The Fiddler’s Companion

© 1996-2009 Andrew Kuntz

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[COMMENT1] [COMMENT2] 

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.

           

MISS KIRSP’S REEL.  English, Reel. England, Cumberland. D Major. Standard tuning. AAB. The melody appears in the 1840 music manuscript collection of Cumbrian musician John Rook, about whom very little is known. The tune and title appear unique to Rook.

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

M:4/4

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

D | D/d/d/(c/ c/)B/B/A/ | a/f/d/f/ e/d/e | D/d/d/(c/ c/)B/B/A/ | A/F/E/F/ 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

T:Miss MacDonald [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]

M:C|

L:1/8

S:Reel

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

Z:AK/Fiddler’s Companion

K:A

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.”

X:1

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.

C. Stewart, late teacher of dancing in Edinburgh) begs leave

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 PRESTON FERNTON. Scottish, Reel. D Major. Standard tuning. AABB'. Kerr (Merry Melodies), vol. 3; No. 12, pg. 4.

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 (Cranford). Standard tuning. ABCD (Cranford): AABBCCDD (Kerr, McGlashan). John Glen (1891) finds the earliest appearance of the tune in print in Neil Stewart's 1761 collection, printed in Edinburgh (pg. 48). It is a popular pipe tune, reset in the key of ‘A’, on Cape Breton Island, where fiddlers obtained it from bagpipe collections. Winston Fitzgerald (1914-1987) recorded the melody on a 78 RPM recording. Source for notated version: Winston Fitzgerald (Cape Breton) [Cranford]. Cranford (Winston Fitzgerald), 1997; No. 59, pg. 25. Kerr (Merry Melodies), vol. 4; No. 105, pg. 13. McGlashan (A Collection of Reels), 1786; pg. 46. Rounder 82161-7032-2, Bill Lamey – “From Cape Breton to Boston and Back: Classic House Sessions of Traditional Cape Breton Music 1956-1977” (2000).

X:1

T:Miss Proud’s Reel

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 London. Carlin (The Gow Collection), 1986; No. 152. Gow (Third Collection of Niel Gow’s Reels), 1792; pg. 8 (3rd ed.).

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 Jan. 3rd, 1804, Captain Thomas Phipps Howard of the 23rd light dragoons (who had earlier written an account of the British invasion and occupation of Haiti). She died in the south of France around 1817. Composed by Nathaniel Gow (1763-1831). Gow (Second Collection of Niel Gow’s Reels), 1788; pg. 29 (3rd ed.).

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 Scotland), 1852; pg. 120.

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. Ireland, Donegal. D Major. Standard tuning. AA’BCD (Taylor): AA'BB'CC'D (Breathnach). A popular reel in County Donegal, although Breathnach says its provenance is Scotland. Source Doherty played the parts AA’BB’AA’CC’D, with the first two being a variant of “Miss Ramsay” while the second two parts were probably appended by Doherty from another tune. De Dannan and the Glackins play it ABABCB. Sources for notated versions: fiddler John Doherty (County Donegal, Ireland) [Breathnach]; set dance music recorded at Na Píobairí Uilleann, late 1980’s [Taylor]. Breathnach (CRÉ III), 1985; No. 95, pg. 49. Taylor (Music for the Sets: Blue Book), 1995; pg. 27. Comhaltas Ceoltoiri Eireann CL10, "Johnny Doherty" (1975). CEF 140, Kevin & Seamus Glackin – “Northern Lights.” Green Linnet SIF 1113, De Dannan – “Half Set in Harlem” (appears as part of “Maids of Mullaghmore” set). Nimbus NI 5320, Ciaran Tourish, Dermot McLaughlin, Seamus Glackin, Kevin Glackin - “Fiddle Sticks: Irish Traditional Music from Donegal” (1991). Shanachie 79093, Paddy Glackin and Robbie Hannon – “Whirlwind” (1995. Learned from John Doherty).

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 (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. 24.

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). Cranford (Jerry Holland’s), 1995; No. 123, pg. 35. MacDonald (The Skye Collection), 1887; pg. 324. Stewart-Robertson (The Athole Collection), 1884; pg. 88. Rounder Records, “Jerry Holland” (1976).

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 | ede c3 | edc efg | fef d3 | cde edc | Bcd efg | BcB AGF | G3-G2D |!
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, Dorset. Barry Callaghan (2007) identifies Miss Richards as a “famous Sadlers Wells acrobat and dancer (who) performed in Dorchester in 1786.” I have not been able to find out anything more to date. Callaghan (Hardcore English), 2007; pg. 21.

 

MISS RITCHIE.  Scottish, Reel. F Major. Standard tuning. AB. Surenne (Dance Music of Scotland), 1852; pg. 125.

X:1

T:Miss Ritchie

M:C

L:1/8

R:Reel

S:Surenne – Dance Music of Scotland, pg. 125   (1852)

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--EDINBURGH. Scottish, Slow Strathspey. A Major. Standard tuning. AAB. Composed by William Marshall (1748-1833). Moyra Cowie (The Life and Times of William Marshall, 1999) suggests Marshall titled this tune after his publisher’s daughter. Marshall, Fiddlecase Edition, 1978; 1822 Collection, pg. 20.

X:1

T:Miss Robertson – Edinburgh

M:C

L:1/8

R:Strathspey

S:Marshall1822 Collection

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 Perth and Kinross, Scotland, northwest of Perth. It derives its name—Tulach Bealltuinn (Beltane Hill)—from association with the Druidic festival of Beltane held on May 1st. At that time fires were lit in sacred places, almost always on hills. At the time of Gow’s publication, there was a manor called Tullybelton House, a farm called Little Tullybelton, and Loch Tullybelton. Miss Robertson was the daughter of Robert Robertson, 4th of Tullybelton, and Charlotte, daughter of John Robertson, 11th of Lude. They had four children, two boys and two girls. Since one of them, Charlotte, married John Stewart Mezies of Culdares prior to the Gow’s publication, it can be assumed that the “Miss Robertson” of the title was Elizabeth Robertson, who was born at Perth on October 17, 1764. She died unmarried. Carlin (The Gow Collection), 1986; No. 153. Gow (First Collection of Strathspey Reels), 1784 (revised 1801); pg. 6. MacDonald (The Skye Collection), 1887; pg. 138. Stewart-Robertson (The Athole Collection), 1884; pg. 295.

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 New York) in 1922. Green Linnet SIF‑1110, Paddy Reynolds ‑ "My Love is in America: The Boston College Irish Fiddle Festival" (1991).

 

MISS ROSE. AKA and see “The Ladies of Gormond (Highland).” Scottish, Strathspey. A Major. Standard tuning. One part (Kerr): AAB (Athole). In County Donegal, Ireland, a version of the tune is rendered as a Highland entitled “The Ladies of Gormond.” Kerr (Merry Melodies), vol. 2; No. 31, pg. 6. Stewart-Robertson (The Athole Collection), 1884; pg. 31.

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>, 6/5/04

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). Henderson (Flowers of Scottish Melody), 1935. Kerr (Merry Melodies), vol. 2; No. 26, pg. 6. MacDonald (The Skye Collection), 1887; pg. 23. Surenne (Dance Music of Scotland), 1852; pg. 158.

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 ELGIN) [1]. AKA and see "Miss Agnes Ross's Reel," "Lassie, Look Before You/Ye," "Look Before You" (Gow's title). Scottish, Strathspey and Reel. D Major. Standard tuning. AAB. Composed by William Marshall (1748-1833), originally published in his First Collection of 1781. It was republished by the Gows as "Look Before You" in Repository, Part Second, 1802. A reel version appears as "Miss Agnes Ross's Reel." Marshall, Fiddlecase Edition, 1978; 1822 Collection, pg. 33.

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 Elgin [1]

L:1/8

M:C

S:Marshall1822 Collection

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). Marshall (Fiddlecase Edition), 1978; 1781 Collection, pg. 11.

X:1

T:Miss Ross’s Reel [4]

L:1/8

M:C|

S:Marshall1781 Collection

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 Rose Valley.

                       

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>, 6/11/04

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>, 3/19/04

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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 [COMMENT1]This was Font/Pitch 1,10 - Off.

 [COMMENT2]This was Font/Pitch 1,10 - On.