
FAcd | cABG F<FFA |
F2 FG FAcd | cAFA BGGA | F2 FG FAcd
| cABG F<FF ||
A | Fffg afge | fdcA BGGA | Fffg
afge | fdcA F<FFA | Fffg afge |
fdcA BGGA | FCCD FGAf | cABG F<FF
||
MISS ROBERTSON [1]. Scottish, Reel. A Major. Standard tuning. AAB. Composed by Robert Mackintosh. Glen (The Glen Collection of Scottish Dance Music),
vol. 2, 1895; pg. 7. A & M Records 79602, Ashley
MacIsaac - “Close to the Floor” (1992).
X:1
T:Miss Robertson [1]
M:C|
L:1/8
R:Reel
S:Glen Collection, vol. 2 (1895)
Z:AK/Fiddler’s Companion
K:A
F|E2 CA FDFA|GEGB AecA|E2 CA
FDFA|GBEd cAA:|
e|aAgA fAeA|dcBA BGEg|aAgA fAeA|BcdB
cAAg|
aAgA fAeA|dcBA GFE=G|FDFA GEdB|ceBd
cAA||
MISS ROBERTSON [2]. Scottish, Reel. D Major. Standard tuning. AAB (Glen): AABB (Johnson).
Composed by Charles Stewart. Glen (The
Glen Collection of Scottish Dance Music), vol. 2, 1895; pg. 9.
X:1
T:Miss Robertson [2]
M:C|
L:1/8
R:Reel
S:Glen Collection, vol. 2 (1895)
Z:AK/Fiddler’s Companion
K:D
B|ADFA BdAF|GeFd eEEB|ADFA GdAg|faeg
fdd:|
g|fadf d/e/f/g/ af|gefd ceeg|fadf
d/e/f/g/ af|geag fddg|
fadf d/e/f/g/ af|gefd ceeg|fadf
gbeg|fdeg fdd||
MISS ROBERTSON--
X:1
T:Miss Robertson –
M:C
L:1/8
R:Strathspey
S:
Z:AK/Fiddler’s Companion
K:A
E|A<A A2 GA ~B2|c(AA)E G(BB)c|A<Aae d/c/B/c/ ~d2|eEGA c(AA):|
c/d/|efBd ceAc|~F>Bd>c
B/A/G/F/ Ec/d/|efBd c>^dea|gfe^d e(EE)c/=d/|
e<c ~f2 d<B Be|d<FBA
GEFG|AA,CA BEGB|eEGA c(AA)||
MISS ROBERTSON OF
CLAVERSTON’S JIGG.
Scottish, Jig. A Major. Standard tuning. AABB. The melody appears in Robert Petrie’s Fourth Collection of Strathspeys, Reels, Jiggs and Country Dances
(1805), attributed to Charles Stewart. Stewart also composed a reel, “Miss
Robertson [2],” possibly for the same person. S. Johnson (A Twenty Year Anniversary
Collection), 2003; pg. 21.
X:1
T:Miss
Robertson of Calverston’s Jigg
M:6/8
L:1/8
R:Jig
C:Charles
Stewart
S:Robert
Petrie – 4th Collection of
Strathespeys, Reels, Jiggs and Country Dances (1805)
K:A
e|cBA
AGA|ecA BcA|(G3 E2)F/G/|Acd ecA|Bcd EFG|A3 A,2:|
|:c/d/|efe
ecd|eca ecA|(G3 E)FG|ABc FGA|Bcd FGA|A3 A2,:|
MISS ROBERTSON
OF TULLYBELTON('S STRATHSPEY). Scottish, Strathspey. B Flat Major.
Standard tuning. AAB. Composed by Nathaniel Gow
(1763-1831). Tullybelton is located in central
X:1
T:Miss Robertson of Tullybelton
L:1/8
M:C|
R:Reel
B:Stewart-Robertson – The
Athole Collection (1884)
Z:AK/Fiddler’s Companion
K:B Flat
D|~B,3B cBGB|FDBD C/C/C C>D|~B3B cBGg|~fdcd B/B/B ~B:|
g|fbdf Bdfd|ecdB G/G/G Gg|fbdf Bdfd|ecfd B/B/B Bg|fbdf Bdfd|
ecdB
G/G/G GB|FBDB FGBg|fdcd B/B/B ~B||
MISS ROBERTSON'S REEL. Scottish, Reel. The melody appears in the 1768 Gillespie Manuscript of Perth.
MISS RODEN'S REEL. AKA and see "Miss Roddy's,"
"Last Night's Work,"
"The Dublin Lasses [1],"
“The Eve,” “(A)
Galway Reel [6],” "The
Boys of Ballysadare [2]," "Douse
the Monkey."
MISS RODDY'S. AKA and see “Boys of
Ballysadare [2],” “Douse the Monkey,”
“The Dublin Lasses,” “The Eve,” “Last
Night’s Work,” "Miss Roden's Reel."
Irish, Reel. The tune was recorded under this title by Irish fiddle master
Michael Coleman (Co. Sligo and
MISS ROSE. AKA and see “The Ladies
of Gormond (Highland).” Scottish, Strathspey. A Major. Standard tuning. One
part (Kerr): AAB (Athole). In
X:1
T:Miss Rose
L:1/8
M:C
R:Strathspey
B:Stewart-Robertston – The
Athole Collection (1884)
Z:AK/Fiddler’s Companion
K:A
e|A/A/A c>A d>Be>c|(3def (3edc d<B B>c|A/A/A cA d>Be>c| d/c/B/A/ G>B A/A/A A:|
e|a>ba>b e<c c>A|(3def (3edc d>BB>e|a>ba>b e<c c>A|d/c/B/A/ G>B A/A/A A>g|
(3aba (3gag (3fgf e>c|(3def (3edc d>BB>c|(3AEA (3cAc (3dBd (3ece| (3fdf (3geg a<AA||
MISS ROSE, BLACKHALL. AKA and see "Madam(e)
Frederick," "The Royal
Recovery." Scottish, Strathspey. A Major. Standard tuning. AB.
X:1
T:Miss
Rose Blackhall's Strathspey
C:"By
Mr. Marshall"
S:Petrie's
Second Collection of Strathspey Reels and Country Dances &c.
Z:Steve
Wyrick <sjwyrick'at'astound'dot'net>,
N:Petrie's Second Collection, page 7
L:1/8
M:C
R:Strathspey
K:A
E|A,>B,C<D
E>FE<C|A,>CE>C E<AA<c |A,>B,C<D E>FE<C|B,c
d/c/B/A/ G<BB<c|
A,>B,C<D
E>FE<C|A,>CE<C E<AA<c
|e>cA<E
F<Af>e|d>cB>A GBB ||
c|A<Ac>A
e>Ac>A|E>F E/D/C/B,/ A,<(AA>c)|A<Ac>A
e>Af>e|d>cB>A G<BB>c|
A<Ac>A
e>Ac>A|E>F E/D/C/B,/ A,<AA>c
|a>fe<c e>cA<E|FD E/D/C/B,/ A,AA |]
MISS ROSE OF
TARLOGIE/TIRLOGIE. Scottish, Reel. A Major. Standard
tuning. AB (MacDonald, Surenne): AABB' (Kerr). "From J.T. Surennes
Collection" (Skye). The tune first appears in Joshua Campbell’s 2nd Collection (1786-88).
X:1
T:Miss Rose of Tarlogie
M:C
L:1/8
R:Reel
S:MacDonald - Skye Collection (1887)
Z:AK/Fiddler’s Companion
K:A
E|CA,CE A2 EA|FAEC DB,B,E|CA,CE
FGAB|cfed cAAE|CA,CE A2 EA|
EAEC DB,B,E|CA,CE FGAB|cfed
cAA||e|(3cBA eA cAeA|GEBE dEBE|
(3cBA eA cAeA|GEdB cAAe|(3cBA eA
cAeA|GEBE dEBE|cefg aecA| FdcB cAA||
MISS ROSS(' STRATHSPEY--OF
See also listings at: Jane Keefer’s Folk Music Index: An Index
to Recorded Sources Alan Snyder’s Cape Breton Fiddle
Recording Index |
X:1
T:Miss Ross’ Strathspey—of
L:1/8
M:C
S:
Z:AK/Fiddler’s Companion
K:D
F|D>AF>A D>AF>A|E<=c
c>G E2 CE|D>AF>A D>AF>A|D<d d>A F2 D:|
f|d>fA>f
d>FA>f|=c>de>f ~g2 a/g/f/e/|d>fA>f d>fA>f|d>ef>g
~a2 b/a/g/f/|
d>fA>f
d>FA>f|=c>de>f ~g2 a/g/f/e/|a>fg>e f>de>c|d<A B>G
F2 D2||
MISS ROSS [2]. Scottish, Slow Strathspey. B Flat Major. Standard tuning. AAB (Athole,
Gow): AABB' (Kerr). Composed by Niel Gow (1727-1807). Carlin (The Gow Collection), 1986; No. 154. Gow
(Fourth Collection of Niel Gow’s Reels), 2nd ed., originally
1800; pg. 22. Kerr (Merry Melodies),
vol. 2; No. 204, pg. 23. Stewart-Robertson
(The Athole Collection), 1884; pg.
289.
See also listing at: Alan Snyder’s Cape Breton Fiddle
Recording Index |
X:1
T:Miss Ross [2]
L:1/8
M:C
R:Strathspey
B:The Athole Collection
Z:AK/Fiddler’s Companion
K:B Flat
G|~F2 F>G F>GB>d|c>Bd>B c>B G<B|~F2 FG F>G B<g|f<B e>d c2B:|
e|d<f f>g fg/a/ b>d|c>Bd>B c>BG>e|d<f f>g fg/a/ b>d|c>Be>d c2 B>e|
d<f
f>g fg/a/ b>d|c>Bd>B c>B G<B|F>BD>B F>G
B<g|f<Be>d c2B||
MISS ROSS [3]. Scottish, Strathspey. A Mixolydian. Standard
tuning. AAB. Stewart-Robertson
(The Athole Collection), 1884; pg.
37.
X:1
T:Miss Ross [3]
L:1/8
M:C
B:The Athole
Collection
Z:AK/Fiddler’s Companion
R:Strathspey
K:A
d|c/d/e e2 a>e f2|a<e a>c B2 B>d|c/d/e e2 a<e f>e|c<a e>c B2A:|
d|c<A A>c B<=G G>d|c>A A/B/c/d/ e<A E>d|c<A A>c B<=G G>d|c<A A/B/c/d/ e2 ea|
c<A A>c B<=G G>d|c>A A/B/c/d/ e<a e>d|c<e
a>g b>B B<d|c<a e>c B2A||
MISS ROSS’S REEL.
Scottish, Reel. F Major. Standard tuning. AAB. Composed by William Marshall (1748-1833).
X:1
T:Miss Ross’s Reel [4]
L:1/8
M:C|
S:
Z:AK/Fiddler’s Companion
K:F
A|F/F/F (fd) cfc(A|B)dcA BGGA|F/F/F (fd) cfc(A|B)dcB AFF:|
e|f(ga)f cfa(f|d)fcA BGGe|(fga)f bga(f|d)fcB AFFe|
(fga)f bgaf|cfaf b(gg)a|fcAf dfc(A|B)dcB AFF||
MISS ROWAN DAVIES. Scottish, Air. A modern composition by Scottish piano accordion player
Phil Cunningham; it is deservedly popular. The
Cunningham Collection, Volume 1: The House in
MISS RUMLEY’S FANCY. English, Quickstep. D Major.
Standard tuning. AABBCC. Gibbons originally set the tune in the key of ‘F’
major in his ms. Source for notated version: the 1823-26 music mss of
papermaker and musician Joshua Gibbons (1778-1871, of Tealby, near Market
Rasen, Lincolnshire Wolds) [Sumner]. Sumner (Lincolnshire Collections, vol. 1: The Joshua Gibbons Manuscript),
1997; pg. 64.
MISS RUSSELL (OF BLACKHALL’S) REEL. Scottish, Jig. B Flat Major. Standard
tuning. AAB. Kirkmichael, Perthshire, fiddler and composer Robert Petrie (1767-1830) included this
tune in his 2nd Collection of
Strathspey Reels and Country Dances (1796, pg. 16), crediting the
composition to Robert (Red Rob)
Mackintosh.
X:1
T:Miss
Russell (of Blackhall's) Reel
C:"By
R. Mackintosh"
S:Petrie's
Second Collection of Strathspey Reels and Country Dances &c.
Z:Steve
Wyrick <sjwyrick'at'astound'dot'net>,
N:Petrie's Second Collection, page 16
L:1/8
M:6/8
R:Jig
K:Bb
D|(TG^FG)
(TBAB)|(TG^FG) (D2=E) |(TF=EF) fcA|cAF
FGA |\
(TG^FG)
(TBAB)|(Td^cd) (Tg^fg)|dcB cBA|G3 G2:|
d|gdb
ag^f |g3 (d2=e) |fca gf=e|fAB (cBA)|\
gdb
ag^f |g3 gfe|dcB cBA |BGG G2d|
gdb
ag^f |gdb ag^f |fca gf=e|fAB cBA|\
BAG
cBA|dcB edc|dba ga^f|g3 G2|]
MISS RUTHERFORD OF EGERTON. Scottish, Country Dance Tune (12/8 time). G Major. Standard. AB. The tune was published in 1799 by Thomas Calvert, a musician from Kelso, Scotland. A note with his collection states that Calvert supplied “a variety of music and instruments, instruments lent out, tun’d and repaired.”
X:
1
T:Mrs Rutherford of Egerton
M:12/8
L:1/8
B:The Calvert Collection - Page 8
Z:Nigel Gatherer
K:G
BGE EGE BGE "tr" E2 G|BGE EGE AFD FAF|BGE EGE BGE E2 B/c/|
dcB AdB AFD FAF||E2 e- efg fdf "tr" e2 d|E2 e- efg fdf afd|
E2 e- efg fgf efe|ded BdB AFD FAF|E2 e- efg fdf "tr" e2 d|
E2 e- efg fdf afd|gbg faf ege df B/c/|dcB AdB AFD FAF||
MISS RUTHERFOORD’S JIGG. Scottish, Jig. A Major. Standard tuning. AAB. Composed by Kirkmichael, Perthshire, fiddler Robert Petrie. Petrie (Collection of Strathspey Reels and Country Dances), 1790; pg. 17.
X:1
T:Miss
Rutherfoord's Jigg
C:Robert
Petrie
S:Petrie's
Collection of Strathspey Reels and Country Dances &c., 1790
Z:Steve
Wyrick <sjwyrick'at'astound'dot'net>,
N:Petrie's First Collection, page 17
L:1/8
M:6/8
R:Jig
K:A
"^Slow"
E
| EAA A2 c/d/ | e>fe ecA | B,BB B2 B/c/ | d>ed BGE |
EAA
A2 c/d/ | e>fe ecA | Fdc BGE | AAA A2 :|
c/d/|e>fg
Ta2g | fed cBA | dfe/d/ ced/c/ | dFB {A}GFE
|
e>fg
Ta2g | fed cBA | Fdc BGE | AAA A2 f/g/ |
a3/2b/a/4g/4f/
e3/2f/e/d/ | cea {f}e{d}c{B}A |
d/e/f/e/c/B/ c/d/e/c/B/A/|B/F/d/c/B/A/
{A}GFE |
CEA
Ace | d/c/d/e/f/g/ a2 g/f/ | ecA B,fe/d/ | cAA A2 |]
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