The Fiddler’s Companion

© 1996-2009 Andrew Kuntz

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[COMMENT1] [COMMENT2] 

LADY A – LADY F

 

 

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]

 

 

 

LADY ABERGAFENNI’S FANCY. Welsh. A dance tune with baroque features. Flying Fish FF70610, Robin Huw Bowen – “Telyn Berseiniol Fy Ngwlad/The Sweet Harp of My Land” (1996). [COMMENT3] [COMMENT4] 

[COMMENT5] [COMMENT6]                                       

LADY AGNES DUFF, THE. Scottish, Strathspey. F Major. Standard tuning. AAB. Composed by William Marshall (1748-1833). Marshall, Fiddlecase Edition, 1978; 1845 Collection, pg. 8.

X:1

T:Lady Agnes Duff

M:C

L:1/8

R:Strathspey

S:Marshall – 1845 Collection

Z:AK/Fiddler’s Companion

K:F

a|f<f f>c AFFa|f<f f>c g2 ga|f<f f>c dfcA|B>dc>e f2f:|

d|c<F c>A F>cA>c|B>d A<c G>AB>d|c<F c>A F>Ac>A|

B<c c>e f2fd|c<F c>A F<c G>c|B>dA>c GABd|A<F G>A B>cd>B| c>fe>g f2f||

                       

LADY ALEXANDER RUSSELL. Scottish, Reel. F Major. Standard tuning. AABB'. Composed by William Marshall (1748-1833). Lady Alexander was the wife of Alexander Russell, the son of Lady Georgianna Gordon and her lover Edwin Landseer, a famous artist. The connection with Marshall is that as Steward of the Household of the 4th Duke of Gordon, Georgianna’s father, he was intimately connected with all members of the family. Marshall, Fiddlecase Edition, 1978; 1845 Collection, pg. 3.

X:1

T:Lady Alexander Russell

L:1/8

M:C

S:Marshall – 1845 Collection

Z:AK/Fiddler’s Companion

K:F

A | ~F2 (fc) A(cc)f | dfcf gfga | ~F2 (fc) A(cc)f | d<f c>A G2G :|

a|bgaf gfdf | cfAf cfAa |1 bgaf gfdf | c<AfA G2G :|2 dbca BgAf | c<AfA G2G ||

                       

LADY AMELIA MURRAY. Scottish, Strathspey. D Major. Standard tuning. AAB. Composed by Perthshire fiddler-composer Niel Gow (1727-1807). Lady Amelia Murray (1763-1806) was the eldest daughter but middle of nine children born to John Murray, 3rd Duke of Atholl, and Lady Charlotte Murray, his first cousin. Lady Amelia was married twice; first to an army officer named Thomas Ivie Cooke, and secondly, in 1796, to Sir Richard Grace Gamon, 1st Baronet, MP for Winchester. Among other publications, the melody (attributed to Niel Gow—the name thus spelled correctly) was included in the New and Scientific Self-Instructing School for the Violin (Providence, R.I., 1847, No. 38, pg. 30), by George Saunders, “Professor of Music and Dancing.” Carlin (The Gow Collection), 1986; No. 80. Gow (Fifth Collection of Strathspey Reels), 1809; pg. 3. Stewart-Robertson (The Athole Collection), 1884; pg. 121.

X:1

T:Lady Amelia Murray

M:C

L:1/8

R:Strathspey

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

Z:AK/Fiddler’s Companion

K:D

d/B/ | A<D B/A/G/F/ B<E E>d | A<D B/A/G/F/ A<D f>d | e<c d>F B<EE d/B/ |

A<D B/A/G/F/ A2A :| f | d>a f/g/a/f/ g<e e>f | d>a f/g/a/f/ d>af>d | g>ef>d e<E E>F |

D>d B/A/G/F/ A2 A>f | d>a f/g/a/f/ g<e e>f | d>af>a g>ef>d | e>cd>F B<E E>F | D>d B/A/G/F/ A2A ||

 

LADY AMELIA MURRAY’S REEL. Scottish, Reel. F Major. Standard tuning. AAB. The melody appears in Malcolm MacDonald of Dunkeld’s 2nd Collection, dedicated to the Earl of Breadalbane. MacDonald (A Second Collection of Strathspey Reels), 1789; pg. 4.

X:1

T:Lady Amelia Murray’s Reel

M:C|

L:1/8

R:Reel

S:MacDonald – Second Collection of Strathspey Reels (1789)

Z:AK/Fiddler’s Companion

K:F

c | AF F/F/F AFAc | dBGF EFGB | AF F/F/F AFAc | dBde fFF :|

f | afcB ABcA | dBcA BGGg | fafc ABcA | fBce fFFf |

afcB ABcA | dBcA BGGB | AFAc BGBd | ecde fFF ||

                       

LADY AMI STEWART'S. Scottish, Strathspey. B Flat Major. Standard tuning. AB. Cole (1000 Fiddle Tunes), 1940; pg. 128. Ryan’s Mammoth Collection, 1883; pg. 168.

X:1

T:Lady Ami Stewart’s

M:C

L:1/8

R:Strathspey

S:Ryan’s Mammoth Collection (1883)

Z:AK/Fiddler’s Companion

K:Bb

(3f/g/a/|(b>.f)(f>.g) (g>.f)(d>.f)|g>bf>B (A<c)c (3f/g/a/|b>ff>g g>fd>B|(A/B/c) B>G (F<B)B (3f/g/a/|

b>ff>g g>fd>f|g>Bf>B (A<c)c (3f/g/a/|b>ff>g g>fd>B|(A/B/c) B>G (F<B)B||d|

(B>.d)(G>.B) (F>.B)(D>.c)|(B>.d){d}(c>.B) (A<c) (c>.d)|B>dG>B F>BD>B |A>cB>G (F<B) B>d|

B>dG>B F>BD>c|(B/c/d/e/) f>B (A<c)c>d|B>DE>F G>A B>g|f>BA>G (F<B)B||

                       

LADY AND THE FARMER, THE. Irish, Air (3/4 time). G Major. Standard tuning. One part. Darley & McCall note the song is of "the old romantic love‑story type," quoted by Patrick Kennedy in one of his published works. Source for notated version: from the singing of "the late" Mr. John McCall (Co. Carlow, Ireland) [Darley & McCall]. Darley & McCall (Darley & McCall Collection of Traditional Irish Music)1914; No. 60, pg. 27.

                       

LADY ANDERSON. Scottish, Reel. D Major. Standard tuning. AAB. Composed by J. Scott Skinner. MacDonald (The Skye Collection), 1887; pg. 53.

X:1

T:Lady Anderson

M:C

L:1/8

R:Reel

S:MacDonald – Skye Collection  (1887)

Z:AK/Fiddler’s Companion

K:D

A|d>A A/A/A (FA)DF|G>E E/E/E (CE)A,A|d>A A/A/A (FA)DF|GECE (D2D):|

A|dcdf e^deg|fdcd AFDc|dcdf e^deg|fdec (d2 d>)A|

dcdf e^deg|fdcd AFDF|GFGB A^GA=g|fdec (d2d)||

                       

LADY ANN CARNEGIE’S FAVORITE.  Scottish, Jig. F Major. Standard tuning. AAB. Composed by Niel Gow Junr. (c. 1795-1823), son of Nathaniel Gow (1763-1831) and grandson of Niel Gow (1727-1807). Niel Jr. was a promising performer and composer who briefly joined his father’s Edinburgh publishing business. Unfortunately, his career was cut short by an untimely death. See also “Bonnie Prince Charlie [1],” the name of a song by the Errick Shepherd, James Hogg, set to Gow’s tune. Gow (Sixth Collection of Strathspey Reels), 1822; pgs. 30-31.

X:1

T:Lady Ann Carnegie’s Favorite

M:6/8

L:1/8

R:Jig

N:”Slow”

C:Niel Gow Jr. (c. 1795-1823)

B:Gow – Sixth Collection of Strathspey Reels (1822)

Z:AK/Fiddler’s Companion

K:F

A>GF F2d|cAf cAF|AGG GAc|f>ed dcA|cfa {a}gfe|dcA cdf|A>GA fed|cFA {A}”tr”G2F:||

f2c g2c|a>gf fcd|cAF F2f|ab/a/g/f/ {a}g2f|f2c ~g>ab|{b}a>gf fed|c>dc cFG|A>BA {A}G2F|

f2c g2c|a>gf fcd|{F}cAF F2f|ab/a/g/f/ {a}g2f|(a/g/)fa (g/f/)eg|(f/e/d/c/A/c/) d2 e/f/|ca/g/f/d/ cFG|A>BA {A}”tr”G2 {FG}F||

 

LADY ANN DUNDASS'S MINUET. Scottish, Minuet. The melody appears in the Gillespie Manuscript of Perth (1768).

                       

LADY ANN ERSKIN. Scottish, Minuet. The tune was written by Thomas Alexander Erskine, Viscount Fenton, Sixth Earl of Kelly, born at Kellie Castle in Fife in 1732 and familiarly known as “Fiddler Tam." Lady Ann was his sister.

 

LADY ANN ERSKIN’S REEL.  Scottish, Reel. C Major. Standard tuning. AAB. John Glen (1891) finds the earliest appearance of this tune in print in Robert Bremner’s 1757 collection. The melody was also printed in Longman and Broderip's Compleat Collection of 200 Favorite Country Dances  (London, 1781). There is a much repeated story regarding Lady Ann’s chance meeting with the preacher, Rowland Hill. She was passing by one day when she noticed him preaching to a crowd, and, having heard of him she stopped her carriage to listen.  Hill saw the crest on the carriage and recognized the noble crest on the door, and, recognizing an opportunity and extemporizing quickly, he began to act as if he were an auctioneer.  He asked what Satan was willing to bid for her soul, and what Christ was willing to offer, then asked Lady Ann to choose. Reportedly she was so overcome by the performance she descended weeping from her carriage and was ‘saved’. Bremner (Scots Reels), c. 1757; pg. 86.

X:1

T:Lady Ann Erskin’s Reel

M:C

L:1/8

R:Reel

S:Bremner – Scots Reels (c. 1757)

Z:AK/Fiddler’s Companion

K:C

c | (C2C)c (d/c/B/A/) cG | EGcE FDDE | (C2C)c d/c/B/A/ cG | EGDF ECC :|

g | ecgc (ed/c/) gc | (f/e/f/g/ a)e fddg | ecgc (e/d/c) gc | (e/f/g) df eccg |

ecgc (e/d/c) gc | (f/e/f/g/ a)e fddf | (e/d/c) (d/c/B) (d/B/A) (G/F/E) | (C/D/E/F/) GD ECC ||

                       

LADY ANN HAMILTON('S RANT). AKA and see "Lady Home's Jig.” Scottish, English; Jig. England, Northumberland. C Major. Standard tuning. AABB. John Glen (1891) finds the earliest printing of the tune appearing in John Riddell's 1782 collection (pg. 29). Seattle (1987) thinks William Vickers' version of the melody remarkably similar to "Cock Up Thy Beaver.” Seattle (William Vickers), 1987, Part 3; No. 494.

                       

LADY ANN HOPE [1]. AKA and see “Blue Bonnets [2],” “Frank Roche’s Favorite,” “John Roche’s Favorite,” “Here Awa’,” "Miss Hope's Strathspey,” “The Woodford Fling [1]." Scottish, Strathspey. G Major. Standard tuning. AAB (Gow, Hunter, Kennedy, Kerr): AABB' (Athole, Skye). Composed by John Pringle, a border fiddler chosen by Lord Minto to lead his band when he was the governor of India. It was first published in Pringle's First Collection (1800) as "Miss Hope's Strathspey." Lady Ann Hope (1768-1818) was the eldest child of the 3rd Earl of Hopetoun, who later married Sir William Johnstone Hope. Her older brother, John, the 4th Earl of Hopetoun (1765-1823) was general of the 92nd Gordon Highlanders. The family manse was Hopetoun House (see notes for the tune of that name). When she died in 1818 Blackwood’s Edinburgh Magazine eulogized:

***

As her house in George-street, Edinburgh, Lady Ann Hope Johnstone of Annandale, wife of

Rear-admiral Sir William Johnstone Hope, K.C.B. member for the county of Dumfries. Lady

Ann belonged to that class of characters whose deaths are justly regarded as a public calamity

as well as a private loss. In her own family she was every thing that is amiable and excellent; the

most affectionate wife, and the most indulgent, yet the most judicious mother. When she mingled

in the fashionable world, her demeanour was such as befitted the daughter of a Scottish noble-

man, and the spouse of a British admiral; but home, the native soil of all the domestic virtues,

was the scene of her truest enjoyments; and there are few who have visited her hospitable

mansion without retaining a warm sense of the unbounded goodness of her manners. To every

victim of misery and misfortune she was the unwearied and beneficent friend. Indeed, to the

poor in general, as well as to her own family, her loss is irreparable.

***

Irish fling settings of the tune go by the names “Frank Roche’s Favorite,” “John Roche’s Favorite,” and “Woodford Fling,” reel settings as “Miss Thornton’s” and other titles, and hornpipes as “Tiger Hornpipe” and “Signora Ferze’s Hornpipe” (Goodman).  Breathnach thought the tune related to “Miss Thornton’s {Reel”} and “Spike Island Lasses [2]." Carlin (The Gow Collection), 1986; No. 81. Hope, 1988; No. 78. Henderson (Flowers of Scottish Melody), 1935. Kennedy (Traditional Dance Music of Britain and Ireland: Reels and Rants), 1997; No. 88, pg. 23 (erroneously attributed to Niel Gow). Kerr (Merry Melodies), vol. 1; Set 15, No. 3, pg. 10. MacDonald (The Skye Collection), 1887; pg. 95. Stewart-Robertson (The Athole Collection), 1884; pg. 157. SMD615, Pete Clark – “Even Now.”

X:1

T:Lady Ann Hope  [1]

M:C

L:1/8

R:Strathspey

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

Z:AK/Fiddler’s Companion

K:C

D|GGG>B A>G E<B|c2 c>e d>c B<d|BBB>G c>AB>G|E>A G/F/E/D/ G2G:|

e/f/|:~g2 d>g B>gd>g|g>ab>g e2 e>f|(3gab (3agf (3efg (3dcB|

1 (3cde (3def (3gdc (3BcA:|2 (3cde (3def g2 g>b||

 

LADY ANN HOPE [2]. Scottish, Strathspey. G Major. Standard tuning. AAB. Lady Ann, eldest daughter of the Earl of Hopetoun, married Captain William Hope of the navy in the same year Gow’s Third Collection was published (1792). See note for “Lady Ann Hope [1]” for more. Gow (Third Collection of Niel Gow’s Reels), 1792; pgs. 4-5 (3rd ed.). Stewart-Robertson (The Athole Collection), 1884; pg. 175.

X:1

T:Lady Ann Hope [2]

M:C

L:1/8

R:Strathspey

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

Z:AK/Fiddler’s Companion

K:G

c|B/c/d/B/ G<B E<GD<G|F>A BA/G/ F<D D>c|B/c/d/B/ G>B E>GD>g|e/f/g/e/ f/g/a/f/ g<GG:|

d|g>bg>d g>bg>d|e<a a>g f<d de/f/|g>ad>B c<ed<g|e<g f>a g<G G>d|

g>bg>d g>b g<d|e<a a>g f<d dg/a/|b>ga>f g>ed>c|B<gA<f g<GG||

X:1

T:Lady Ann Hope’s Strathspey [2]

M:C

L:1/8

R:Strathspey

B:Gow – 3rd Collection of Niel Gow’s Reels, 3rd ed., pg. 4  (orig. 1792)
Z:AK/Fiddler’s Companion

K:G

c|B/c/d/B/ G<B E<GD<G|F>A {c}BA/G/ FDDc|B/c/d/B/ GB EGD>g|e/f/g/e/ f/g/a/f/ gGG:||

d|”tr”g>bgd “tr”g>bgd|ea”tr”a>g fdde/f/|”tr”g>bdB cedg|egfa gGGd|

“tr”g>bgd “tr”g>bgd|ea”tr”a>g fd dg/a/|b>ga>f g>ed>c|BgAf gGG||

 

LADY ANNE HOPE [3]. Scottish, Reel. Composed by William Marshall (1748-1833) and appearing earliest in print in an attachment (c. 1788) to his collection of 1781.

                                   

LADY ANN HOPE'S FAVORITE. Scottish, Slow Air. G Major. Standard tuning. AAB. Composed by Niel Gow (1727-1807), Dunkeld, Perthshire,  fiddler and composer of over two hundred Scottish airs; scion of a great fiddling and publishing family. See note for “Lady Ann Hope [1]” for more. Carlin (The Gow Collection), 1986; No. 82. Gow (Third Collection of Niel Gow’s Reels), 1792; pg. 4 (3rd ed.). Hunter (The Fiddle Music of Scotland), 1988; No. 6. SMD615, Pete Clark – “Even Now.”

X:1

T:Lady Ann Hope’s Favourite

M:C

L:1/8

R:Air

N:”Slow”

B:Gow – 3rd Collection of Niel Gow’s Reels, 3rd ed., pg. 4  (orig. 1792)
Z:AK/Fiddler’s Companion

K:G

g/e/|”tr”d>B GB/c/ (d/c/)B/A/ GB/c/|{B/c/}d>B{B}g>B {B}A2 AB/c/|{B/c/}d>BGB dg/a/ {g/a/}b>a|

{f}g>edB “tr”G2 G:||a|(g/a/)b/a/ “tr”gd (e/f/)g/f/ {e}dc/B/|de/f/ (g/e/)d/B/ {B}A2 A>a|

(g/a/)b/a/ “tr”g>d e/f/g/f/ {f}ed/B/|“tr”de/f/ (g/e/)d/B/ {B}d2 d>a|(g/a/)b/a/ g>d (e/f/)g/f/ {f}ed/B/|

d(e/4g/4)(f/4a/4) g/e/d/B/ {B}A2 Ag/e/|d>BGB dg/a/ {g/a/}b>a|g>e{e}dB G2 “tr”G||

                       

LADY ANN MAITLAND. Scottish, Reel. G Major. Standard tuning. AAB. The melody appears in Malcolm MacDonald's (Dunkeld) 2nd Collection (1789), dedicated to the Earl of Breadalbane. Glen (The Glen Collection of Scottish Dance Music), vol. 1, 1891; pg. 31. MacDonald (A Second Collection of Strathspey Reels), 1789; pg. 4.

X:1

T:Lady Ann Maitland

M:C|

L:1/8

R:Reel

S:MacDonald – Second Collection of Strathspey Reels (1789)

Z:AK/Fiddler’s Companion

K:G

d | gedB G/G/G “tr”d2 | gdgb aeef | gdec Bcde | dcBA {A}G2G :|

c | “tr”B2 Gd Bdgd | “tr”B2 GB ADDc | “tr”B2 (Gd) Bcde | dcBA {A}G2 Gd |

“tr”B2 (Gd) Bdgd | “tr”B2GB ADDc | “tr”(BAB)G gb dc | BdDF G2G ||

           

LADY ANN MONTAGU SCOT’S REEL. Scottish, Reel. C Major. Standard tuning. AAB. Composed by Nathaniel Gow (1766-1831). The Montagu-Scotts were the Dukes and Duchesses of Buccleuch, although I have found no information on a Lady Ann of Gow’s time. Gow (Third Collection of Niel Gow’s Reels), 3rd ed., originally 1792; pg. 37.

X:1

T:Lady Ann Montagu Scot’s Reel

M:C|

L:1/8

R:Reel

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

Z:AK/Fiddler’s Companion

K:C

e|~c2 GE ~c2 de|fdec B(dd)e|~c2 GE FcAa|gedf ec~c:||

f|(efg).e c’ege|(e/f/g) “tr”f>e fddf|(efg).e c’gac|Ba”tr”g>f eccf|

(efg).e c’ege|(e/f/g) “tr”f>e fdd>f|(efe).c’ afgc|BaBg ec~c||

 

LADY ANN STEWART.  Scottish, Strathspey. A Major. Standard tuning (fiddle). AB. Lady Ann Stewart is perhaps Lady Anne Harriet Stewart (c. 1770-1850), who married Lord Spencer Stanley Chichester.  She was the daughter of Sir John Stewart, 7th Earl of Galloway. Surenne (Dance Music of Scotland), 1852; pp. 74-75.

X:1

T:Lady Ann Stewart

M:C

L:1/8

R:Strathspey

S:Surenne – Dance Music of Scotland, pgs. 74-75  (1852)

Z:AK/Fiddler’s Companion
K:A

(3e/f/g/ | a>ee>f ({f}e2) cd/e/ | f>Ae>A (G<B)B>e | a>ee>f ({f}e2) c>A |

(G/4A/2<B) ({A}G>)F (E<A)A (3e/f/g/ | a>ee>f ({f}e2 c/d/e/ \ f>Ae>A (G<B)G>e |

a>ee>f ({f}e2) c>A | (G/4A/2<B ({A}G>)F (E<A)A || (c/B/) | A>cF>A E>AC>B |

(A/4B/2<c) ({c}B>)A (G<B) B>c | A>cF>A E>A C>A | (G/4A/2<B) ({A}G>)F (E<A)Ac/B/ |

A>cF>A E>AC>B | (A/B/c/d/) e>A (G<B) Bc/B/ | A>CD>E F>GA>f | (e<A) ({A}G>F (E<A)A ||

           

LADY ANN STEWART’S REEL.  English, Reel. A Major. Standard tuning (fiddle). AABB. Cahusac (Annual Collection of Twenty Four Favorite Country Dances for 1809), 1809; No. 20.

X:1

T:Lady Ann Stewart’s Reel

M:C|

L:1/8

R:Reel
B: Cahusac – Annual Collection of Twenty Four Favorite Country Dances for 1809, No. 20 (London)

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

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

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

Z:abc’s:AK/Fiddler’s Companion

K:A

B|(A/B/c) BA (BG).F.B|(A/B/c) BA ceae|(A/B/c) BA (BA).F.B|AFEF A2A:|

|:f|ecac BAFB|ecac faea|ecac (BA)FB|{B}AFEF (A2 A)e/f/|

ecac BAFB|ecac faea|dfca cAFB|{B}AFEF A2A:||

 

LADY ANNA HOPE. See “Lady Ann Hope [1].”

                       

LADY ANNE GORDON’S REEL. AKA and see "The House of Letterfourie," "Lassie, Look Behind You/Ye" (Gow's title). Scottish, Reel. D Major. Standard tuning (fiddle). AABB. Composed by William Marshallbn (1748-1833) and first appearing in his 1781 collection. It was published once by the Gow's, although without composer credit to Marshall. Lady Anne (1748-1816) was the sister of Marshall’s employer, Alexander, the 4th Duke of Gordon, for whom he was the Steward of the Household. She married the Reverend Chalmers, minister of Cairnie, Huntly. Marshall, Fiddlecase Edition, 1978; 1781 Collection, p. 12. McGlashan (A Collection of Reels), c. 1786; p. 7.

X:1

T:Lady Anne Gordon’s Reel

M:C|

L:1/8

R:Reel

S:McGlashan - Reels (c. 1786)

Z:AK/Fiddler’s Companion

K:D

B|ADF>D EB,B,B|ADF>D d2 df|gfed eBBd|FD F/G/A d2 d:|

|:f|dg f/g/a beef|dg f/g/a fdec|dBAF EFGB|FD F/G/A d2d:|

X:2

T:Lady Anne Gordon'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 14

L:1/8

M:C|

R:Reel

K:D

B|ADFD E(B,B,)B|AD F/G/A d2df|gfed e(BBd)|FD F/G/A d2d::f|

dg f/g/a b(eef)|dgfa fdec|dBAF EFGA |FD F/G/A d2d:|

                       

LADY ANNE LINDSAY’S MINUET. Scottish, Minuet. See note for companion tune "Lady Margaret Lindsay's Minuet.”

                       

LADY ANNE MONTGOMERY. AKA and see “The Shaskeen [2].” Irish, Reel. D Major. Standard tuning. AABB (most versions): AA’BB’ (Mallinson). The melody may have been Scottish in origin. Irish sources appear to be from the northern part of the island, and it is generally considered a northern fiddle tune. Despite the Scottish-sounding title, there seems to be no Scottish cognates for it. Sources for notated versions: Tommy Gunn (Derrylin, Co. Fermanagh and Belfast), who had it from older Fermanagh fiddlers [Boys of the Lough]; Jim McElhone (County Derry) [Mulvihill]; set dance music recorded at Na Píobairí Uilleann, mid-1980’s [Taylor]; flute player Matt Molloy [Bulmer & Sharpley]. Boys of the Lough, 1977; pg. 2. Brody (Fiddler’s Fakebook), 1983; pg. 161. Bulmer & Sharpley (Music from Ireland), 1974, vol. 2, No. 22.g Mallinson (Essential), 1995; No. 32, pg. 15. Mulvihill (1st Collection), 1986; No. 133, pg. 36. Songer (Portland Collection), 1997; pg. 122. Taylor (Through the Half‑door), 1992; No. 47, pg. 33. Taylor (Music for the Sets: Yellow Book), 1995; pg. 31. Vallely (Learn to Play the Fiddle with Armagh Pipers Club), 197?; No. 50, pg. 43. Midnight Music 001, Nightingale - “Sometimes When the Moon is High” (1996). Philo 1042, Boys of the Lough‑ "The Piper's Broken Finger" (1976). Shaskeen ‑ "Shaskeen Live.”

X:1
T:Lady Ann Montgomery
R:reel
H:Originally Scottish
D:Davy Spillane: Shadow Hunter
D:Moher
Z:id:hn-reel-201
Z:transcribed by henrik.norbeck@mailbox.swipnet.se
M:C|
K:D
FADA FADA|FAdA BAdA|~F3D ~E3F|DB,A,B, D2DA|
FADA FADA|FAdA BABc|dBAF E2FE|1 DB,A,B, D2DA:|2 DB,A,B, D3e||
|:~f3e fede|fedB ABde|~f3e fede|faaf e2de|
~f3e fede|fedB ABde|fded BdAe|1 fage d2de:|2 fage d2AG||
"Variations:"
FADA FADA|FAdA BAdA|FADF ~E3F|DB,A,B, DGAG|
(3FAF DA FADA|FAdA ~B3c|dBAF EDEF|1 DB,A,B, DGAG:|2 DB,A,B, D3e||
|:~f3e fede|fedB ABde|~f3e fede|faaf (3efe de|
fede fede|fedB ABde|fded dBAd|1 egfe d2de:|2 egfe d2AG||

                       

LADY ANN WHARTON DUFF’S STRATHSPEY. Scottish, Strathspey. B Flat Major. Standard tuning. AB. According to Moyra Cowie (The Life and Times of William Marshall, 1999), Lady Ann was a daughter of Lord Duff of Banff, and dwelt at Orton House, Inchberry, in Lower Speyside. She married her cousin, Richard Wharton. Composed by William Marshall (1748-1833). Marshall, Fiddlecase Edition, 1978; 1822 Collection, pg. 7. MacDonald (The Skye Collection), 1887; pg. 164.

X:1

T:Lady Ann Wharton Duff’s Strathspey

M:C

L:1/8

R:Strathspey

Z:AK/Fiddler’s Companion

S:Marshall – 1822 Collection

K:B_

~B,>F (G/F/)E/D/ (C>D)EG|~B,>F (G/F/)E/D/ (F>G)Bd|fdBD (C>D)EF|

FBAc BDFD|~B,>F (G/F/)E/D/ (C>D)EG|~B,>F (G/F/)E/D/ (F>G)Bd|

FdBD (C>E)EG|FBAc Bdce||~f>d (e/d/)c/B/ g>ceg|~d>f (e/d/)c/B/ fbBD|

EcDB C>DEG|FBAc Bdce|~d>f e/d/c/B/ g>ceg|~d>f e/d/c/B/ fbBD|

EcDB C>DEG|FBAc BDFD||

                       


LADY ARBUTHNOTT'S FAVORITE. Scottish, Strathspey ("slowish"). D Major. Standard tuning. AAB. Composed by fiddler and composer Robert Petrie, born in Kirkmichael, Perthshire, in 1767. Petrie was reputed to have been "a non‑conformist" who was "rather wild and unpredictable.  It is on record that he won a cup as a first prize in a fiddle competition, which was held in Aberdeen, but there is no evidence that the cup ever reached Kirkmichael" (Neil, 1991). Neil (The Scots Fiddle), 1991; No. 106, pg. 142.

                       

LADY ASHBURTON. Scottish, Strathspey. E Flat Major. Standard tuning. AAB. Composed by Duncan McIntyre. Carlin (The Gow Collection), 1986; No. 83. Stewart-Robertson (The Athole Collection), 1884; pg. 270.

X:1

T:Lady Ashburton

M:C

L:1/8

R:Strathspey

Z:AK/Fiddler’s Companion

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

K:E_

B|e>E E2 G>B, B,=A,/B,/|C>DE>G F/F/F F>d|e>E E2 G>B, B,=A,/B,/| C>ED>F E/E/E E:|

c|B>GB>G B>GA>c|B<G e>G F/F/F FG/A/|B>Gc>A B>G e>c|B<G F>G E/E/E EG/A/|

B>GB>G B>GA>c|B<G e>G F>GA>B|c>de>f g>af>e|d>Bc>d (3ege (3dfd||

                       

LADY ATHENRY. AKA and see "Planxty Lady Athenry."

                       

LADY AUGUSTA GORDON LENNOX. Scottish, Strathspey. G Minor. Standard tuning. AAB. Composed by Alexander Walker. According to Paul Stewart Cranford (1991) the tune still has currency among Cape Breton fiddlers. Lady Augusta Gordon-Lennox (1827-1904) was the daughter of Duke Charles Lennox of Richmond-Lennox and Lady Caroline Paget. She was born and died in London. Walker (A Collection of Strathspeys, Reels, Marches, &c.), 1866; No. 187, pg. 64.

                       

LADY AUGUSTA MURRAY. Scottish. John Glen (1891) finds the tune earliest in print in Daniel Dow's c. 1775 collection (pg. 6).

                       

LADY AUGUSTUS MURRAY OF AUCHTERTYRE. Scottish, Strathspey. A Mixolydian. Standard tuning. AAB. Printed by Malcolm MacDonald of Dunkeld in his 2nd Collection, dedicated to the Earl of Breadalbane. MacDonald (A Second Collection of Strathspey Reels), 1789; pg. 7.

X:1

T:Lady Augustus Murray of Auchtertyre

M:C

L:1/8

R:Strathspey

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

Z:AK/Fiddler’s Companion

K:A Mix

c/d/ | eA”tr”e>c BGGc/d/ | e>A”tr”e>c e>A”tr”e>c | d>e f/e/d/c/ BGGc/d/ | eAac e2e :|

f/g/ | aA c/d/e/c/ BGG f/g/ | aA c/d/e/c/ aA c/d/e/c/ | aA c/d/e/c/ BGGf/g/ | aAec e2 ef/g/ |

aA c/d/e/c/ BGGf/g/ | aA c/d/e/c/ aAAg | {g}fd/f/ {f}ed/c/ BGG c/d/ | ecac {c}e2e ||

 

LADY AYLMER. Irish, Reel. The title 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).

           

LADY BAIRD [1]. AKA and see “Miss Baird of Newbyth,” “Mrs. Baird of New Byth [1].

                                   

LADY BAIRD('S) [2]. AKA and see “The Lasses of St. Barry’s.” Scottish, Strathspey. D Major (Cole): A Major (most versions). Standard tuning. AB (Cole, Ryan, Surenne): AABB (Athole, Gow, Kerr, Skye). The tune has been attributed to Niel Gow's 2nd son, Andrew (1760-1803), who was a partner with his brother John in a music business in London until his death. Curiously, however, there is no composer attribution appended to the tune in the The 2nd Collection of Neil Gow’s Reels (1788). “Lasses of St. Barry’s” is a related reel. Lady Baird was Henrietta Johnston, daughter of Wynne Johnston, 6th Baronet of Hilton, and Margaret Johnston. She married her husband, Sir James Baird, 6th of Saughton Hall, in 1780. Their names appear on a broadside list of attendees at a ball held during the Kelso Races.

***

Nigel Gatherer, referencing an anecdote in Robert Chambers’ Picture of Scotland (1828), says, “Lady Baird of Saughtonhall, near Edinburgh, reporting that she had recovered from the effects of the bite of a mad dog by drinking water into which a talisman called the Lee Penny had been immersed. The Lee Penny was the subject of Sir Walter Scotts The Talisman, and is a semi-precious blood-red stone that is said to have healing powers. It was brought back to Scotland from Spain by Simon Lockhart of Lee in 1329 after his journey transporting Robert I’s heart. Lady Baird also bathed the affected parts in it in the treated water, "...even though prior to doing so she had already shown some of the distressing symptoms of hydrophobia..." This incident is said by Chambers to have taken place at “the beginning of the last century”, meaning the early 1700’s.Cole (1000 Fiddle Tunes), 1940; pg. 122. Gow (The 2nd Collection of Niel Gow’s Reels), 1788; pg. 4. Kerr (Merry Melodies), vol. 1; Set 13, No. 1,pg. 9. MacDonald (The Skye Collection), 1887; pg. 25. Ryan’s Mammoth Collection, 1883; pg. 161. Stewart-Robertson (The Athole Collection), 1884; pg. 8. Surenne (Dance Music of Scotland), 1852; pgs. 142-143.

X:1

T:Lady Baird

M:C

L:1/8

S:Strathspey

Z:AK/Fiddler’s Companion

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

K:A

a|e<cc>B A>BA>E|F>AE>A F>AE>a|e<cc>B A>BA>B|c<ee>^d e2e:|

|:=g|f<dd>B c>de>c|d<BB>G A>Bc>E|F>AE>A F>AE>d|(3cAc (3BGB A2A:|

 

LADY BAIRD’S REEL [3]. Scottish, Reel. A Major. Standard tuning. AAB. Malcolm MacDonald (A Collection of Strathspey Reels, vol. 1), No.1.

X:1

T:Lady Baird’s Reel [3]

M:C|

L:1/8

R:Reel

S:Malcolm MacDonald – Strathspey Reels, vol. 1

Z:AK/Fiddler’s Companion

K:A

A | (A>Bc).B (A>Bc).A | BABc AFFA | (A>Bc).B Afaf | ecBd cA A :| e | ceAe ceaf |

ecBA GBBe | ceAe ceaf | ecBA EAAe | ceAe ceaf | ecBA GBBc | AFEF ABcA | c/d/e Bd cA A ||

 

LADY BAIRD’S [4]. Scottish, Reel. D Major. Standard tuning. AABB. Kennedy (Traditional Dance Music of Britain and Ireland: Reels and Rants), 1997; No. 89, pg. 23.

X:1

T:Lady Baird’s [4]

M:C|

L:1/8

R:Reel

K:D

d | DFAd AFAd | DFAd E2 FE | DFAd AFAg | fdef d2d :|

|: g | fdde/f/ gfed/ | cAeA fAeA | fdde/f/ gfed | cdec d2d :|

                       

LADY BAIRD OF SAUGHTONHALL. Scottish. John Glen (1891) finds the earliest printing of the tune in Daniel Dow's c. 1775 collection (pg. 13).

                       

LADY BAIRD’S NEW REEL. Scottish, Reel. B Minor. Standard tuning. AAB. Composed by Robert “Red Rob” Mackintosh. Glen (The Glen Collection of Scottish Dance Music), vol. 2, 1895; pg 49.

X:1

T:Lady Baird’s New Reel

M:C|

L:1/8

R:Reel

S:Glen Collection, Vol. 2  (1895)

Z:AK/Fiddler’s Companion

K:B Minor

(g|fd)ec dBB(g|f)aea cAA(g|f)dec dBbg|fedc dBB:|

(g|fg)af ebag|fded cAA(g|fg)af ea^ga|fdec d(BB)(g|f)gaf ebag|

fded c(AAc)|dBec fdbg|fedc (dBB)||

                       

LADY BALCARRAS. Scottish. John Glen (1891) finds the earliest printing of the tune in Robert Riddel's 1782 collection (pg. 57). Elizabeth Dalrymple Lindsay, the Countess of Balcarres, was a patroness of Edinburgh musicians and was herself an accomplished keyboard player. She composed tunes, one of which, “Lady Eliza Lindsay,” a hornpipe written for her ten-year-old daughter, was published in John Watlen’s 1791 collection. See also note for “Lady Elizabeth Lindsay.”

                       

LADY BANBURY'S HORNPIPE. English, Country Dance Tune (3/2 time). F Major. Standard tuning. B (Sharp): AAB (Barnes). The melody dates to 1665. Sharp (1909) notes that Playford printed the tune in duple (2/2) time (two six-bar phrases); Sharp altered the tune to place it in triple time (two four-bar phrases) “in order that the rhythm of the music might be brought into accord with that of the dance movements.” Barnes (English Country Dance Tunes), 1986. Sharp (Country Dance Tunes), 1909/1994; pg. 52.

X:1

T:Lady Banbury’s Hornpipe

M:3/2

L:1/8

S:Sharp – Country Dance Tunes  (1909)

Z:AK/Fiddler’s Companion

K:F

AB|c2 cd c2 AB G2 AB|cAcA c3A F2 AB|c2 cd c2 AB G2 AB|cAcA c3A F2||

fg|a2 gf g2 ed c2 fg|a2 gf g3e c2 fg|agag f2 c2 d2 AB|cAcA c3A F2||

                       

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

                       

LADY BARNSLEY’S FANCY. English, Country Dance Tune (2/4 time). G Major. Standard tuning. AABB. Knowles (A Northern Lass), 1995; pg. 3.

                       

LADY BARTLETT’S WHIM.  American (?), Reel. G Major. Standard tuning. ABCD. Source Taggart noted: “The favourite dance of Betsy Spofford and Joseph Barnes.” Also in the possession of the New Hampshire Historical Society is a volume published by Samuel Preston in 1798 in Amherst, New Hampshire, called “An Elegant Collection of New Figures…For the Use of Dancing Schools.” The work contains dance figures only, one of which is Lady Bartlett’s Whim. Source for notated version: the 1938 typewritten manuscript of New Hampshire fiddler John Taggart (New Hampshire Historical Society, Concord, N.H.). Taggart (1854-1943), born and raised in Sharon, New Hampshire, and was a onetime orchestra leader and composer. Taggart wrote in his ms. that the tunes “were all taught me during my boyhood days in Sharon (N.H.), by the various fiddlers in that vicinity.” Miller points out that Sharon is in “the heart of the Monadnock Region of southwestern New Hampshire, where fiddlers and contra dances abound to this day” (pref. iv) [Miller]. Miller (Fiddler’s Throne), 2004; No. 188, pg. 119. New Hampshire Fiddler’s Union, Miller & Peery – “The Music of John Taggart” (1989). Rounder 7018, Frank Ferrel – “Boston Fiddle: The Dudley Street Tradition” (1996).

 


LADY BEATRICE HAMILTON. Scottish, Reel. F Major. Standard tuning. AABB'. Composed by William Marshall (1748-1833). According to Moyra Cowie, The Life and Times of William Marshall (1999), the title refers to Hamilton of Bo’Ness. The hunting seat of the Hamiltons was at Chatelherault, on high ground with views to the Clyde, now restored and open to the public. Gatherer (Gatherer’s Musical Museum), 1987; pg. 9. Marshall, Fiddlecase Edition, 1978; 1845 Collection, pg. 2.

X:1

T:Lady Beatrice Hamilton

M:C

L:1/8

R:Reel

S:Marshall – 1845 Collection

Z:AK/Fiddler’s Companion

K:F

FAcA fAcA|FAcA (dc)(BA)|FAcA fAcA|Ggbg (fe)(dc):|

|:Ffef dfcf|cfaf (dc)(BA)|1 Gg^fg dgBg|dgbg (fe)(dc):|2

[Fd]BBd [Fc]AAc|Ggbg (fe)(dc)||

                       

LADY BEHIND THE BOAT, THE ("An Bean Uasal Taob-air De'n Bad" or "An Bean Uasal Ar Cul An Baid"). Irish, Reel. D Major. Standard tuning. AA'B (O'Neill): AABB (Williamson). Source for notated version: Chicago policeman and fiddler Timothy Dillon [O’Neill]. O'Neill (Krassen), 1976; pg. 129. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1386, pg. 258. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/986; No. 630, pg. 114. Williamson (English, Welsh, Scottish and Irish Fiddle Tunes), 1976; pg. 78.

X:1

T:Lady Behind the Boat, The

M:C|

L:1/8

R:Reel

S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 630

Z:AK/Fiddler’s Companion

K:D

(3ABc|:d2 cA BFFE|DEFD EA, {B,(3A,G,A,|DEFc dfed|1 (3cBA Bc dfec:|2

(3cBA Bc d2||(3ABc|d2 dc dfed|c2 cB cedc|d2 dc dfed|

ecAc BABc|dfaf gfed|Beef ecAc|defd cdec|BABc dfec||

                       

LADY BEHIND THE WHEEL, THE. 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.

                       

LADY BELHAVEN('S). AKA and see “Miss McDonald{’s} [3],” “Miss Pensy MacDonald,” ”The Spinning Wheel [2].” Scottish, Reel. G Major/Mixolydian (Cole): G Mixolydian (Athole). Standard tuning. AB (Cole): AABB' (Athole). Cole (1000 Fiddle Tunes), 1940; pg. 44. Gow (The Beauties of Niel Gow), 1819 (appears as “"Miss Pensy Macdonald now Lady Balhaven's Reel"). Ryan’s Mammoth Collection, 1883; pg. 71.  Stewart-Robertson (The Athole Collection), 1884; pg. 178.

X:1

T:Lady Belhaven

M:C|

L:1/8

R:Reel

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

Z:AK/Fiddler’s Companion

K:G

c | BG G/G/G dBgd | BG G/G/G cA=FA | BG G/G/G dBga |

bfgd BGG :: f | e/f/g dg cgBg | A=ffc A=FFf |1 e/f/g dg cgBg |

Afgd BGG :|2 gefd ecdB | Agfa 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 |]

                       

LADY BELHAVEN'S DELIGHT. Scottish, Jig. A Major. Standard tuning. AAB. The tune is a jig setting of William Marshall's strathspey "Mrs. Hamilton of Wishaw’s Strathspey." Strathspeys can fairly easily be rendered as jigs by converting each bar into two 6/8 bars. It is curious, remarks Emmerson (1971), that there is little mention of such transformations in Scottish musical literature. Carlin (The Gow Collection), 1986; No. 339. Gow (Fourth Collection of Niel Gow’s Reels), 2nd ed., originally 1800; pg. 34.

X:1

T:Lady Belhaven’s Delight

M:6/8

L:1/8

N:”Slowish”
B:Gow – Fourth Collection of Niel Gow’s Reels (1800)

Z:AK/Fiddler’s Companion

K:A

E|A2A A2c|{c}B2G E2G|A2E c2A|(B3 B2)c|A2A A2F|~G2A Bcd|

“tr”F2B {A}GFE|A3 A2:||e|{g}a2e (ag)b|a2f {f}e2c|A2A “tr”c2e|f2B B2g|

a2e (ag).b|{g}a2f {f}e2c|E2E EFG|{G}A3 A (e/4f/4g/)|a2e (ag).b|{g}a2f {f}e2c|

A2A ~c2e|f2B Bcd|~c2e e2a|d2f f2b|(ec)A EFG|{G}A3 A2||

                       

LADY BELLE CATHERINE. AKA and see "La Belle Catherine."

                       

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

                       

LADY BETTY BOYLE. AKA and see “Betty Boyle.” Scottish, Reel. B Flat Major. Standard tuning. AAB. Composed by Robert "Red Rob" Mackintosh. John Glen (1891) finds the earliest appearance of the tune in print in Neil Stewart's 1761 collection and Robert M'Intosh's 1783 collection (pg. 32). Carlin (The Gow Collection), 1986; No. 432. Gow (Complete Repository), Part 3, 1806; pg. 32.

X:1

T:Lady Betty Boyle’s Reel

M:C|

L:1/8
R:Reel

S:Gow – 3rd Repository  (1806)

Z:AK/Fiddler’s Companion

K:Bb

d|B2 (D/E/F) (E/F/G) (F/G/A)|(B/c/d/e/) fB A(cc>)d|BfAf GBFB|EGFA BB,B,:|

f|(d/c/B) df gBfB|ecdB Accf|(d/c/B) Af eGFd|GcFA BB,B,f|

(d/c/B) df gBfB|(e/d/c) (d/c/B) A(cc>)d|ecGE dBFD|EGFA BB,B,||

                       

LADY BETTY COCHRANE [1]. Scottish, Reel. C Major. Standard tuning. AAB. John Glen (1891) finds the earliest printing of the tune in Robert Bremner's 1757 (pg. 72) and Daniel Dow's c. 1775 (pg. 4) collections, although it also appears in Neil Stewart’s 1775 collection. Bremner (Scots Reels), 1757; pg. 72. Kerr (Merry Melodies), Vol. 2; No. 99, pg. 13.

X:1

T:Lady Betty Cochran’s Reel [1]

M:C

L:1/8

R:Reel

S:Bremner – Scots Reels (1757)

Z:AK/Fiddler’s Companion

K:C

E | C/C/C CE GcGE | FDd^c dAA=c | GcEc GAca | g<c f>d ecc :|

e | c/c/c ec gcec | Gcec adde | c/c/c ec gcec | Gc (B/c/d) ecce | c2 (e/d/c) fc (e/d/c) |

Gc (e/d/c) adde | cdAc GAca | g<c f>d e>cc || 

 

LADY BETTY COCHRAN [2]. Scottish. John Glen (1891) finds the earliest appearence of the tune in print in Neil Stewart's 1761 collection (pg. 58) and Robert MacIntosh's 1783 collection (pg. 32).

                       

LADY BETTY COCHRANE'S MINUET. Scottish, Minuet. The melody appears in the Gillespie Manuscript of Perth (1768).

                       

LADY BETTY DOYLE. Scottish, Reel. B Flat Major. Standard tuning. AB. Surenne (Dance Music of Scotland), 1852; pg. 68.

X:1

T:Lady Betty Doyle

M:C

L:1/8

R:Reel

S:Surenne – Dance Music of Scotland, pg. 68  (1852)

Z:AK/Fiddler’s Companion

K:Bb

d | B2 (D/4C/2<F) (E/4F/2<G) (F/4G/2<A) | (B/c/d/e/) fB Acc>d | BfAf GBFB |

FGFA BB,B,d | B2 (D/4C/2<F) (E/4F/2<G) (F/4G/2<A) | (B/c/d/e/) fB Acc>d |

BfAf GBFB | FGFA BB,B, || f | (d/c/B) df gBfB | ecdB Accf | (d/c/B) Af eGFd |

GcFA BB,B,f | (d/c/B) df gBfB | e/d/c d/c/B Acc>d | eBGE dBFD | EGFA BB,B, ||

                       


LADY BETTY HAY. Scottish. Glen (1891) finds the earliest appearance of this tune in print in Robert Bremner's 2nd collection (pg. 106).

                       

LADY BETTY RAMSAY. Scottish. John Glen (1891) finds the earliest appearance of this tune in print in Daniel Dow's c. 1775 collection (pg. 16).

                       

LADY BETTY STANLEY’S MINUET.  The tune was written by Thomas Alexander Erskine, Viscount Fenton, Sixth Earl of Kelly, born at Kellie Castle in Fife in 1732 and familiarly known as “Fiddler Tam”. It honors the wife of Lord Stanley, a twenty-two year old aristocrat given to horse-racing and cock-fighting, and, like Kelly, fond of his pleasures.

                       

LADY BETTY WEMYSS. Scottish, Reel. C Major. Standard tuning. AAB. John Glen (1891) finds the earliest appearence of this tune in print in Robert Bremner's 1757 collection (pg. 21). James C. Dick (1903), in The Songs of Robert Burns, states that melodic material from “Lady Betty Wemmyss” and the strathspey “Stumpie/Stumpey.” cover the “same subject.” Glen (The Glen Collection of Scottish Dance Music), Vol. 1, 1891; pg. 11.

X:1

T:Lady Betty Wemyss

M:C

L:1/8

R:Reel

S:Glen Collection, vol. 1  (1891)

Z:AK/Fiddler’s Companion

K:C

EG c2 EG c2|(d/c/B/A/) cE D/D/D D2|EG c2 EG c2|(d/c/B/A/) cE C/C/C C2:|

g|egcg ecge|fag>e d/d/d dg|egcg ecge|fdge c/c/c cg|

egcg ecge|fag>e d/d/d dg|egde cdAc|GEcE C/C/C C||

           

LADY BETTY’S REEL.  Scottish, Reel. D Major. Standard tuning. AABB. Howe (1000 Jigs and Reels), c. 1867; pg. 130.

X:1

T:Lady Betty’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

(3.D/.D/.D/ (A/F/) D f/e/ | d/B/A/F/ E/D/E/F/ | (3.D/.D/.D/ (A/F/) D (f/d/) | B/c/d/e/ (f/d).d :|

|: e<f g/f/e/d/ | c/d/e/f/ g/f/e/g/ | f/d/c/d/ B/d/ A/F/ | A/d/e/g/ f/d/d/g/ | f/d/c/d/ B/d/ A/F/ |

G/B/A/F/ B/E/E/F/ | D/F/E/G/ F/A/G/B/ | A/d/e/g/ f/d/d :|

           

LADY BINNIE'S MINUET. AKA and see "Lady Sophie Hope's Minuet." Scottish, Minuet. Composed orginally by Robert Mackintosh as "Lady Sophie Hope's Minuet," c. 1771, but he changed the name to "Lady Binnie's Minuet" in 1779 when she married a peer. Such a name change helped inform the public of the match a young woman made, and helped keep her name in the public eye.

                       

LADY BINNING. Scottish, Strathspey. A Major. Standard tuning. One part (Kerr): AB (Surenne): AA'B (Athole, Gow, Skye). This may be the “Lady Binnie” recorded by fiddler William Craig on an Edison cylinder (#9893) early in the 20th century. Gow (Complete Repository), Part 4, 1817; pg. 23. Kerr (Merry Melodies), vol. 2; No. 5, pg. 4. MacDonald (The Skye Collection), 1887; pg. 9. Stewart-Robertson (The Athole Collection), 1884; pg. 9. Surenne (Dance Music of Scotland), 1852; pgs. 42-43.

X:1

T:Lady Binning

M:C

L:1/8

S:Strathspey

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

Z:AK/Fiddler’s Companion

K:A

(A/B/c B>A (ce c2|d>cB>A G<B E2|A/B/c B>A c<e c2|1 A/G/F/E/ F>G A2 A>B:|2

a/g/f/e/ f>g a2|| e/f/g|a>ef>e a>A d/c/B/A/|G>BE>B G>BE>g|a>ef>e a>A d/c/B/A/|

G/A/B E>G A2 A>g|a>ef>e a>Ac>A|G<BE<B G>BE>B|A<cB<d c<ed<f| a/g/f/e/ f>g a2 a z|]

X:2

T:Lady Binning

M:C

L:1/8

R:Strathspey

S:Surenne – Dance Music of Scotland, pgs. 42-43   (1852)

Z:AK/Fiddler’s Companion

K:A

e | d>c({c}B>)A (c<e) c2 | d>c({c}B>)A (G<B)E2 | d>c({c}B>)A (c<e)a>g | ({g}f>)ef>g a3e |

d>c({c}B>)A (c<e) c2 | d>c({c}B>)A (G<B)E2 | d>c({c}B>)A (c<e)a>g | ({g}f>)ef>g a3 ||

e | a>e (a/g/f/e/) a>ec>A | G>BE>B G>BE>e | a>e (a/g/f/e/) a>ec>A | G>BE>G A3e |

a>e (a/g/f/e/) a>ec>A | G>BE>B G>BE>B | A>cB>d c>ed>f | (a/g/f/e/) f>g a3 ||

                       

LADY BIRR. Irish, Reel. Green Linnet GLCD 1200, Lunasa – “Otherworld” (1999).

                       


LADY BLAYNEY (Bantiaghearna Blanadh). AKA - "Planxty Lady Blayney." Irish, Air (2/4 or cut time, "spirited"). C Major. Standard tuning. AB. Turlough O'Caroland composed this air which was recorded by the Belfast Northern Star of July 15th, 1792, as having been played by one of ten Irish harp masters at the last great convocation of ancient Irish harpers, the Belfast Harp festival, held that week. O'Sullivan's (1983) researches conclude that the Lady Blayney of O'Carolan's composition (for which there are no words extent) was Mary, daughter of William Caulfield (1st Earl of Charlemony) and Sarah Moore (herself the daughter of Charles Moore, Viscount Drogheda). Mary married the 6th Baron of Monaghan, Lord Blayney, in 1686 and outlived him (as well as her second husband, Arthur Dillon of Lismullen, Co. Meath), dying in 1724. She was buried alongside her first husband in the Chapel of Castle Blayney, which they built. Lord Blayney was one of the few Protestants who attended King James's Irish Parliament of 1689, but later fled to England. Upon King William's victory over the Catholic army Blayney's lands were restored, and he later became the Governor of Monaghan and Governor of Sligo, and was a member of the Irish House of Lords from 1692 until his death in 1705. Source for notated version: the Irish collector Edward Bunting noted the tune either from Rose Mooney or Charles Fannin, both harpers and both of whom he cites in either his MS or 1840 collections. Complete Collection of Carolan's Irish Tunes, 1984; No. 5, pg. 28. O'Neill (Krassen), 1976; pg. 243. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 693, pg. 127. O'Sullivan/Bunting, 1983; No. 61, pgs. 94-95.

X:1

T:Lady Blaney

T:Planxty Lady Blaney

M:2/4

L:1/8

R:Air

N:”Spirited”

S:O’Neill – Music of Ireland (1903), No. 693

Z:AK/Fiddler’s Companion

K:C

eg|g/a/g/f/|e/f/e/d/ cz|AA f/e/d/c/|B/c/A/B/ Ge/d/|cg e/f/g/e/|a/g/f/e/ dz|f/e/d/c/ Bc|

de Az|GA/G/ FG/F/|EF/E/ DC|{^c/}de/d/ {B/}=ce/d/|{A/}Bc/B/ AG|Gefe|dzA|

A/G/F/E/ {G/}F/E/D/C/|(c2 c)z||GG/E/ CG,|CE GE|A/G/A/F/ DA,|DF AF|

E/G/E/G/ G2|{E}F/A/F/A/ A2|{A}B/d/B/d/ d2|c/d/e/f/ g>f|eg g/a/g/e/|fc’ c’/b/c’/d’/|

c’ba A|GFE e|a/g/f/e/ dd|g/f/e/d/ cc|d/e/d/c/ B/c/B/A/|GG GA/B/|c/G/E/G/ c/G/E/G/|

c2 zB/c/|d/A/F/A/ d/A/F/A/|d2 zG/F/|EG cc/B/|Acfe|d/e/d/c/ c/B/A/B/|c2 cz||

                       

LADY BLEANY. See "Lady Blayney."

                       

LADY BOSWELL OF AUCHINLECK. Scottish, Slow Strathspey. B Flat Major. Standard tuning. One part. Composed by Nathaniel Gow (1763-1831). Auchinleck (often pronounced ‘affleck’) is a village in Ayrshire, home of the Boswell family, that included James Boswell (1740-1795), a lawyer and writer, famous for his journals and as the anamnesis of Dr. Samuel Johnson. Margaret Montgomerie. His son, Alexander Boswell (1775-1822), 1st Bart., a poet, songwriter and antiquary, came into his inheritance upon his father’s death. He died the year the Gow’s published “Lady Boswell” in their Sixth Collection (1822), killed in a duel by Mr. Stuart of Dunearn over a political dispute. Alexander fired purposely first into the air—Stuart did not. Among his songs are “Jenny’s Bawbee,” “Jenny danged the weaver” and “Paddy O’Rafferty,” all also famous fiddle tunes. The title “Lady Boswell of Auchinleck” refers to Alexander’s wife, Grace, daughter of Thomas Cumin, Esq,, an Edinburgh banker. Gow (Sixth Collection of Strathspey Reels), 1822; pg. 8. Hunter (Fiddle Music of Scotland), 1988; No. 171.

X:1

T:Lady Boswell of Auchenleck

M:C

L:1/8

R:Strathspey

N:”Slowly”

C:Nathaniel Gow (1763-1822)

B:Gow – Sixth Collection of Strathspey Reels  (1822)

Z:AK/Fiddler’s Companion

K:Bb

(B,FD).B (G/F/E/D/) C2|BFDd BFBd|f>d Bd BD C2|B,D FB/c/ d>B, D<B|(B,FD).B (G/F/E/D/) C2|

(B,FD).d BF Bd|f>d Bd BD C>D|B,D FB/c/ (d/c/B/A/) B>g||(fb) (df) (e/d/c/B/) c2|fbdb Bbdb|

fb dg (e/d/c/B/ c>d|.B(c/d/) G>B (F/G/)(E/F/) D>g|fbdf (e/d/c/B/) c>g|fbd(g f)(de)(c|d)(Bc)A BD C2|B,D FB/c/ d>B, D<B||

                       

LADY BOWERS’ REEL. Irish, Reel. A Dorian. Standard tuning. AA’BB. Source for notated version: Rose Anne Murphy [Treoir]. Treoir.

X:1

T:Lady Bowers' Reel

S:"Treoir" (source: Rose Anne Murphy)

Z:D. Baker

M:4/4

L:1/8

R:reel

K:Ador

dB|:A2 EA (3ABA EA|ABcd edcA|G2 DG G2 DG|(3GGG BG DGBG|

A2 EA (3ABA EA|ABcd ecdB|ABcd e2 (3BBB|1 BAGA BdgB :|2 BAGA BAAe ||

a2 ea abea|(3aaa ed ^cdef|g2 dg Bgdg|gfga bgeg|

a2 ea abea|(3aaa ed ^cdef|gfga bgaf|(3gfe dB BA A2 :|

                       

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

                       

LADY BOYES' RANT. English, Reel or Rant. England, Northumberland. G Major. Standard tuning. AABB'. Seattle (William Vickers), 1987, Part 2; No. 334.

                       

LADY BROMES. Scottish, Strathspey. C Minor. Standard tuning. AB. Composed by Robert MacIntosh. "Viscount Brome courtesy title of the eldest son of the Marquis of Cornwallis (Skye)." MacDonald (The Skye Collection), 1887; pg. 194.

X:1

T:Lady Bromes

M:C

L:1/8

R:Strathspey

S:MacDonald – Skye Collection  (1887)

Z:AK/Fiddler’s Companion

K:Eb

G|E<C c>=B c>CC>E|D<B, d>c B>B,B,>D|E<CG<c =B>df>a|g>fe>d e<c c>G|

E<C c>=B c>CC>E|D<B, d>c B>B,B,>D|E<C F>D G>EA>F|G<g d>f ecc||

d|(e/d/c) G>c E>cG>c|B<f d>f b>fd>B|(c/d/e/c/) G>c E>cG>c|=B>dG>g e<c c>d|

(e/d/c) g>c G>cE>c|(B/c/d/e/) fd bBdf|g>e d<c a>ge>d|(3gag (3fed (3ecc||

 

LADY BRUCES REEL. English, Reel. G Major. Standard tuning. AABB. Huntington (William Litton's), 1977; pg. 17.

 

LADY BURNSIDE'S BIRTHDAY. Scottish, Strathspey. C Minor. Standard tuning. AAB. The melody appears in Charles Duff's collection of c. 1790. Glen (The Glen Collection of Scottish Dance Music), vol. 1, 1891; pg. 42. Stewart-Robertson (The Athole Collection), 1884; pg. 271.

X:1

T:Lady Burnside’s Birth-Day

M:C

L:1/8

R:Strathspey

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

Z:AK/Fiddler’s Companion

K:Cmin

G|c<c c>G E3G|B<B B>F D<F F>G|c<c c>G E<G G>g|e>c e/d/c/=B/ c2c:|

G|c<ce<c g<ce<c|B<Bd<B f<Bd<f|c<ce<c g<ce<f|g>e fe/d/ c2 c>G|

c<ce<c g<c e/f/g/e/|B<Bd<B f<B d/e/f/d/|g>ef>d e>cd>B|G>c e/d/c/=B/ c2c||

 

LADY CAMPBELL'S DELIGHT. AKA and see "Lucy Campbell's Reel." English, Reel or Strathspey. D Major. Standard tuning. AABBCCDD. There were a several Lady Campbells who to whom the title might apply. She was perhaps Elizabeth Campbell, daughter of William Campbell of Ayr. In 1803 she married Lord John (Edward Douglas Henry) Campbell, a Whig politician who became the 7th Duke of Argyll in 1839. Elizabeth was by that time long dead, having passed away in 1818, without issue. Or, perhaps Susan Mary Murray, wife of Sir Illay Campell of Succoth, 1st Bart. Huntington (William Litton's), 1977; pg. 17. McGlashan, A Collection of Strathspeys, Reels..., 1780; No. 1, pg. 2.

 

LADY CARBURY. AKA and see "The Mason's Apron," "The Mason Laddie," “Miss Carbery’s Reel,” "Carton's Reel," "Gallagher's," "Wake Up Susan [1]." Irish, Reel. A Major. Standard tuning. AB. Huntingdon prints the tune as “Miss Carbery’s Reel” from William Litten’s manuscript collection, compiled in the latter part of the 19th century. Source for notated version: c. 1889 from "Mr. M. Flanagan of the Hibernian Military School, Phoenix Park, Dublin, a good player of the Union pipes. Mr. Flanagan picked them up in North Kildare" (Joyce). Joyce (Old Irish Folk Music and Song), 1909; No. 357, pgs. 164‑165.

X:1

T:Lady Carbury

M:C

L:1/8
R:Reel

S:Joyce – Old Irish Folk Music and Songs (1909), No. 357

Z:AK/Fiddler’s Companion

K:A

ed|cAAA ABAF|EFAB c2 BA|dBBB BcBA|Bcde fefg|aAAA ABAF|

EFAB c2 BA|dcde fgaf|edcB A2||e|cAeA fAeA|ceag fedc|dBfB gBaB|

dfba gfed|cAeA fAeF|EFAB c2 BA|dcde fgaf|edcB A2||

                       

LADY CARMICHAEL (OF CASTLE CRAIG). Scottish, Strathspey or Schottische. C Major (Athole, Gow): D Major (Kerr). Standard tuning. AAB. Composed by John Gow (1764-1826), the youngest son of Niel Gow of Inver, near Dunkeld, Perthshire, who was named for Niel’s father, John, a plaid weaver. John went to London in 1788 and established a publishing and music-selling firm with his brother Andrew.  They were the English distributor for Nathaniel Gow’s publications. Lady Carmichael, in Gow’s time, was Janet Grant, the eldest daughter of William Grant, Lord Prestongrange, Lord Advocate of Scotland in the very middle of the 18th century. She married John Carmichael Esq. (1710-1787) of Castle Craig in 1749. Carmichael succeeded his cousin to an earldom and was installed as the 4th Earl of Hyndford in 1767, making Janet the Countess of Hyndford. The couple remained childless, and, after John died, Janet (then the “Dowager Countess of Hyndford”) continued to live in her childhood home of Prestongrange which she and her husband had inherited from her father. She died in 1818. Carlin (The Gow Collection), 1986; No. 84. Gow (Fifth Collection of Strathspey Reels), 1809; pg. 18. Kerr (Merry Melodies), vol. 1; Set 1, No. 5, pg. 3. Stewart-Robertson (The Athole Collection), 1884; pg. 63. Topic 12TS381, The Battlefield Band ‑ "At the Front" (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:Lady Carmichael

M:C|

L:1/8

R:Strathspey

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

Z:AK/Fiddler’s Companion

K:C

G|c>de>c AcG2|A/B/c G>e d>^cd>e|c>de>c A>c G2|A/B/c G>e d2c:|

G|c>de>f g<c e2|f>de>c dcAd|c>de>f g<c e2|f>de>c d2c2|

c>de>f g<c e>g|f<a e<g d>cd>e|c>ed>f e>gf>a|g<c f>e d2 c2||

X:2

T:Lady Carmichael of Castle Craig’s Strathspey

M:C

L:1/8

R:Strathspey

C:John Gow (1764-1826)

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

Z:AK/Fiddler’s Companion

K:C

“tr”c>d ec A<c G2|A<c G>e “tr”d>c de|”tr”c>d ec A<c G2|A<c G>e {e}”tr”d2c2:||

“tr”c>d ef g<c e2|f>d e>c “tr”d>c Ad|”tr”c>d ef g<c e2|f>d e>c “tr”d2 c2|

“tr”c>d ef g<c e2|f<a e<g “tr”d>cde|c<ed<f e<gf<a|g<ef>e {e}”tr”d2c2||           

 

LADY CARMICHAEL OF CASTLE CRAIG’S FAVORITE.  Scottish, Strathspey. G Major. Standard tuning. AAB. Another composition by John Gow for Lady Carmichael (see above). Gow (First Collection of Niel Gow’s Reels), 1784 (revised 1801); pg. 31.

X:1

T:Lady Carmichael of Castle Craig’s Favorite

M:C

L:1/8

R:Strathspey

N:”Slow”

S:Gow – First Collection of Niel Gow’s Reels (1784, revised 1801)

Z:AK/Fiddler’s Companion

K:G

B/>A/|(A/G/)(F/E/) DE/4F/4 .G.E.B,.C|(B,/D/)g/a/ B/G/c/>B/ AA,A, B/A/|(A/G/).F/.E/ DE/F/ GED>C|(B,/D/)G/A/ B/>c/A/>B/ GG,G,:||

d/c/|”tr”(B/A/B/)c/ ~d>e d(c/B/c/) ~d>e|(d/g/)(b/a/) (g/d/)(e/B/) (c/A/)(E/A/) (G/F/)(E/D/)|”tr”(B/A/B/)c/ ~d>e d/(c/B/c/) ~d>e|

(d/b/)(d/f/) (d/e/).A/.c/ BGG d/c/|”tr”B/A/B/c/ ~d>e d/(c/B/c/) ~d>e|(d/g/)(b/a/) (g/f/)(e/^d/) eEE B/>A/|

(A/G/)(F/E/) DE/F/ .GED>C|(B,/D/)G/A/ B/>c/A/>B/ GG,G,||

 

LADY CAROLINE BIRTITLE. English, Reel. D Major. Standard tuning. ABCC. Kennedy (Traditional Dance Music of Britain and Ireland: Reels and Rants), 1997; No. 90, pg. 23.

 

LADY CAROLINE LEE WALTZ. English, Waltz. D Major. Standard tuning. AABBCC. The tune is contained in the 19th century Joseph Kershaw Manuscript. Kershaw was a fiddle player who lived in the remote area of Slackcote, Saddleworth, North West England, who compiled his manuscript from 1820 onwards, according to Jamie Knowles. It is also found in Ann Winnington’s music manuscript book, c. 1810 (No. 27). The inscription inside the front cover of her book indicates she lived in New York. 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]. The Joseph Kershaw Manuscript, 1993; No. 51. Sumner (Lincolnshire Collections, vol. 1: The Joshua Gibbons Manuscript), 1997; pg. 80 (originally set in the key of ‘C’ major in the ms.).

X:1

T:Lady Caroline Lee’s Waltz

M:3/8

L:1/8

R:Waltz

S:Ann Winnington’s music manuscript (New York, c. 1810)

Z:AK/Fiddler’s Companion

K:D

G | F/G/AA | B/c/dd | E/F/GG | F2A | f/e/d/c/B/A/ | dfa | ABc | d2 :|

|: a | a/g/ee | e/c/AA | a/f/dd | A/d/fa | a/g/ee | e/c/AA | d/c/d/f/e/c/ | d2 :|

A | A>GF | dcd | B^AB | G2E | F>GA | AGF | {F/}EDE | F2A | A>GF |

dcd | B^AB | G2E | F>GA | AGF | {F/}EDE | D2 ||

                       


LADY CAROLINE MONTAGUE. Scottish, March or Strathspey. C Major. Standard tuning. AB (Kerr): AAB (Athole, Gow, Skye). Composed by Nathaniel Gow (1763-1831). Lady Caroline Montagu-Scott (1774-1854) was the 3rd daughter of Henry, 3rd Duke of Buccleugh and Queensbury. In 1803 she married Charles Douglas (b. 1777), Marquis and Earl of Queensbury, with whom she had eight children. Carlin (The Gow Collection), 1986; No. 85. Gow (Fourth Collection of Niel Gow’s Reels), 2nd ed., originally 1800; pg. 7. Two famous portraits exist of her, the first by Sir Joshua Reynolds painted when she was but a child, standing in the snow with her hands in a muff; and the second in 1831, by Sir George Hayter. Henderson (Flowers of Scottish Melody), 1935. Kerr (Merry Melodies), vol. 3, pg. 14. MacDonald (The Skye Collection), 1887; pg. 107. Stewart-Robertson (The Athole Collection), 1884; pg. 73. Rounder 7020, Alex Francis MacKay – “Lifelong Home” (199?).

X:1

T:Lady Caroline Montague

M:C

L:1/8

R:Strathspey or March

Z:AK/Fiddler’s Companion

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

K:C

e/f/|g<c e>d c2 Ge/f/|g>ce>c B<dde/f/|g>ca>c g>ce>c|A/B/c B/c/d G<cc:|

E|C>EG>c A/B/c G>c|C<c e>c B<d d>e|C>EG>c A/B/c G>c|A/B/c B/c/d G<c c>E|

C>EG>c A/B/c GF|E/G/c/e/ g>c B<d d>e|(3cef (3geg (3afa (3geg|(3fdc (3Bgf e<cc||

 

LADY CAROLINE STANHOPE’S BIRTHDAY.  English, Country Dance Tune (cut time). E Major. Standard tuning. AABB. The melody was first published in London publisher David Rutherford’s Compleat Collection of 200 Country Dances, vol. 2 (1760). Lady Caroline Stanhope (1747-1767) was the eldest daughter of William, 2nd Earl of Harrington, and her birthday was March 11th. If the tune was composed in the year Rutherford printed his collection, then it was in honor of her thirteenth birthday. In 1765 she married Kenneth MacKenzie, 1st Earl of Seaforth, but even as she did so, she became ill with consumption (tuberculosis), from which she died at age twenty. She gave birth to an only daughter, also Lady Caroline, in July,1766. Thompson (Compleat Collection of 200 Favourite Country Dances, vol. 2), 1765; No. 196.

X:1

T:Lady Caroline Stanhope’s birthday

M:C|

L:1/8

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

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

Z:abc’s:AK/Fiddler’s Companion

K:E

E2 GEBE c2|Bdec BAGF|E2 GEBE c2|Bc/d/ eA GF E2:|

|:B2 dBfd a2|gf/e/ de fedc|B2 dBfd a2|gfed e2E2:||

 

LADY CASSILIS'/CALLILLES LILT. AKA and see "Johnnie Faa." Scottish, Reel. From the Scottish Skene Collection, a mandora book, c. 1615-1620. Robin Williamson notes that Lady Cassilis famously eloped with a handsome gypsy, which act was immortalized in a much-diseminated and popular ballad family under such names as 'Johnie Faa,' 'The Raggle Taggle Gypsies,' and (in America) 'Black Jack David.' He relates there is some doubt as to the event's historical accuracy, but that even the earliest versions agree as to her name. The melody became the basis for a host of popular ballads of various sorts, including Cazden's (et al, 1982) Catskill Mountain (New York) collected "The Ship's Carpenter," several Child ballads and many others, including American shape-note hymns. Flying Fish Records, FF358, Robin Williamson ‑ "Legacy of the Scottish Harpers, vol. 1" (melody from the Skene).

 

LADY CATHCART OF EARLSTON. Scottish. John Glen (1891) finds the earliest appearance of this tune in print in John Riddell's 1782 collection (pg. 21).

 

LADY CATHERINE OGLE. AKA and see "Katharine Oggle/Og(g)ie".

 

LADY CATHERINE STEWART. AKA and see "The Haughs O' Cromdale." AKA – “Lady Catherine Stuart,” “Miss Catherine Stewart.” Scottish, Slow Strathspey. E Dorian (Gow, Johnson, Mackintosh): E Minor (Skinner). Standard tuning. AAB. See note for “Haughs O’ Cromdale” for more on the variants of this tune family. There were several Lady Catherine Stewarts to whom the title may refer. One was the daughter of the 6th Earl of Galloway who married her cousin, James Murray of Broughton, in 1752. Murray was a Member of Parliament for Wigtownshire. He deserted Catherine to elope with Grace Johnston, who happened to be his niece. A man of wealth, Murray suffered no consequences due to this action and kept his association with his wife’s family, one of whose relations he supported in an election at the time. Another Lady Catharine Stewart was the daughter of John, 7th Earl of Galloway, who married Sir James Graham (1st Baronet of Netherby) in 1782. She died in 1836. Aird (Selection of Scotch, English, Irish and Foreign Airs, vol. 6), 1803; pg. 7. Carlin (The Gow Collection), 1986; No. 86. Gow (First Collection of Niel Gow’s Reels), 1784 (revised 1801); pg. 17. Hardie (Caledonian Companion), 1992; pg. 102. S. Johnson (A Twenty Year Anniversary Collection), 2003; pg. 35. Robert McIntosh (4th Book of New Strathspey Reels), 1804; pg. 20. Skinner (Harp and Claymore), 1904; pg. 64. Skinner (The Scottish Violinist), pg. 12.

X:1

T:Lady Catherine Stewart

T:Haughs o’ Cromdale

M:C

L:1/8

S:Skinner – Scottish Violinist

Z:AK/Fiddler’s Companion

K:Emin

({^d}e)|B<E B>A B>A F>A|B<E E>F [DD>]EF>A|B<E B>A B>AF>A|({B}d>)B ({B}A>)F {F}(E2 .E>)F:||

F|[DD>]dd>e (d/^c/).B/.A/ ({^c}d) z | F<(A A>)B ({B}A>)F ({F}A2)|B<(e e>)f|g>f ({f}e>)d|({B}d>)B ({B}A>)F {F}(E2 .E>)F|

[DD>]dd>e (d/^c/).B/.A/ d2|F<A A>B ({B}A>)F ({F}A2)|B<(e e>f g>f ({f}e>)^d|eb (b/a/).g/.f/ {f}(e2 e)||

X:2

T:Lady Catharine Stewart’s

M:C

L:1/8

R:Strathspey

S:Gow – The First Collection of Niel Gow’s Reels (1784)

Z:AK/Fiddler’s Companion
K:Edor

e|B<E “tr”E>F B>AFA|B<E “tr”E>F D>E{DE}FA|B<E “tr”E>F ~B>AFA|”tr”B^c/d/ (B/A/).G/.F/ “tr”E2E:||

F|D(d”tr”d>)e (d/^c/).B/.c/ d2|(FA)A>B {B}AG/F/ A2|B(e e)f/g/ {g}fe/^d/ e2|(B/A/B/).d/ (B/A/G/F/) “tr”E2 E>F|

D(d”tr”d>)e (d/^c/)B/c/ d2|(F(AA>)B {B}AG/F/ A2|E(ee>)f g>ef>d|B>d{B}AG/F/ E2E||

 

LADY CAWDOR'S. Irish, Slip Jig. D Major. Standard tuning. AABB. Cole (1000 Fiddle Tunes), 1940; pg. 52. Kennedy (Fiddler’s Tune Book: Slip Jigs and Waltzes), 1999; No. 38, pg. 9. Ryan’s Mammoth Collection, 1883; pg. 80.

X:1

T:Lady Cawdor’s

M:9/8

L:1/8

R:Slip Jig

S:Ryan’s Mammoth Collection (1883)

Z:AK/Fiddler’s Companion

K:D

(A2.A) (d2.d) (c2.A) | (B2.A) Bcd E3 | (A2.A) (d2.d) (c2.A) | Bcd edc d3 :|

|: (f2.d) fga (a2.f) | ecA ecA (A2.g) | (f2.d) fga (a2.f) | bge cAc d3 :|

 

LADY CHARLOTTE BRUCE. Scottish, Strathspey. A Major. Standard tuning. AAB. Composed by William Shepherd (d. 1812), a partner of Nathaniel Gow's (1763-1831) in their Edinburgh music‑publishing business who also published collections independently. Glen (The Glen Collection of Scottish Dance Music), vol. 2, 1895; pg. 5. Hunter (Fiddle Music of Scotland), 1988; No. 130.

X:1

T:Lady Charlotte Bruce

M:C

L:1/8

R:Strathspey

S:Glen Collection, Vol. 2  (1895)

Z:AK/Fiddler’s Companion

K:A

E|ABcA e>cA>E|FB/c/ d/c/B/A/ G>BB>c|A>BcA e>cA>E|FB/c/ B/A/G/F/ EAA:|

c|A>ce>c a>ce>c|fdeA GBBc|A>ce>c a>ce>c|f>de>E F>AA>c|A>ce>a a/g/f/g/ ae|

f>dcA B/A/G/F/ E/D/C/B,/|CADB EcFd|d/c/B/A/ G/F/E/D/ CA,A,||

 

LADY CHARLOTTE BRUCE'S FAVORITE. Scottish, Slow Jig or Pastoral Air. F Major. Standard tuning. AAB. Composed by Nathaniel Gow (1763-1831), first appearing in his Third Collection of Strathspey Reels (1792). Lady Charlotte Matilda Bruce (1771-1816) was the third daughter of Charles 5th Earl of Elgin and Kincardine, and sister to Lord Elgin. In 1799 she married Admiral Sir Philip Durham (1763-1845), later a Member of Parliament for Devizes. Durham commanded HMS Defiance at the Battle of Trafalgar, and was a friend of Nelson and Collingwood. Charlotte died without issued in February, 1816. Carlin (The Gow Collection), 1986; No. 340. Gow (Third Collection of Niel Gow’s Reels), 1792; pg. 2 (3rd ed.). Hardie (Caledonian Companion), 1986; pg. 37. RSCDS 13, Ron Gonella – “Music for Eight Scottish Country Dances” (1983).

X:1

T:Lady Charlotte Bruce’s Favorite

M:6/8

L:1/8

R:Slow Air

B:Gow – 3rd Collection of Niel Gow’s Reels, 3rd ed., pg. 2  (orig. 1792)

Z:AK/Fiddler’s Companion

K:F

B|A2c (A/B/c).A|”tr”B2d G2B|A2B {d}cAF|”tr”E2F G2B|A2c (A/B/c).A|

“tr”B2d GAB|(cA).F (BG).E|[C3F3\ [C2F2]:||f|(e/f/g)e f2c|”tr”d2e f2a|

{a}gfg a2f|”tr”e2f g2a|(e/f/g)e f2c|{B/c/}d2B Acf|(cA).F (BG).E|[C3F3] [C2F2]f|

(e/f/g)e f2c|d2e f2a|{a}gfg a2f|e2f (ga)b|afc “tr”d>ef|{d}cBA B>cd|(cA).F (BG).E|[C3F3][C2F2]||

 


LADY CHARLOTTE CAMPBELL('S) [1]. AKA ‑ "Lady Charlotte Campbell's New Strathspey." Scottish, Strathspey. B Flat Major (most versions): C Major (Surenne): A Major (Johnson). Standard tuning. AB (Surenne): AAB (most versions). One of the enduring compositions by Robert MacIntosh (see note for "Lady Charlotte Campbell's Reel"). See note for “Lady Charlotte Campbell(’s Reel) [2],” below, for more on title. Sources for notated versions: an 1845-47 music manuscript by Ellis Knowles, a musician from Radcliffe, Lancashire, England, where it appears as an untitled hornpipe, albeit in strathspey rhythm [Plain Brown]; Hector MacAndrew [Martin]. Alburger (Scottish Fiddlers and Their Music), 1983; Ex. 45, pg. 68 (appears as "Lady Charlotte Campbell's New Strathspey"). Glen (The Glen Collection of Scottish Dance Music), vol. 2, 1891; pg. 26. Johnson (The Kitchen Musician's No. 10: Airs & Melodies of Scotland's Past), 1992 (revised 2001); pg. 9. MacDonald (The Skye Collection), 1887; pg. 190. Martin (Traditional Scottish Fiddling), 2002; pg. 136. Plain Brown Tune Book, 1997; pg. 19 (appears as an untitled hornpipe). Stewart-Robertson (The Athole Collection"), 1884; pg. 282. Surenne (Dance Music of Scotland), 1852; pgs. 84-85. Topic 12ST266, Alex Green – “Caledonian Companion” (1975).

See also listings at:

Alan Snyder’s Cape Breton Fiddle Recording Index

X:1

T:Lady Charlotte Campbell’s Reel [1]

M:C

L:1/8

R:Strathspey

S:MacDonald - Skye Collection  (1887)

Z:AK/Fiddler’s Companion

K:Bb

F/E/|D<F F>B E<G Gc/B/|A>cf>e d<bB<f|D<F F>B E<G Gc/B/|(A/B/c) F>e dBB:|

a|b>BA>a g>GF>f|e>c e/d/c/B/ A<c c>a|b>Ba>B g>Bf>B|(A/B/c) (Fe) dBBa|

b>BA>a g>GF>f|e>c e/d/c/B/ Ac cB/A/|G>BF>B E>BD>F|(E/F/G) F>E DB,B,||

X:2

T:Lady Charlotte Campbell [1]

M:C
L:1/8

R:Strathspey

S:Surenne – Dance Music of Scotland, pgs. 84-85  (1852)

Z:AK/Fiddler’s Companion

K:C

G/F/ | (E<G)(G<c) (F<A) Ad/c/ | (B<d)g>f (e<c’)(c<g) | (E<G)(G<c) (F<A) Ad/c/ | (B/4c/2<d) G<f (e<c) cG/F/ |

(E<G)(G<c) (F<A) Ad/c/ | (B<d)g>f (e<c’)(c<g) | (E<G)(G<c) (F<A) Ad/c/ | (B/4c/2<d) G<f (e<c)c || b |

c’>cB>b a>AG>g | f>d (f/e/d/c/) (B<d)d>b | c’>cB>c a>cg>c | (B/4c/2<d) G>f (e<c)c>b |

c’>cB>b a>AG>g | f>d (f/e/d/c/) (B<d) dc/B/ | A>cG>c F>cE>G | (F/4G/2<G) G>F (E<C)C ||

 

LADY CHARLOTTE CAMPBELL('S REEL) [2]. AKA – “Lady Charlotee Campbell’s New Reel.” Scottish, Reel. B Flat Major (most versions): C Major (Surenne). Standard tuning. AB (Surenne): AAB (most versions). Composed by Robert Mackintosh (c. 1745-1807). Mackintosh or MacIntosh was probably from Niel Gow's village of Inver, but settled in Edinburgh at least by 1773, becoming part of the Music Society group of professionals. He composed classical music, but his lasting legacy was his Scottish fiddle compositions (Alburger, 1983). The melody is a companion reel to his "Lady Charlotte Campbell's Strathspey [2]." The great Scots fiddler-composer, J. Scott Skinner, made his opinion known with a note appended to the tune in his Harp and Claymore collection (1904): “The finest Reel in B flat extant.” It also appears in musician and dancing master Isaac Cooper of Banff’s (b. 1755-d. 1810 or 1811, although sometimes the year is given as 1820) Collection of Strathspeys, Reels and Irish Jigs for the Piano-Forte & Violin to which are added Scots, Irish & Welch Airs Composed and Selected by I. Cooper at Banff (London, Edinburgh, c. 1806).

***

Lady Charlotte Maria Campbell (1775-1861) was the daughter of John, the 5th Duke of Argyll, and was a Lady-in-Waiting to Caroline, Princess of Wales. She received the name of Charlotte from king George III’s queen, who was her godmother, and that of Maria in memory of her aunt, Lady Coventry. A beautiful and gifted woman, she was a famous hostess and had a passion for letters, befriending Lord Byron and Sir Walter Scott, among others. She herself wrote a number of romantic novels but is best known for her anonymous Diary Illustrative of the Times of George IV, 1838. She was also the object of the affections of Matthew Gregory “Monk” Lewis, gothic author and playwright, who dedicated his Tales of Terror (1799) to her (see note for “Timour the Tartar” for more on Lewis). Lady Charlotte has also been described as a friend and encourager to both Lewis and Scott. However, she married, in 1796, Colonel John Campbell (d. 1809) of Shawfield. In addition to her literary leanings, Lady Charlotte was a woman of fashion, who in 1793 introduced the clinging high-waisted dress “imitating the drapery of pictures and with the breasts lightly covered or left bare.” To enhance the “look,” sometimes women would add pads on the stomach beneath the bust for the merest ‘suggestion of pregnancy’, or rather, a signalling of fecundity. Charlotte was musical—she played the harp—and evidently appreciated her native music, for a note in the Gows’ Fourth Collection (1800) for the tune “Maid of Isla” reads: “I am indebted to Col. & Lady Charlotte Campbell for this beautiful tune.” Charlotte inherited good looks from both sides of her family. Her father, the handsome John, 5th Duke of Argyll, was himself the son of the beautiful Mary Bellenden, while her mother Elizabeth was one of the celebrated Gunning sisters, among the most beautiful women of their time (see “Miss Gunning’s Fancy). Croker remarked in his manuscript:

***

Lady Charlotte Campbell was thought by the best-judging of her contemporaries the most

beautiful creature ever seen. I saw her in 1801, still magnificent, whole theatres turning

round to look at her.

***

Lady Charlotte Susan Campbell (about 1802), by Archibald Skirving.

***

Source for notated version: Hector MacAndrew [Martin]. Alburger (Scottish Fiddlers and Their Music), 1983; Ex. 46, pg. 68. Carlin (The Gow Collection), 1986; No. 505. Glen (The Glen Collection of Scottish Dance Music), vol. 2, 1891; pg. 26. Gow (Complete Repository), Part 2, 1802; pg. 31. Hunter (Fiddle Music of Scotland), 1988; No. 267 (arranged by James Hunter). Johnson (A Twenty Year Anniversary Collection), 2003; pg. 7 (from the I. Cooper collection). Kerr (Merry Melodies), vol. 2; No. 209, pg. 23. MacDonald (The Skye Collection), 1887; pg. 190. Martin (Traditional Scottish Fiddling), 2002; pg. 136. Skinner (The Scottish Violinist), pg. 15. Skinner (Harp and Claymore), 1904; pg. 126.  Stewart-Robertson (The Athole Collection), 1884; pg. 282. Surenne (Dance Music of Scotland), 1852; pg. 85. Topic 12ST266, Alex Green – “Caledonian Companion” (1975).

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:Lady Charlotte Campbell [2]

M:C

L:1/8

R:Reel

B:Glen Collection  (1891)

Z:AK/Fiddler’s Companion

K:B_

F|B3f dBfd|edcB AFcA|B2 bf dBfB|AFec dBB:|

d|f2 (db) g2 (Ee)|c2 (Aa) f2 (Dd)|B2 (Gg) edcB|AFec dBBf|

dBba gfed|cAag fedc|BGgf edcB|AFec dBB||

X:2

T:Lady Charlotte Campbell [2]

M:C

L:1/8

R:Reel

S:Surenne – Dance Music of Scotland, pg. 85  (1852)

Z:AK/Fiddler’s Companion

K:C

G | c3g ecge | fedc BGdB | c2 c’g ecgc | BGfd eccG | c3g ecge | fedc BGdB |

c2 c’g ecgc | BGfd ecc || e | g2 c>c’a2 fe | d2 B>b g2ed | c2 A>a fedc |

BdGf eccg | ecc’b agfe | dBba gfed | cAag fedc | BGfd ecc ||

 

LADY CHARLOTTE CAMPBELL'S STRATHSPEY [1]. Scottish, Strathspey. G Major. Standard tuning. AB (Surenne): AAB (Glen, Gow, Hunter): AABB' (Athole, Kerr). One of the 197 compositions claimed by Nathaniel Gow (1763-1831), and one which "shows Nathaniel at his best" (Emmerson, 1971). Collector John Glen (1895) agrees, listing it among those of Gow's "exceedingly good melodies." See note for “Lady Charlotte Campbell(’s Reel) [2],” above, for more on person of title. Source for notated version: Winston Fitzgerald (1914-1987, Cape Breton) [Cranford]. Carlin (The Gow Collection), 1986; No. 87. Cranford (Winston Fitzgerald), 1997; No. 166, pg. 66. Glen (The Glen Collection of Scottish Dance Music),vol. 2, 1891; pg. 16. Gow (3rd Collection of Niel Gow’s Reels), 1792; pg. 19 (3rd ed.). Henderson (Flowers of Scottish Melody), 1935. Hunter (The Fiddle Music of Scotland), 1988; No. 79. Kerr (Merry Melodies), vol. 2; No. 106, pg. 14. Stewart-Robertson (The Athole Collection), 1884; pg. 173. Surenne (Dance Music of Scotland), 1852; pgs. 30-31. Philo FI 2018, "Jean Carignan Plays the Music of Coleman, Morrison & Skinner." “The Caledonian Companion” (1975). Rounder 7059, Alex Francis MacKay with Gordon MacLean – “Gaelic in the Bow” (2005).

X:1

T:Lady Charlotte Campbell [1]

M:C

L:1/8

R:Strathspey

Z:AK/Fiddler’s Companion

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

K:G

c|d>cB>G A<c B>c|d>cB>G E>AF>D|d>cB>G A<c B>d|e>cA>F G>AB>c:|

|:g/f/g/a/ g>d B>gd>g|a/g/f/e/ f>g a<A A>d|1 g/f/g/a/ g>d B>gd>g|e>cA>F G2 G>d:|2 g>db>f g>de>c|B<d D>F G>AB>c||

X:2

T:Lady Charlotte Campbell’s Strathspey

M:C

L:1/8

R:Strathspey

C:Nathaniel Gow

B:Gow – 3rd Collection of Niel Gow’s Reels, 3rd ed., pg.19  (orig. 1792)

Z:AK/Fiddler’s Companion

K:G

c|({B/c/}d>)cBG Ac”tr”B>c|{B/c/}d>cBG EAFD|{B/c/}d>cBG Ac Bc/d/|ecAF “tr”G2G:||d|

g/f/g/a/ gd Bgdg|{a}gf/e/ “tr”f>g aAAf|(g/f/g/a/) gd BgdB|e>cAF {F}G2 G,d|

g/f/g/a/ gd Bgdg|{a}gf/e/ “tr”f>g aAAf|gdbf gdec|BdDF G/F/G/A/ B/A/B/c/||

 

LADY CHARLOTTE CAMPBELL'S STRATHSPEY [2]. Scottish, Slow Strathspey. B Flat Major. Standard tuning. AAB (Gow, Hunter, Skye): AABB' (Kerr). Composition of the tune is credited to Robert 'Red Rob' MacIntosh (b. 1745), who published the tune in 1793 (and who undoubtedly acquired his nickname because of having red hair). The Gows republished the melody in their Repository (Part Second), 1802, under the same title but without crediting MacIntosh. The companion reel is "Lady Charlotte Campbell's Reel." It is one of MacIntosh’s more popular melodies among Cape Breton fiddlers. Source for notated version: Winston Fitzgerald (1914-1987, Cape Breton) [Cranford]. Carlin (Gow Collection), 1986; No. 506. Cranford (Winston Fitzgerald), 1997; No. 111, pg. 46. Hunter (Fiddle Music of Scotland), 1988; No. 173. Kerr (Merry Melodies), vol. 2; No. 208, pg. 23. MacDonald (The Skye Collection), 1887; pg. 190. Stewart-Robertson (The Athole Collection), 1884; pg. 282.

X:1

T:Lady Charlotte Campbell [2]

M:C|

L:1/8

R:Reel

Z:AK/Fiddler’s Companion

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

K:B Flat

F|~B3f dBfd|edcB AFcA|B2 bf dBfB|AFec dBB:|

d|f2 d>b g2 E>e|c2 A>a f2 D>d|B2 G>g e>dc>B|A<cF<e dB~Bf|

dBba gfed|cAag fedc|BGgf edcB|Afec dB~B||

 

LADY CHARLOTTE CAMPBELL’S STRATHSPEY [3].  Scottish, Strathspey. B Flat Major. Standard tuning. AAB. Composed by Robert 'Red Rob' MacIntosh (b. 1745), who published the tune in his Fourth Book of New Strathspey Reels (London, 1804). See note for “Lady Charlotte Campbell(’s Reel) [2],” above, for more on person of title. S. Johnson (A Twenty Year Anniversary Collection), 2003; pg. 36.

X:1

T:Lady Charlotte Campbell’s Strathspey [3]

M:C

L:1/8

R:Strathspey

S:Robert Mackintosh – Fourth Book of New Strathspey Reels (1804)

K:Bb

F/E/|D<(FF>)B E(GG)c/B/|A<cf>e d<bB<f|D<(FF>)B E(GG)c/B/|A<cF<e d<BB:||

A|b<BA<a g<GF<f|e>c e/d/c/B/ (A<c)ca|b<Ba<B g<Bf<B|(A/B/c) (Fe) d<BB<a|

b<BA<a g<GF<f|.ec e/d/c/B/ A(cc)B/A/|G<BF<B E<BD<B|(EF/G/) “tr”(F>E) DB,B,||

 


LADY CHARLOTTE DURHAM [1]. Scottish, Strathspey. G Major. Standard tuning. AABB. One of the 197 compositions claimed by Nathaniel Gow (1763-1831), and one of the ones which "shows Nathaniel at his best" (Emmerson, 1971). John Glen (1895) agrees, listing it among those of Gow's "exceedingly good melodies". Lady Charlotte Matilda Bruce (1771-1816) was the daughter of the 9th Earl of Kincardine, and sister to the Earl of Elgin. She married a highly distinguished naval officer, Admiral Sir Philip Durham (1763-1845), on March 28, 1799, and died at Edinburgh in 1816. Lady Charlotte evidently loved to dance, as we see in this excerpt from a London paper called The Star (06/01/1799), which reported on a recent ball at Oatlands Palace, Surrey, England:

***

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

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

4. Lady Harriet Hope’s Reel. And lastly, the enchanting tune of Miss Gordon [Garden] 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.

***

Carlin (The Gow Collection), 1986; No. 88. Gow (Fifth Collection of Strathspey Reels), 1809; pg. 30. MacDonald (The Skye Collection), 1887; pg. 185.

X:1

T:Lady Charlotte Durham [1]

M:C

L:1/8

R:Strathspey

S:MacDonald – Skye Collection  (1887)

Z:AK/Fiddler’s Companion

K:G

D|G<G g<g ~G>d BG|GG ~GA/B/ E3 (F/G/)|DD D>E F>G A>B|{d}c>A {c}B>G B/A/G/F/ EA|

G<G g<g ~g>d BG|GG ~GA/B/ E3 (F/G/)|DD D>E FGAB|c>(d/e/) dF G3:|

|:B/c/|dd ~dg ddd (B/c/)|d~d (eg) d3 (B/c/)|dd {d}b>a {a}g>f {f}e>d|{d}c>B {B}A>G {G}F>E FD|

G<G g<g (g/b/)(a/f/) (g/d/)(B/G/)|GG ~GA/B/ E3 (F/G/)|DD DE ~F>G ~A>B|c>(d/e/) dF G3:|

 

LADY CHARLOTTE DURHAM [2]. Scottish, Strathspey. A Mixolydian. Standard tuning. AB (Gow): AAB (Athole): AABB' (Kerr). Composed by Nathaniel Gow (1763-1831). Going by the date of her marriage (1799) and the date of publication of Gow’s Fourth Collection (1800), we can positively date Nathaniel’s composition to 1799-1800. Carlin (The Gow Collection), 1986; No. 89. Gow (Fourth Collection of Strathspeys & Dances), 2nd ed., originally 1800; pg. 8. Kerr (Merry Melodies), vol. 2; No. 15, pg. 5. Stewart-Robertson (The Athole Collection), 1884; pg. 18.

X:1

T:Lady Charlotte Durham [2]

M:C

L:1/8

C:Nathaniel Gow (1763-1831)

S:Strathspey

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

Z:AK/Fiddler’s Companion

K:A

f|e>Ac>A B<G G>f|e>Ac>A c/d/e =g2|e<=gd<g B<G G>f|e>Ac>A c>de>a:|

c<e e>a =g>dB=G|c<e e>a c>ea>e|c<e A<a =G>dB>=G|c<Ad<B c/d/e a2|

c<e e>a =g>dB>=G|c<e e>a c>ea>e|d<fc<a B<=g B>=G|c<ed<f e<^g a2||

 

LADY CHARLOTTE GORDON. Scottish, Reel. F Major. Standard tuning. AAB. Composed by William Marshall (1748-1833), Steward of the Household for the 4th Duke of Gordon. The reel appears first in print in his 1781 collection.

***

Lady Charlotte was first daughter of the Duke and his Duchess, the beautiful Jane Alexander, born in 1768. Mary Robinson, in her book Beaux and Belles of England, writes this sketch about Charlotte:

***

Lady Charlotte, the eldest, was eighteen years of age when her mother first

entertained matrimonial projects for her, and chose for their object no less a

personage than Pitt, then prime minister. Her schemes might have proved

successful had not Pitt had that sure impediment to maternal management—a

friend. This friend was the subtle Henry Dundas, afterward Lord Melville; one

of those men who, under the semblance of unguarded manners and a free, open

bearing, conceal the deepest designs of personal aggrandisement. Governing

India, governing Scotland, the vicegerent in Edinburgh for places and pensions,

Dundas was looking forward to a peerage, and kept his eye steadily on Pitt,

whom he guided in many matters, adapting his conduct and his conversation to

the peculiar tone of the minister’s mind. Flattery he never used—dictation he care-

fully avoided; both would have been detrimental to his influence with the reserved

statesman.

***

Pitt was by no means calculated to win the affection of a blooming girl of eighteen,

who, whatever Wraxall may have thought, lived to be one of the most beautiful

and graceful women of her time. Many years ago, during the live of Sir Thomas

Lawrence, his portrait of the Duchess of Richmond, formerly Lady Charlotte Gordon,

was exhibited at Somerset House. So exquisite were the feminine charms of that

lovely face, so elegant the form he had portrayed, that all crowded to look upon

that delineation of a woman no longer young; whilst beauties in the bloom of youth

were passed by as they hung on the walls in all the glowing colours of girlhood.

***

On most intimate terms with the duchess, Pitt seems to have been touched with the

attractions of Lady Charlotte, and to have paid her some attentions. He was one of

the stiffest and shyest of men, finely formed in figure, but plain in face; the last man

to be fascinated, the last to fascinate. Drives to Dundas’s house at Wimbledon when

Pitt was there; evenings at home, in easy converse with these two politicians; suppers,

at which the premier always finished his bottle, as well as the hardier Scotchman,

failed to bring forward the reserved William Pitt. The fact was, that Dundas could

not permit any one, far less the Duchess of Gordon, to have the ascendancy over

the prime minister that so near a relationship would occasion. He trembled for his

own influence. A widower at that time,--his wife, a Miss Rennie of Melville, who had

been divorced from him, being dead,--he affected to lay his own person and fortune at

Lady Charlotte’s feet. Pitt instantly retired, and the sacrifice cost him little; and Dundas’s

Object being answered, his pretensions also dropped through. Two years afterward, Lady

Charlotte became the wife of Colonel Lennox, afterward Duke of Richmond, and in the

course of years the mother of fourteen children; one of whom, Henry Adam, a midshipman,

fell overboard from the Blake in 1812, and was drowned. According to Wraxall, the Duke

of Richmond had to pay the penalty of what he calls “this imprudent, if not unfortunate

marriage,” being banished to the snowy banks of St. Lawrence under the name of governor.

***

Charles Lennox, the Duke of Richmond. In Brussels, prior to the Battle of Waterloo, the Charlotte gave a famous grand ball, immortalized in poetry by Lord Byron. MacDonald (The Skye Collection), 1887; pg. 146. Marshall, Fiddlecase Edition, 1978; 1822 Collection, pg. 56 and the 1781 Collection, pg. 3.

X:1

T:Lady Charlotte Gordon’s Reel

M:C|

L:1/8

R:Reel
Z:AK/Fiddler’s Companion

S:Marshall – 1781 Collection

K:F

f2 (cf) BfAf|f2 (af) g(G G2)|f2 (cf) BfAf|1 BGcB A(F F2):|2 dbge a(f f2)||

AFcF dFcF|f(dcA) BGGB|AFcF dFcF|afge f(F F)B|

AFcF dF cF|f(dcA) BGGB|AFcF defg|afge f(F F2||

 

LADY CHARLOTTE MENZIES. Scottish, Reel. F Major. Standard tuning. AAB. The tune appears in Malcolm MacDonald’s 4th collection, a volume dedicated to the Countess of Breadalbane. MacDonald (A Fourth Collection of Strathspey Reels), 1797; pg. 4. Stewart-Robertson (The Athole Collection), 1884; pg. 220.

X:1

T:Lady Charlotte Menzies

M:C|

L:1/8

R:Reel

Z:AK/Fiddler’s Companion

B:MacDonald – 4th Collection of Strathpsey Reels (1797)

K:F

c|A/B/c fc dfcf|BgAf gGGB|A/B/c fc dfcA|BdcA F/F/F ~F:|

f|cFdF cFAf|cFAF GABd|cFdF cFAc|BdcA F/F/F Ff|cFdF cFAc|

cFAF GABa|gefd cAfd|cABG F/F/F ~F||

 

LADY CHARLOTTE MURRAY [1]. AKA and see “Cat in the Corner [1],” “Felix the Wrestler,” “O’Mahoney’s Frolics,” “O’Shaughnessy’s,” “Puss in the Corner.” Scottish, Jig. D Mixolydian. Standard tuning. AAB. A double-tonic tune composed by Niel Gow (1727-1807). The tune honors Lady Charlotte Murray, daughter of John Murray, baronet, who married Admiral Sir Adam Drummond of Megginch castle, Perthshire, in 1801. Carlin (The Gow Collection), 1986; No. 341. Gow (First Collection of Strathspey Reels), 1784 (revised 1801); pg. 6 (appears as “Lady Charlotte Murray’s (now Drummond) Jig”). Banff Rodeo RBS 1066, Dan Joe MacInnis – “The Cape Breton Fiddle of Dan Joe MacInnis” (c. 1961). 

See also listing at:

Alan Snyder’s Cape Breton Fiddle Recording Index 

X:1

T:Lady Charlotte Murray (now Drummond) Jig

M:6/8

L:1/8

R:Jig

C:Niel Gow

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

Z:AK/Fiddler’s Companion

K:D

A/G/|”tr”F2(D D)FD|dFD AFD|(E/=F/G)E =CEG|=cGE CEG|”tr”F2D DFD|

dFD AFD|(G=c).G EFG|AFD D2:||g|”tr”f2(d d)fd|afd de=f|e2=c cec|

gec e^fg|”tr”f2d dfd|afd efg|fdf ece|dAF D2g|”tr”f2(d d)fd|afd de=f|

e2=c cec|gec e^fg|afa geg|fdf edc|Adc cBc|dAF D2||

 

LADY CHARLOTTE MURRY('S REEL) [2]. Scottish, Reel. D Major. Standard tuning. AAB. Composed by Daniel (sometimes Donald) Dow (1732‑83), a native of Kirkmichael, Perthshire, who was a professional music teacher in Edinburgh, teaching the guitar as well as other instruments. He died of a fever at the age of 51 and lies in Canongate Churchyard. John Glen (1891) states the tune appears first in print in Dow's c. 1775 collection (pg. 23), although also appears early in print in Malcolm MacDonald's 2nd Collection of 1789. Glen (Glen Collection of Scottish Music), vol. 1, 1891; pg. 28. Lerwick (Kilted Fiddler), 1985; pg. 23. MacDonald (Second Collection of Strathspey Reels), 1789; pg. 2. Stewart-Robertson (The Athole Collection), 1884; pg. 122.

X:1

T:Lady Charlotte Murrays Reel [2]

M:C|

L:1/8

R:Reel

Z:AK/Fiddler’s Companion

B:MacDonald – A Second Collection of Strathspey Reels (1789)

K:D

A | d2fd ABAF | Gegf edef | d2fd ABAF | GEAF D/D/D D :|

f/g/ | adfd fadf | gfed cdeg | adfd fadf | geaf d/d/d df/g/ |

adfd fadf | gfed cdeg | fdAd FdAF | Egfe d/d/d d ||

 

LADY CHARLOTTE MURRAY [3]. AKA and see "Donald Dow." Scottish, Strathspey. F Major. Standard tuning. AAB. Stewart-Robertson (The Athole Collection), 1884; pg. 228.

X:1

T:Lady Charlotte Murray

T:Donald Dow

M:C

L:1/8

R:Strathspey

Z:AK/Fiddler’s Companion

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

K:F

d|c>F d/c/B/A/ c<F F>d | c<Af<A c<G G>d | c<F d/c/B/A/ c<A A>f |

e>d e<c ~f2f :| d | c<A f>A c>fA>f | c<A f>A c<G G>d | c<A f>A c>fA>f | e>d e<c f2 f>d |

c<A f>A c<fA<f | c<A f>A c<G G>B | A>GA>F A<c c>f | e>de>c ~f2f ||

 

LADY CHARLOTTE MURRAY’S REEL [4]. Scottish, Reel. A Mixolydian. Standard tuning. AAB. McGlashan (A Collection of Reels), c. 1786; pg. 38.

X:1

T:Lady Charlotte Murray’s Reel [4]

M:C|

L:1/8

R:Reel

Z:AK/Fiddler’s Companion

S:McGlashan – Reels  (c. 1786)

K:Amix

e | cA A/A/A EAAc | BGdB gded | cA A/A/A EAAc | BGgB A/A/A A :|

g|agab abae | gaeg BGdB | agab abae | degB A/A/A Ag | abga egdg |

Bgdg BGdB | cAdB dega | gegB A/A/A A ||

 

LADY CHARLOTTE OF BAIRD'S. Scottish, Strathspey. D Major. Standard tuning. AB. A faint hint of "Cripple Creek," suggests John Hartford. The title may have been garbled in the American Howe/Ryan/Cole publications (see below)—however, ‘Baird’ is the name of one of the noble families of Scotland. Cole (1000 Fiddle Tunes), 1940; pg. 124. Howe (1000 Jigs and Reels), c. 1867; pg. 136. Ryan’s Mammoth Collection, 1883; pg. 162.

X:1

T:Lady Charlotte of Braids (sic) Strathspey

M:4/4

L:1/8

R:Strathspey

S:Howe – 1000 Jigs and Reels (c. 1867)

Z:AK/Fiddler’s Companion

K:D

A | d>ed>B A<FDF | G<B B>A G<B B>c | d>ed>B A<F D>F | E>DE>F D3 :|

g | (fe/d/) ad f>da>d | (cB/A/) e>A cB/A/ e>g | (fe/d/) a>d f>da>d | g>ba>g fddg |

(fe/d/) a>d f>da>d | (cB/A/) e>A cB/A/ e>A | (3Bcd (3cde (3def (3efg | fbag fdd ||

 

LADY CHARLOTTE PRIMROSE. Scottish, Strathspey. D Major. Standard tuning. AAB (Gow): AABB' (Athole). Composed by John Gow (1764-1826), youngest son of Niel Gow (1727-1807) and brother of Nathaniel Gow (1753-1831). John and his brother Andrew established the London branch of the family publishing firm in 1788. Lady Charlotte Primrose (1776-1864) was the fourth child of Neil Primrose, 3rd Earl of Rosebery and Mary Vincent. She married General Sir Kenneth Alexander Howard, 1st Earl of Effingham in May, 1800. He was one of Wellington’s division commanders during several engagements in the Peninsular Campaign. Lady Francis Jerningham wrote of Lady Charlotte (to Lady Bedingfeld, May 29, 1800) in a letter:

***

Lady Charlotte Primrose’s match was not sanctioned by her parents. He is a near relation

of Lady Rosebery’s, and may become Earl of Effingham, but has at present only his pay,

as Colonel in the Guards. Her Bands were mutter’d over in the Parish Church, and she

walked out at the Half-Door, and met Col. Howard at the end of the street, from whence

they proceeded to the altar of Hymen. Lady Mary [Her sister] will perhaps do the same, but

she is a sensible girl, and has very good taste. I had a visit a few mornings since from Lady

Rosebery and her three daughters; we were all seated when a pretty young man entered.

Lady Mary Coloured as red as fire and I have since felt a partiality for her.

***

See also the strathspey composed for her sister Mary. Carlin (The Gow Collection), 1986; No. 90. Gow (Fourth Collection of Niel Gow’s Reels), 2nd ed., originally 1800; pg. 18. Stewart-Robertson (The Athole Collection), 1884; pg. 121.

X:1

T:Lady Charlotte Primrose

M:C

L:1/8

R:Strathspey

Z:AK/Fiddler’s Companion

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

K:D

f|d2 A>c d/c/B/A/ d>f|d2 A>c d<F E2|d2 A>c d/c/B/A/ d<f|B/c/d G>B A>F D:|

|:A|F>D D/D/D A>F d<f|F>D D/D/D A>FE>A|1 F>D D/D/D A>F d>f|

B/c/d G>B A>F D:|2 F>D D/D/D A>FA>d|f>de>c d>F D||

 

LADY CHARLOTT’S DELIGHT.  English, Jig. G Major. Standard tuning. AABB. Similar to many tunes published in Charles and Samuel Thompson’s first country dance collection (London, 1757), this tune first appeared in John Johnson’s Choice Collection of 200 Favourite Country Dances, vol. 6 (London, 1751). It crossed the Atlantic to appear in the music manuscript copybooks of Simsbury, Conn., musician Ira Clark, Jr. (c. 1801) and Major John Gaylord, Jr. (c. 1816), also from Connecticut. Thompson (Compleat Collection of 200 Favourite Country Dances, vol. 1), 1757; No. 32.

X:1

T:Lady Charlott’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:G

G2d dBG|e/f/ge dBG|G2d dBG|F2G AFD|G2d dBG|e/f/ge d2c|BGB AFA|G3 G,3:|

|:gdg gdg|gfe dcB|gdg gdg|ABA AFD|gdg gdg|gfe agf|fed Ad^c|d3 D3:||

 

LADY CHOLMONDLEY'S WALTZ. English, Waltz. D Major. Standard tuning. AABBCC. The Cholmondeley family have lived at Cholmondeley Castle, Cheshire, since the 12th century. Lincolnshire fiddler Joshua Gibbons set the tune in they key of ‘G’ major in his original early 18th century mss. In America, the melody appears in the music manuscripts of New York keyboard player Ann Winnington (c. 1810). Published American versions include Robinson’s Massachusetts Collection of Martial Musick (3rd ed., 1826), Paff’s Gentleman’s Amusement, No. 1 (New York, 1812), Ball’s Gentleman’s Amusement Book 3, (New York & London, c. 1830), Williams’ New and Complete Preceptor for the Fife (Utica, N.Y., 1819), and Whiteley’s Instrumental Preceptor (Utica, N.Y., c. 1816). 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. 33 (set for three instruments). North Star Records NS0038, "The Village Green: Dance Music of Old Sturbridge Village."

X:1

T:Lady Cholmondly’s Waltz

M:3/8

L:1/8

R:Waltz

S:From Ann Winnington’s music manuscript book (No. 12), from the early 19th century.

N:Winnington was from New York, probably a pianist, who resided in England.

Z:AK/Fiddler’s Companion

K:F

A/B/ | ccf | ddg | (e/d/).c/.d/.e/.f/ | (f/g/)a (A/B/) | ccf | ddg | (f/e/)d/c/d/e/ | f2 :|

|: g/a/ | bba | ggf | (e/d/).c/.d/.e/.f/ | (g/f/).e/.f/.g/.a/ | bba | ggf | (f/e/).d/.c/.d/.e/ | c :|

|: c2A | A2F | G(G/F/).G/.A/ | (F/E/).F/.G/.A/.B/ | c2A | {g}f2d | (c/d/).c/.B/.A/.G/ | F2 :|

 


LADY CHRISTIAN MONTGOMERY'S HORNPIPE. Scottish, Country Dance Tune (3/2 time). This melody, in old hornpipe metre, appears in the Drummond Castle Manuscript (in the possession of the Earl of Ancaster at Drummond Castle), inscribed "A Collection of Country Dances written for the use of his Grace the Duke of Perth by Dav. Young, 1734."

 

LADY CLARE. Scottish, Strathspey. F Major. Standard tuning. AABB. Kerr (Merry Melodies), vol. 4; No. 147, pg. 18.

X:1

T:Lady Clare

M:C

L:1/8

R:Strathspey

S:Kerr – Merry Melodies, vol. 4, No. 147  (c. 1880’s)

Z:AK/Fiddler’s Companion

K:F

f | c<A A<c (d2 d>)f | c<A A>d c<A A>d | c<A A>c (d2 d>)f | c>f a/g/f/e/ f3 :|

|: c | f>ga>f b>ga>f | b>ag>f e<c c>e | f>ga>f b>ga>f | g<b a>g f3 :|

                       

LADY COBBETT’S.  English, Reel. D Major. Standard tuning. AABB. Kennedy (Traditional Dance Music of Britain and Ireland: Reels and Rants), 1997; No. 91, pg. 23.

 

LADY CORK'S REEL. AKA and see "An Garda Nua," "The New Policeman [3]," "Paddy Bolster's Reel," "The Twin Brothers [1]," "The Tinker's Stick."

                       

LADY COURTNEY’S DELIGHT. See “Lord and Lady Courtney’s Delight.”

                          

LADY COVENTRY’S DELIGHT.  English, Jig. G Major. Standard Tuning. AABB. The melody was also published by John Johnson in his 200 Favourite Country Dances, vol. 8 (London, 1758). Lady Coventry = Maria Gunning. See note for “Lady Coventry’s Minuet” for more. Thompson (Compleat Collection of 200 Favourite Country Dances, vol. 1), 1757; No. 145.

X:1

T:Lady Coventry’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:G

B2c|dBG gec|d2B A2B|cBA edc|c2B B2c|dBG gec|d2B b2g|fed A2^c|d3:|

|:d2e|fed dcB|c2A c2d|edc cBA|B2G B2c|dBG gec|dBG e/f/ge|dBG A/B/cA|G3:||

 

LADY COVENTRY’S MINUET. English, Minuet (3/4 time). England, Northumberland. G Major. Standard tuning. AABB. A very popular tune on both sides of the Atlantic, from the mid-18th century until the beginning of the 19th, appearing in numerous country dance publications, instrumental tutors, and musicians commonplace and copybooks. Maria and Emily Gunning (1733-1760), the ‘gorgeous Gunnings’, were the daughters of a poor Irish squire, who both married well: Maria to the 6th Earl of Coventry and Emily to the Duke of Hamilton. Both women were famous society beauties and the toasts of London in the 1750’s, but Maria paid a price for her vanity: it is said that she was poisoned to death by wearing too much make-up. Interestingly, the girls were the great-great-great granddaughters of the female Irish pirate Grace O’Malley (see note for “Graine M{h}aol”). Horace Walpole, writing to Mann, says:-

***

The event that has made most noise since my last is the extempore wedding

of the youngest of the two Gunnings, two ladies of surpassing loveliness, named
respectively Mary and Elizabeth, the daughters of John Gunning, Esq., of Castle

Coote, in Ireland, whom Mrs Montague calls "those goddesses the Gunnings."

Lord Coventry, a grave young lord, of the remains of the patriot breed, has

long dangled after the eldest, virtuously, with regard to her honour, not very
honourably with regard to his own credit. About six weeks ago Duke Hamilton,

the very reverse of the earl, hot, debauched, extravagant, and equally damaged

in his fortune and person, fell in love with the youngest at the masquerade, and

determined to marry her in the spring. About a fortnight since, at an immense
assembly at my Lord Chesterfield's, made to show the house, which is really

most magnificent, Duke Hamilton made violent love at one end of the room,

while he was playing at Faro at the other end; that is, he saw neither the bank

nor his own cards, which were of three hundred pounds each: he soon lost a

thousand. I own I was so little a professor in love that I thought all this
parade looked ill for the poor girl; and could not conceive, if he was so

much engaged with his mistress as to disregard such sums, why he played

at all. However, two nights afterwards, being left alone with her, while her

mother and sister were at Bedford House, he found himself so impatient

that he sent for a parson. The Doctor refused to perform the ceremony

without license or ring; the duke swore he would send for the archbishop;
at last they were married with a ring of the BED-CURTAIN, at half-an-hour

after twelve at night, at May-fair Chapel.

***

The second Lady Coventry was Barbara  (1737-1804), 4th daughter of Lord St John of Bletsoe, who married the earl in 1764.

***

A Woman Doing Laundry by Robert Morland (1719?-1797).

It has been suggested that this picture shows Maria Gunning.

Barbara St John, Countess of Coventry, by Sir Joshua Reynolds (1723-1792)

***

The melody appears in the music manuscript copybooks of Ralph Pomeroy (Connecticut, 1790-1796), and 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 Québec 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. In England it appears in the Benjamin Cooke MS., c. 1770.

***

Aird (Selections of Scotch, English, Irish and Foreign Airs, vol. 5), 1797; pg. 27. Johnson (A Further Collection of Dances, Marches, Minuetts and Duetts of the Latter 18th Century), 1998; pg. 9. Morrison (Twenty-Four Early American Country Dances, Cotillions & Reels, for the Year 1976), 1976; pg. 15. Peacock (Peacock’s Tunes), c. 1805/1980; No. 9, pg. 2. Wilson (Companion to the Ball Room), 1816; pg. 164.

X:1

T:Lady Coventry’s Minuet

M:3/4

L:1/8

S:Peacock’s Tunes (c. 1805)

Z:AK/Fiddler’s Companion

K:G

G2G2 (3GAB|B2A2G2|B2 B2 (3Bcd|d2c2B2|d4 ge|e4 ge|eddccB|B2 A4:|

|:de d2 c2|B3 cd2|de d2 c2|B3 c d2|g2f2e2|d2f2g2|(3edc B2A2|G4:|

X:2

T:Lady Coventry’s Minuet

M:3/4

L:1/8

R:Minuet

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

Z:AK/Fiddler’s Companion

K:G

G2GG (3GAB|B2A2G2|B2BB(3Bcd|{d}c4B2|d4 g>f|d4 g>f|(e>d)(d>c)(c>B)|{B}A6:|

|:(3ded ddcc|”tr”B3cd2|(3ded ddcc|”tr”B3cd2|(g2d2)c2|d2f2g2|(3edc B2A2|G6:|

                       

LADY CRAWFURD. Scottish. John Glen (1891) finds the earliest appearance of the tune in print in John Riddell's 1782 collection (pg. 34). Riddell’s first edition, however, was in 1766. Charles Gore remarks that a family by the name of Crawfurd lived at Ardmillan, Girvan (Ayrshire), and the Riddell’s collection features many tunes containing the family name.

           

LADY CUFFE’S FANCY. English, Reel. G Major. Standard tuning. AAB. Kennedy (Traditional Dance Music of Britain and Ireland: Reels and Rants), 1997; No. 92, pg. 23.

           

LADY CULLEN'S DELIGHT. See "My Lady Cullen's Delight."

                       

LADY CUNNINGHAM. Scottish. John Glen (1891) finds the earliest appearance of the tune in print in Neil Stewart's 1761 collection (pg. 37).

 

LADY CUNNINGHAM OF LIVINGSTONE’S FAVORITE.  Scottish, Strathspey. A Major. Standard tuning. AAB. Composed by Nathaniel Gow (1763-1831). Gow (2nd Collection of Niel Gow’s Reels), 1788; pg. 2. Rounder Records 7026, Theresa Morrison – “Laments and Merry Melodies from Cape Breton” (1999). Scottish Records 33 SR 135, Ron Gonnella – “Scottish Violin Music from the Gow Collections” (1973).

See also listing at:

Alan Snyder’s Cape Breton Fiddle Recording Index

X:1

T:Lady Cunningham of Livingstone’s Favorite

M:C

L:1/8

R:Strathspey

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

Z:AK/Fiddler’s Companion

K:A

“tr”c/>B/|AA,”tr”A,>C ~E>FEc|”tr”B>c {d}cB/A/ GB B”tr”c/>B/|AA,”tr”A,>C ~EFE>d|{d}”tr”c>e {d}cB/A/ EAA:||

“tr”c/>d/|e>fec (agfe)|”tr”fg/a/ (e/c/).B/.A/ GB Bc/>d/|e>fec (agfe)|”tr”fg/>a/ e/(c/”tr”B/A/) EA “tr”Ac/>d/|

.e.c.A.a .f.d.B.b|{d}(c/B/c/).a/ e/c/”tr”B/A/ GB Bc/d/|{c/d/}e.d.c.B .A.G.F.E|(F/G/A) “tr”E>C A,AA||

 

LADY DAINTY.  English, Country Dance Tune (cut time). D Minor. Standard tuning (fiddle). AABB. The melody was composed by dancing master Nathaniel Kynaston (1683-1757). Although very little is known about him, Kynaston appears to have been active from 1705 to about 1722 in the Shropshire/Wales border area. Walsh published some 120 of Kynaston’s tunes and dances over several publications, this one from a 1710 volume. The Selattyn parish register in Shropshire records that a “Nathanial Kynaston, gent., & Mrs. Elizabeth Davies, both of Oswestry” married on August 25th, 1719—although whether this was the dancing master is unknown. Kynaston appears to have been a not uncommon name in Shropshire, and the family includes Sir Humphrey Kynaston, a notorious 16th century highwayman and Robin Hood figure, who preyed on the wool merchants of Shrewsbury. Barnes (English Country Dance Tunes, vol. 2), 2005; p. 71.

 

LADY DALRYMPLE (North Berwick). Scottish, Strathspey. G Minor. Standard tuning (fiddle). AB. An 18th century composition of Robert MacIntosh. “Paresis” is a related tune, as is the Irish “The Sailor’s Return [1].” Glen (The Glen Collection of Scottish Dance Music), vol. 2, 1895; p. 36.

X:1

T:Lady Dalrymple (North Berwick)

M:C

L:1/8

R:Strathspey

Z:AK/Fiddler’s Companion

S:Glen Collection, vol. 2   (1895)

K:Gmin

d | B<G G>F D<G G>B | A<Fc<F d<F A>c | B<G G>F D<(G G>A) |

B>AB>c d<(g g>a) | b<g a>^f g<d=f<c | e/d/c/B/ fB A<F c>d | B<G G>F D<G G>A | B/A/B/c/ d/c/B/A/ BGG ||

B | G<g g>^f/2g/4 G<gB<g | F<fd<f c<fA<F2 | G<g g>^f/2g/4 B<gd<g2| b<a g>^f g/g/g g>a |

b<gf<d g<ef<B | e<cd<G ^F<d D>c | B<G G>F D<G G>g | f/e/d/c/ d/c/B/A/ BGG ||

 

LADY DALRYMPLE OF NORTH BERWICK’S FAVORITE. Scottish, Strathspey or Air (2/4 time). A Minor. Standard tuning (fiddle). AAB. The Dalrymple family was one of the most powerful in the Royal Burgh of North Berwick in the 18th century. Throughout the 1700’s Dalrymples were prominent in the Scottish legal system, and, in the year 1785-6 there were no less than four of them on the North Berwick Town Council. The tune perhaps honors Janet, second daughter of William Duff of Crombie, who married Sir Hew Dalrymple, 3rd Baronet of North Berwick, in 1774. The couple had fourteen children (ten sons, four daughters), although many of them died young, except for four sons and two daughters. Hew, who became Baronet in 1790 (two years prior to the publication of Gow’s 3rd Collection), represented the county of East Lothian in several parliaments. In 1796 he assumed the additional name of Hamilton when he inherited Bargany House upon the death of his uncle, John Hamilton of Bargany (an advocate), and it was there that Hew died, in 1800. Gow (Third Collection of Niel Gow’s Reels), 1792; p. 12 (3rd ed.).

X:1

T:Lady Dalrymple of North Berwick’s Favorite

M:2/4

L:1/8

R:Strathspey or Air

N:”Slowish”

B:Gow – 3rd Collection of Niel Gow’s Reels, 3rd ed., pg. 12  (orig. 1792)

Z:AK/Fiddler’s Companion

K:Amin

A|A,A AA/B/|({A/B/}c)AAB|G(G”tr”G>)B|{e}d2 “tr”c>B|A,A AA/B/|({A/B/}c)AAc|

(Be)E^G|({G}A2 A,:||e|ae e2|{d}cB/A/ A>B|GG”tr”G>B|{e}d2 cB|

{^g}ae e2|{d}cB/A/ A>(c|B)e E^G|{G}A2 A,2|{^g}ae e2|{d}cB/A/ A>B|

GG”tr”G>B|{e}d2 “tr”c>B|.a(ef)(d|e)(cd)(B|c).e E^G|{G}A2 A,||

 

LADY DAVIDSON OF CANTRAY. Scottish, Strathspey. D Major. Standard tuning (fiddle). AA'B. This 19th century composition is credited to John Lowe by Kerr, a companion to his “Sir David Davidson of Cantray.” See note for the latter tune for more on the Davidsons of Cantray. Kerr (Merry Melodies), vol. 3; No. 13, p. 4.

X:1

T:Lady Davidson of Cantray

M:C

L:1/8

C:John Lowe

R:Strathspey

S:Kerr – Merry Melodies, vol. 3, No. 13  (c. 1880’s)

Z:AK/Fiddler’s Companion

K:D

F|D>FA>d A>FD<F|E<ee>f g/f/e/d/ c<e|1d>BA<F G/A/B/c/ d>B|A>F G/F/E/D/ C<E E<F:|2

d/c/d/e/ f/e/f/g/ a>fd<A|B/c/d/B/ A<F A<dd||f|a>fd<A B<ba>f | g>e g/f/e/d/ c<e e(f/g/)|

a>fd<A b>af<d|g>e a/b/a/g/ f<d d>f|a>fd<A B<ba>f|g>e g/f/e/d/ c<e e(f/g/)|

(3dcd (3Bcd (3efd (3cBA|B/c/d/B/ A<F A<d d||

 

LADY DAY [1]. English, Country Dance Tune (2/2 time). B Flat Major. Standard tuning (fiddle). AABB. Published before 1730. Raven (English Country Dance Tunes), 1984; p. 17.

X:1

T:Lady Day

M:2/2

L:1/8

K:Bb

|: FE | DE F2F2B2 | G4 G2 FE | DE F2F2 de | c4 c2 FE | DE F2F2B2 |

G4g4 | fg fd c2B2 | B6 :: FE | D2B,2 DE FD | E2C4D2 | ED EF GA B2 |

A2c4 f2 | d2 ed cB cA | B2 AG F2f2 | ga b2 a3 g/a/ | b6 :|

 

LADY DAY [2] (La Feile Muire). Irish, Hornpipe. E Minor (also modulates to G Major and D Mixolydian). Standard tuning (fiddle). AB (O'Neill/1850): AABB' (O'Neill/Krassen). O'Neill (Krassen), 1976; p. 170. O'Neill (Music of Ireland: 1850 Melodies), 1903; No. 1584, p. 293.

X:1

T:Lady Day [2]

M:2/4

L:1/8

R:Hornpipe

S:O’Neill – Music of Ireland (1903), No. 1584

Z:AK/Fiddler’s Companion

K:Emin

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

B/d/=c/e/ d(B/d/) | e/d/B/A/ G/A/B/G/ | A/G/F/G/ E(F/E/) | D/E/F/G/ A/B/c/A/ |

(3G/A/G/ B/d/ g || (D/4E/4F/4G/4) | BB/A/ BB/A/ | G/A/B/^c/ d(c/d/) |
e/d/c/B/ A/B/A/G/ | (3F/G/F/ (3E/F/E/ D/E/F/D/ | A/B/A/F/ B/c/B/G/ |

A/B/A/F/ G(A/B/ ) | c/B/A/G/ F/G/E/F/ | Dd d || 

 

LADY DILLON. Irish, Planxty. Despite Edward Bunting’s calling the melody’s dedicatee, Lady Dillon, by the christian name of Rose, she has been identified as Lady Frances Dillon, the daughter and heiress of Lord and Lady Dillon of Mannin. Her predecessor as Lady Dillon was Lady Bridget Burke, second daughter of the 9th Earl of Clanricard. Carolan composed tunes for members of both families.

 

LADY DOLL SINCLAIR. AKA and see "The King of France,” “Matt Molloy’s [3],” “Matt Peoples’ [2],” “Miss Henny MacKenzie,” “Miss Hetty McKenzie." Scottish, Reel. A Mixolydian. Standard tuning. AAB. John Glen (1891) finds the earliest appearance of the tune in print in Robert Bremner's 1757 collection (pg. 1). See also related untitled Irish reels in Breathnach CRÉ II (No. 237) and CRÉ III (No. 121), and an untitled Highland in the Feldman & O’Doherty’s Northern Fiddler (1979, pg. 82b). Bremner (Scots Reels), 1757; pg. 1. Bulmer & Sharpley (Music from Ireland), vol. 4; 19. Henderson (Flowers of Scottish Melody), 1935. Hunter (Fiddle Music of Scotland), 1988; No. 242.

X:1

T:Lady Doll Sinclair’s Reel

M:C|

L:1/8

R:Reel

S:Bremner – Scots Reels (1757)

Z:AK/Fiddler’s Companion

K:Amix

B | A/A/A cA dBcA | B(gg)d BGGB | A/A/A cA dBcA | B(aa)e cA A :: g |

(a/g/f/e/) ca eaca | B(gg)d BGGg |1 (a/g/f/e/) ca eaca | B(aa)e cAAg :|2

(a/g/f) (g/f/e) (f/e/d) (e/d/c) | B(aa)e cA A ||

                       


LADY DOLLY PRIMROSE'S MINUET. Scottish, Minuet (3/4 time). Scotland, Lowlands. G Major. Standard tuning (fiddle). AABB. Neil (The Scots Fiddle), 1991; No. 2, p. 5. Mill Records MRCD018, William Jackson – “Duan Albanach” (2003).

                       

LADY DOROTHEA STEWART MURRAY'S WEDDING MARCH. Scottish, Pipe March (6/8 time). A Major. Standard tuning (fiddle). AABCCD (Hardie): AABB’CCDD’ (Martin). Composed in 1895 by Aeneas Rose (1832‑1905) of Kingussie, who was pipe major of the Atholl Highlanders for some forty years. It was written on the occasion of the Duke of Atholl’s daughter’s marriage to Harold Ruggles-Brise. According to Christine Martin, Lady Stewart was “an avid collector of Scottish fiddle music and left her collection to the A.K. Bell Library in Perth.” Source for notated version: Highland West‑coast fiddler Angus Grant of Fort William (Scotland) [Hardie]. Hardie (Caledonian Companion), 1992; p. 119. Martin (Traditional Scottish Fiddling), 2002; p. 71. Smithsonian Folkways Records, SFW CD 40507, The Beaton Family of Mabou – “Cape Breton Fiddle and Piano Music” (2004). 

                       

LADY DOUGLAS OF BOTHWELL. Scottish, Jig. E Minor. Standard tuning (fiddle). AAB. Composed by Donald Dow. (1732-1783). In the opinion of Mr. Troup of Ballater (as cited by David Baptie in '''Musical Scotland, Past and Present''', 1894, p. 46)  "Lady Douglas of Bothwell" is among the dozen or so of Dow's best compositions.  Carlin (The Gow Collection), 1986; No. 395. Gow (Complete Repository), Part 3, 1806; p. 19.

X:1

T:Lady Douglas of Bothwell

M:6/8

L:1/8

R:Jig

Z:AK/Fiddler’s Companion

S:Gow – 3rd Repository   (1806)

K:Emin

e|B2E G2E|BGE E2d|B2E G2B|AFD D2d|B2E G2B|ABG F2D|EFE ~G2A|BGE E2:|

B|efg f2 e|^d>ef B2=d|AFA (B/^c/d)B|AFD D2B|efg f2e|^d>ef B2=d|(B/^c/d)B AFA|

BGE E2B|efg fge|^def B2=d|AFA (B/^c/d)B|AFD D2B|(GFG) EGB|e^de Bge|d^cB AFA|BGE E2||

 

LADY DOUNE. See "Lady Down's Strathspey."

 

LADY DOWN. Scottish, Reel. C Major. Standard tuning (fiddle). AAB. The melody appears in the 4th collection of Malcolm MacDonald of Dunkeld, a volume dedicated to the Countess of Breadalbane. A bit reminiscent of “Molly Put the Kettle On.” MacDonald (A Fourth Collection of Strathspey Reels), 1797; . 11. MacDonald (The Skye Collection), 1887; p. 119. Stewart-Robertson (The Athole Collection), 1884; pg. 82.

X:1

T:Lady Down

M:C|

L:1/8

R:Reel

Z:AK/Fiddler’s Companion

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

K:C

G | ~c2 cG ECCE | FEDC B,G,G,E | ~c2 cG ECCE | FDGE C/C/C C :|

e | gagf ecce | gdec BGGB | gagf ecce | gdge c/c/c ce | gagf ecce |

fdec BGGB | cGAF EFGf | ecde c/c/c c ||

X:2

T:Lady Down’s Reel

M:C|

L:1/8

R:Reel

S:MacDonald – 4th Collection of Strathspey Reels (1797)

Z:AK/Fiddler’s Companion

K:C

G | c2 (cG) ECCE | FEDC B,G,G,E | c2 (cG) ECCE | FDGE C/C/C C :|

e | gagf ecce | fdec BGGB | gagf ecce | edge c/c/c ce | gagf ecce |

fdec BGGB | cGAF EFGf | ecde c/c/c c ||

 

LADY DOWN'S STRATHSPEY [1]. AKA ‑ "Lady Doune." Scottish, Strathspey. G Major (Carlin): F Major (Kerr, Stewart-Robertson, Surenne). Standard tuning. AB (Kerr, Surenne): ABB' (Athole): AA'BB' (Carlin). Not "Lady Down" (Skye) or "Lady Downe" (Gow). Carlin (Master Collection), 1987; No. 139, pg. 85. Kerr (Merry Melodies), vol. 1; Set 22, No. 1, pg. 14. Stewart-Robertson (The Athole Collection), 1884; pg. 204 (appears as “Lady Doune”). Surenne (Dance Music of Scotland), 1852; pgs. 52-53 (appears as “Lady Doune”).

See also listing at:

Alan Ng’s Irishtune.info

X:1

T:Lady Doune [1]

M:C

L:1/8

R:Strathspey

Z:AK/Fiddler’s Companion

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

K:F Major

c|f2 f>a f<f f>a|g>ag>f d2 d>e|f2 f>a f<f f>a|g>fa>g f2 f>F|

c<c c>a f<f f>a|b>ag>f d2 d>e|f<ad<f c<fA<f|A/B/c c>A F2F:|

|:B|A/B/c c>A B>df>d|c>Af>A G2 G>B|1 A/B/c c>A B>df>d|

c<Af<A F2F:|2 (3ABc (3Bcd c>fe>f|c>f a/g/f/e/ f2f||

X:2

T:Lady Doune [1]

M:C

L:1/8

R:Strathspey

S:Surenne – Dance Music of Scotland, pgs. 52-53  (1852)

Z:AK/Fiddler’s Companion

K:F

a | f<ff>c f<ff>a|g>ag>f d3g|f<ff>c f<ff>g|g>f({f/g/}a>)g ({g}f3)c|

f<ff>g f<ff>g|b>ag>f d3g|(f<b)(d<f) (c<f)(A<f)|(c<A)f>A F3||B|

(B/4c/2<c) F>c B>df>B |A>cf>A ({A}G3)B|(B/4c/2<c) F>c B>df>d|(c<f)c>A (F2F)B|

(B/4c/2<c) F>c B>df>B |(A/4B/2<c) f>A ({A}G3)B|(3ABc (3Bcd c>fe>g|(f<a)g>e f3 || 

 

LADY DOWNE [2]. AKA – “Lady Doune.” Scottish, Strathspey. E Flat Major. Standard tuning. AAB. Composed by Nathaniel Gow (1763-1831). Carlin (The Gow Collection), 1986; No. 91. Gow (Fourth Collection of Niel Gow’s Reels), 2nd ed., originally 1800; pg. 6.

X:1

T:Lady Doune [2]

M:C

L:1/8

R:Strathspey

B:Gow – Fourth Collection of Niel Gow’s Reels (1800)

Z:AK/Fiddler’s Companion

K:Eb

{d}e2|(Be) g>e fd”tr”d>f|(e<c) “tr”cd/e/|BG”tr”G>c|(Be) g>e fd”tr”df|{d}e>c (c/B/)(A/G/) {G}F2F:||

c|(BE) {E/F/}G>E {E}.F2 .Fc|BG”tr”G>A BG”tr”G>e|(BE) {E/F/}G>E {E}.F2 .Fc|(BG) G>B {B}c2 “tr”cd/e/|

(BE) {E/F/}G>E {E}.F2 .Fc|(Bc) “tr”G>A (Bc) “tr”G>e|(BE) {E/F/}G>E {G}.F2 .FG/A/|Bc/d/ eB ~c2 c||

 

LADY DUFF OF DELGATY. Scottish, Reel. B Flat Major. Standard tuning. AAB. Composed by William Marshall (1748-1833). Moyra Cowie (The Life and Times of William Marshall, 1999) identifies Lady Duff as Anne, the daughter of James Stein of Kilbagie. She married Sir Alexander Duff of Delgatie (1777-1851) and moved into Delgatie Castle, Turriff. See also note for “Barnyards of Delgaty.” Marshall, Fiddlecase Edition, 1978; 1845 Collection, pg. 22.

X:1

T:Lady Duff of Delgaty

L:1/8

M:C|

Z:AK/Fiddler’s Companion

S:Marshall – 1845 Collection

K:Bb

G|FB, (G/F/E/D/) FB,DB,|CDEF GCEG|FB, (G/F/E/D/) FB,DF|GBAc d<BB:|

f|dfBf df (e/d/c/B/)|egcf egab|dfBf df (e/d/c/B/)|GBAc d<BBf|

dfBf df (e/d/c/B/)|egcf egab|fbfd gecd|FGAB d<BB||

 

LADY DUFF’S JIG. Canadian, Jig. Canada, Cape Breton. A Major. Standard tuning. AABB. Traditional. Source for notated version: learned by fiddler Jerry Holland (Inverness, Cape Breton) from a Joe MacLean 78 RPM recording [Cranford]. Cranford (Jerry Holland’s), 1995; No. 202, pg. 58.

 

LADY DUMFRIES (REEL). Scottish, Reel. F Major. Standard tuning. AB (Surenne): AAB (Gow, Stewart-Robertson). The tune incorporates the first strain of "The Lass of Peatie's Mill," as do several other tunes including "The Captain's Maggot," "Gie the Lasses Mair O't," "The Lass That Winna Sit Down," "Weel May the Boatie Row," "Boatie Rows," and "The Highlander's Farewell [3]." John Glen (1891) finds the earliest appearence of the tune in print in John Riddell's 1782 collection (pg. 43). Carlin (The Gow Collection), 1986; No. 503. Gow (Complete Repository), Part 2, 1802; pg. 30. Stewart-Robertson (The Athole Collection), 1884; pg. 220. Surenne (Dance Music of Scotland), 1852; pg. 45.

X:1

T:Lady Dumfries

M:C|

L:1/8

R:Reel

Z:AK/Fiddler’s Companion

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

K:F

A|~F2 FA/B/ cAag|~fdcA GFGA|F2 FA/B/ cAag|~fcba g2g:|

g|f/g/a af gefd|cAFA GFDg|f/g/a af gefd|cAba g2 f>g|

f/g/a af gefd|cAFA GFDg|f/g/a af gefd|cAba g2g||

 


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

 

LADY EDMONTON'S. AKA – “Lady Edmondston.” Scottish, Reel. B Flat major. Standard tuning. AABB. Cole (1000 Fiddle Tunes), 1940; pg. 12. Ryan’s Mammoth Collection, 1883; pg. 35.

X:1

T:Lady Edmonton’s

M:2/4

L:1/8

R:Reel

S:Ryan’s Mammoth Collection (1883)

Z:AK/Fiddler’s Companion

K:Bb

Bb/g/ f/d/c/B/ | A/F/c/f d/f/c/F/ | Bb/g/ f/d/c/B/ | F/G/B/c/ d/B/B |

Bb/g/ f/d/c/B/ | A/F/c/F/ d/F/c/F/ | Bb/g/ f/d/c/B/ | F/G/B/c/ d/B/B :|

|: B/F/D/F/ E/D/E/F/ | A/F/c/F/ d/F/c/F/ | B/F/D/F/ B/c/d/e/ | f/g/f/e/ d/B/B |

B/F/D/F/ E/D/E/F/ | A/F/c/F/ d/F/c/F/ | B/F/D/F/ B/c/d/e/ | f/g/f/e/ d/B/B :|

 

LADY EGLINTOUNE. Scottish. John Glen (1891) finds the earliest appearance of this tune in print in John Riddell's 1782 collection (pg. 41). The Menzies Manuscript (1749) contains a dance called The Montgomeries' Rant which is set to the reel "Lady Eglintoun" by the RSCDS; the Eglintouns are of clan Montgomery. Emmerson (1972) writes of the select Scottish public assemblies of the latter 18th century and states that the presence of a matron or quality and rank was a guarantee of extreme respectability for any dance:

***

Of course, many a distinguished mother, such as Grisel Baillie or 

Lady Eglintoun, escorded her charges to the assembly as did many

A matronly aunt or guardian. The long procession of sedans con-

taining Lady Eglintoun and her seven beautiful daughters halting

to disgorge their lofty and graceful freight was one of the treasured

spectacles of old Edinburgh. What a flurry of bongraces, lappets,

hoops, petticoats, scarlet stockings, and clutched fans!  (pg. 101).

 

LADY ELENORA HOME [1]. Scottish, Reel. D Major. Standard tuning. AAB. John Glen (1891) finds the earliest appearence of this tune in print in Daniel Dow's c. 1775 collection (pg. 5). Gow (1817) attributes it to Dow, an Edinburgh composer and music teacher who lived from 1732 to 1783, perhaps most famous as the composer of “Money Musk.” His collection of Scots tunes called Thirty-seven new reels and strathspeys (1775) appears to be the first collection to include the word "strathspey" in its title. Dow’s family is known to have stayed in Strathardle and his son (John Dow) was born at Kirkmichael.  The elder Dow’s first name has been given as Daniel or Donald (both acceptable translations for the Gaelic ‘Domhnull’) was buried in the Canongate Kirk,  Edinburgh on January 20th, 1783. Gow (Complete Repository), Part 4, 1817; pg. 37.

X:1

T:Lady Elinora (sic) Homes Reel [1]

L:1/8

M:C|

Z:AK/Fiddler’s Companion

S:Gow – 4th Repository  (1817)

K:D

A|(F/E/D) BG {B}A2 FA|(G/F/E) =c2 ECCE|FDAF GBAg|(f/g/a) e>g fd~d:|

g|fdad fddf|ge=cd egga|fdfa =cgeg|(a/g/f) (g/f/e) fddg|

fdad fadg|e=cgc egcg|fdAd GBAg|(f/g/a) eg fd~d||

 

LADY ELENORA HOME [2]. Scottish. John Glen (1891) finds the earliest appearance of the tune in print in Neil Stewart's 1761 collection (pg. 57) and Robert MacIntosh's 1783 collection (pg. 34).

                       

LADY ELGIN'S. Scottish, Strathspey. G Major. Standard tuning. AB. Cole (1000 Fiddle Tunes), 1940; pg. 127. Ryan’s Mammoth Collection, 1883; pg. 167. White’s Unique Collection, 1896; No. 165, pg. 31.

X:1

T:Lady Elgin’s

M:2/4

L:1/8

R:Strathspey

S:White’s Unique Collection (1896), No. 165

Z:AK/Fiddler’s Companion

K:G

(g>.d)(B>.G) | (c>e) d2 | (g>d)(B>G) | (E>A)(F>D) | (g>d)(B>G) | (c>e) d2 |

(B>g)(e>a) | (f>d) g2 | (g>d)(B>G) | (c>e) d2 | (g>d)(B>G) | (E>A)(F>D) |

(g>d)(B>G) | (c>e) d2 | (B>g) (e>a) | (f>d) g2 || (e>.e)(g>.e) | (b>g)(e>B) |

G>G(B>A) | (G>B)(G>E) | e>e(g>e) | (^d>f)(B>b) | (g>e)(B>^d) | e2f2 |

(g>e)(B>^d) | (c>e)d2 | (g>d)(B>G) | (E>A)(F>D) | (g>d)(B>G) | (c>e) d2 |(B>g)(e>a) | (f>d) g2 ||

           

LADY ELGIN'S COURTSHIP. AKA and see “Lady Madelina Sinclair’s Birthday.” Scottish, Reel. B Flat Major. Standard tuning. ABB. The tune appears by this name only in the American Ryan/Cole publications, and in no Scottish collections. It has been suggested (by Nigel Gatherer, for one) that this melody resembles “Boyne Hunt.” Cole (1000 Fiddle Tunes), 1940; pg. 33. Ryan’s Mammoth Collection, 1883; 60. 

X:1

T:Lady Elgin’s Courtship

M:2/4

L:1/8

R:Reel

S:Ryan’s Mammoth Collection (1883)

Z:AK/Fiddler’s Companion

K:B_

d | B(F/B/) d/B/F/B/ | B(3d/c/B/ A/c/c/d/ | B(F/B/) D/B/F/B/ | (3A/B/c/ (c/e/) d/B/B/d/ |

B(F/B/) D/B/F/B/ | B(3d/c/B/ A/c/c/d/ | B(F/B/) D/B/F/B/ | (3A/B/c/ (c/e/) (d/B/).B ||

|: d | B/B/d/B/ f/B/d/B/ | B/B/d/B/ A/c/c/d/ | B/B/d/B/ f/B/d/B/ | (3A/B/c/ (c/e/) d/B/B/d/ |

B/B/d/B/ f/B/d/B/ | B/B/d/B/ A/c/c/d/ | B/B/d/B/ f/B/d/f | g/b/a/c’/ b :|

                          

LADY ELGIN’S REEL. Scottish, Reel. D Major. Standard tuning. AABBCCDD (Bremner): AA’BBCD (McGlashan). Glen (1891) finds the earliest appearance of the tune in print in Robert Bremner's collection (pg. 62). Bremner (Scots Reels), c. 1757; pg. 62. McGlashan (Collection of Strathspey Reels), c. 1780/81, vol. 1; pg. 32.

X:1

T:Lady Elgin’s Reel

M:C|

L:1/8

R:Reel

Z:AK/Fiddler’s Companion

S:McGlashan – Strathspey Reels  (c. 1780/81)

K:D
D2 D>F E>F B,2|D2 D>F A>d D2|G>AF>d E>D B,B/c/|1 d>BA>F A2 d2:|2

d>BA>F A3||

|: g | f>dd>f g>f e<g | f<d d>f a>baf | g>af>b e>def | dedF A3:|

|| B | AFdF E>DB,B | AFdF AFdF | G>AF>d E>DB,B/c/ | d>BAF A3B |

A>dF>d E>DB,B | AdFd AdFd | G>eF>d E>DB,B/c/ | dB d/B/A/F/ A3 ||

|| g | fddf g>fea | fddf a>baf | g>af>b e>def | d>edB A3g | f<d d>f g>f e<a |

f<d d>f a>baf | g>af>b e>def | d>edF A2 d2 ||

                       

LADY ELIBANK'S FAVORITE. Scottish, Slow Strathspey. G Minor. Standard. AA'BB'. Lady Elibank was Lady Isabella Mackenzie (1725-1801), eldest sister of Lord Macleod, who married Admiral George Murray (1706-1785), 6th Lord Elibank, in January, 1760. They had two children, daughters. Isabella died a few days after Christmas, 1801, in Ross. George had a distinguished career in the Royal Navy, serving under Admiral Anson, whom he accompanied on his voyage around the world. He left the navy in 1756 and succeeded his brother as 6th Lord Elibank in 1788. Carlin (The Gow Collection), 1986; No. 92. Gow (Third Collection of Niel Gow’s Reels), 1792; pg. 15 (3rd ed.)

X:1

T:Lady Elibank’s Favorite Strathspey

M:C

L:1d

R:Strathspey

N:”Slow”

B:Gow – 3rd Collection of Niel Gow’s Reels, 3rd ed., pg. 15  (orig. 1792)

Z:AK/Fiddler’s Companion

K:Gmin

B||:G<G”tr”G>F DFFB|GGGA “tr”B>cdg|G<G”tr”G>F DFFB|1 “tr”G>A”tr”B>c d(g^f)g:|2

B,>A,B,C DGG||: b|~g>dgb f>cgb|g>dgb gafg|dfcf AFFA|1 “tr”G>A”tr”B>c dgg:|2 G,>A,B,C DGG||

                       

LADY ELINORA HOMES.  See “Lady Elenora Homes.”

                       

LADY ELIZA LINDSAY. See notes for “Lady Balcarres,” “Lady Elizabeth Lindsay.” 

                       

LADY ELIZABETH CAMPBELL. Scottish, Reel. A Mixoldian. Standard tuning. AAB. Lady Elizabeth Campbell was the daughter of William Campbell of Ayr, who in 1803 married Lord John (Edward Douglas Henry) Campbell, later the 7th Duke of Argyll. Lady Elizabeth died in 1818, childless. Stewart-Robertson (The Athole Collection), 1884; pg. 34.

X:1

T:Lady Elizabeth Campbell

M:C|

L:1/8

Z:AK/Fiddler’s Companion

B:The Athole Collection

R:Reel

K:A

A|d2fd cAec|d2 cA B=GGB|d2fd cAed|ceBe cAA:|

e|a2cA c/d/e cA|d2cA B=GGB|a2cA c/d/e cA|dfed cAAg|

a2cA c/d/e cA|d2cA B=GGB|fgae fdcA|ceBe cAA||

 


LADY ELIZABETH CRICHTON. Scottish. John Glen (1891) finds the earliest appearance of the tune in print in Robert Ross's 1780 collection (pg. 22).

 


LADY ELIZABETH LINDSAY('S STRATHSPEY). Scottish, Strathspey. B Flat Major. Standard tuning. AB (Surenne): AAB (Alburger, Athole, Gow, Skye): AABB' (Kerr). One of the 197 whose composition was claimed by Nathaniel Gow (1763-1831). Emmerson (1971) opines it is one of the compositions which show Nathaniel at his best, agreeing with the collector John Glen (1895) who listed it as one among those of Gow's "exceedingly good melodies." It resembles the Cape Breton tune "Duncan's Trip to the Coal Mines." Elizabeth Dalrymple Lindsay was the Countess of Balcarres, a patroness of musicians in the Scottish capital of Edinburgh, and an accomplished keyboard player. One of her compositions, “Lady Eliza Lindsay,” a hornpipe composed for her ten-year-old daughter, appears in John Watlen’s 1791 collection. Haigh Hall is presently the seat of the Earl of Balcarres, having been inherited out of the  Bradshaw/Bradshaigh family in 1780 when Alexander, the sixth Earl of Balcarres, married Elizabeth (his 1st cousin), only child of Charles Dalrymple, Esq., who himself had inherited the Haigh property from his wife. See also “Lady Balcarres.” Alburger (Scottish Fiddlers and Their Music), 1983; Ex. 80, pg. 132. Carlin (The Gow Collection), 1986; No. 93. Gow (The Beauties of Niel Gow, Book 1). Kerr (Merry Melodies), vol. 2; No. 200, pg. 23. MacDonald (The Skye Collection), 1887; pg. 135. Stewart-Robertson (The Athole Collection), 1884; pg. 284. Surenne (Dance Music of Scotland), 1852; pgs. 58-59. Philo FI 2018, "Jean Carignan Plays the Music of Coleman, Morrison & Skinner." Rounder 7059, Alex Francis MacKay with Gordon MacLean – “Gaelic in the Bow” (2005).

X:1

T: Lady Elizabeth Lindsay

M:C

L:1/8

R:Strathspey

Z:AK/Fiddler’s Companion

B:Stewart-Robertson – The Athole Collection (1883)

K:Bb

g|f<B d>c B<G G>B|F>BD>B F<D D>g|f<B d>c B<G G>B|F>BD>d c2c:|

g|f<d d>e f<d d>g|f<d d>e f>g d<b|f<d d>e f>g d<b|f<d d>B c2 c>g|

f<d d>e f<d d>g|f<d d>e f>g d>f|g<b f>g d>f c<d|G<B F>D C2C||

 

LADY EMILLIA KER. Scottish. John Glen (1891) finds the earliest printing of the tune in Neil Stewart's 1761 collection (pg. 72).

 

LADY ERSKINE. Scottish, Reel. A Dorian. Standard tuning. AAB. Glen attributes the tune to “J. Walker,” James Walker.  Which Lady Erskine the title relates to is not known, and there were several: Lady Frances Erskine and Lady Charlotte Erskine were wealthy patrons of the Scottish painter David Allan (1744-1796), who helped raise money to send the young artist to Rome to study.

***

Lady Jane Erskine (1818).

***

Source for notated version: Kenny Chaisson (b. 1947, Bear River, North-East Kings County, Prince Edward Island; now resident of Rollo Bay) [Perlman]. Cranford (Jerry Holland: The Second Collection), 2000; No. 44, pg. 18. Glen (The Glen Collection of Scottish Dance Music), vol. 2, 1895; pg. 44. Perlman (The Fiddle Music of Prince Edward Island), 1996; pg. 104. Jerry Holland – “Lively Steps” (1988).

See also listings at:

Alan Snyder’s Cape Breton Fiddle Recording Index

X:1

T:Lady Erskine

M:C|

L:1/8

S:Glen – The Glen Collection, vol. 2  (1895)

Z:AK/Fiddler’s Companion

K:Amin

E|A2 AB c2 BA|Bdgd BGGB|A2 AB cdea|gdgB (A2 A):|

||g|abag eg a2|gage de g2|abag e^fge |dBgB A2 Ag|

abag eg a2|gage de g2|aabg a^fge|dBgB (A2 A)||

 

LADY FAIR. English. England, Northumberland. Title appears in Henry Robson's list of popular Northumbrian song and dance tunes ("The Northern Minstrel's Budget"), which he published c. 1800.

 

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

 

LADY FANIE MONTGOMERIES REEL. Scottish, Reel. The melody appears in the Gillespie Manuscript of Perth (1768).

 

LADY FLASHDASH HORNPIPE. AKA and see "Kershaw's Hornpipe," "Back of the Haggard." English, Hornpipe. England, Yorkshire. D Major. Standard tuning. AABB. See also "Miss Manner's Hornpipe" for a related version. Source for notated version: an MS collection by Lawrence Leadley, 1827-1897 (Helperby, Yorkshire) [Merryweather & Seattle]. Merryweather & Seattle (The Fiddler of Helperby), 1994; No. 23, pg. 34.

 

LADY FLORA CHARLOTTE HASTINGS. Scottish, Strathspey. B Flat Major. Standard tuning. AB. Composed by Nathaniel Gow (1763-1831), named for Flora Mure-Campbell (1780-1840), 6th Countess of Louden. She was the mother of Lady Flora Elizabeth Rawdon-Hastings (1806-1839), who was the center of a sex scandal involving Queen Victoria’s mother, the Duchess of Kent. She was accused of having an affair with John Conroy, who may have been the Duchess’s lover. When her abdomen started to swell in January, 1839, it was convincing proof of her infidelity. Unfortunately, it was not a pregnancy, but liver cancer, to which Flora succumbed in July of that year. See also note to “Countess Louden(‘s Reel).” Carlin (The Gow Collection), 1986; No. 94. Gow (Fifth Collection of Strathspey Reels), 1809; pg. 35.

X:1

T:Lady Flora Charlotte Hastings

M:C

L:1/8

C:Nathaniel Gow (1763-1831)

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

Z:AK/Fiddler’s Companion

K:Bb

D|.e/(d/c/B/) A<c B<d ~F2|(G/F/E) B>G FB, Dd|e/(d/c/B/) A<c B<d ~F2|B(c/d/e/) f>d gceg|

e/(d/c/B/) A<c B<d ~F2|E/(F/G/A/) B>G FB,DF|(G/F/E) (F/E/D) BFdB|ecdB A(cde)||

fd~d>g (g/f/).e/.d/ {d}b2|”tr”f2 {ef}(g/f/)._e/.d/ fddg|fddg (g/f/)e/d/ {d}b2|{a}b2 fd gceg|

fd~d>g (g/f/).e/.d/ {a}b2|”tr”f2 {_ef}(g/f/)._e/.d/ fddf|{a}(b2 a)(f g)(ef)(d|e)(cd)B ABcd||

 

LADY FORBES (Beantigearna Forbasac). AKA and see “Lady Harriet Hope,” “Miss MacDonald’s [2],” “Monday Morning [2],” “Victory [2].” Irish, Reel. D Major. Standard tuning. AB. John Glen (1891) finds the earliest printing of a tune by this name in Daniel Dow's c. 1775 collection (pg. 2). Source for notated version: Chicago Police Sergeant James O’Neill, a fiddler originally from County Down and Francis O’Neill’s collaborator [O’Neill]. Cole (1000 Fiddle Tunes), 1940; pg. 13. Flaherty (Trip to Sligo), 1993; pg. 35a (appears as untitled reel). O'Neill (Krassen), 1976; pg. 133. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1411, pg. 262. Ryan’s Mammoth Collection, 1883; pg. 36.

X:1

T:Lady Forbes

M:C|

L:1/8

S:O’Neill – Music of Ireland (1903), No. 1411

Z:AK/Fiddler’s Companion

K:D

DFAd BAGF | Eeed cAGE | DFAd BAGF | GBAG FDDF |

DFAd BAGF | Eeef gecA | DFAd BAGF | GBAG FD D2 ||

{e}dcdA dfed | cAeA fAeA | {e}dcdA dfed | cdef dcBA |

{e}dcdA dfed | cdef gfec | dBAG FAdB | AGFE FD D2 ||

 


LADY FORBES OF NEW AND EDINGLASSIE. Scottish, Air ("Moderately Slow, with Expression"). B Flat Major. Standard. AB. Composed by William Marshall (1748-1833). Moyra Cowie (The Life and Times of William Marshall, 1999) identifies Lady Forbes as Elizabeth, the daughter of Major John Cotgrave and the widow of William Ashburner. In 1800 she married Sir Charles Forbes, the 1st Baronet of Newe, Strathdon. The Castle of Newe, seat of the Lonach clan, was torn down in 1950 and the present clan chief, Sir Hamish Forbes, lives in a newly constructed dwelling. Marshall, Fiddlecase Edition, 1978; 1845 Collection, pg. 20.

X:1

T:Lady Forbes of New and Edinglassie

M:C

L:1/8

S:Marshall – 1845 Collection

Z:AK/Fiddler’s Companion

K:Bb

de|f3g fd’c’b|agfe d3e|f2b2b2 (~bc’/d’/)|(d’3c’) c’2 de|f3g fd’c’b|

(agfa) c’3b|(ba)gf (ag)f=e f4 z||f2|f2 gd e3d|(c/d/e/f/ g>)B B2 AF|

(BG) ~d2 (cF) ~e2|(de/f/ g/f/)e/d/ d2 cz|f2 gd e3d|(c/d/e/f/ g)B (B2 A)F|

(B/F/G/A/ B/c/d/e/) (f/e/d/e/ f/g/a/)b/|d2 c>B B2||

 

LADY FORBES OF NEWE. Scottish, Reel. A Major. Standard tuning. AAB. Composed by Alexander Walker for Lady Forbes, wife of Sir Charles, Baronet of Newe and Walker's employer and patron. Walker was a gardener at Castle Newe. According to Paul Stewart Cranford (1991) the tune still has currency among Cape Breton fiddlers. Walker (A Collection of Strathspeys, Reels, Marches, &c.), 1866; No. 2, pg. 1.

 

LADY FRANCIS SCOT. Scottish. John Glen (1891) finds the earliest appearance of the tune in print in Daniel Dow's c. 1775 collection (pg. 26).

 

LADY FRANCIS SOMERSET'S (REEL). Scottish, Reel. B Flat Major. Standard tuning. AB. Composed c. 1795 by Duncan Macintyre, a Scottish dancing master in London, who spent some years in India and died around 1806. MacDonald (The Skye Collection), 1887; pg. 193.

X:1

T:Lady Francis Somerset

M:C|

L:1/8

S:Glen Collection

Z:AK/Fiddler’s Companion

K:Bb

d/e/|f2 dB b2 fd|e2 dBAc cd/e/|f2 dB b2 fd|e2 cfdB Bd/e/|f2 dB b2fd|

e2 dBAc cd/e/|f2 dB g2a2|b2 cf dBB||F|DFBd fdbd|e2 dB Accd|

Bdfa bfdB|e2 cf dBBF|DFBd fdbd|ecdB ABcd|Bbfd Egec|Cecf dBB||

 

LADY FRANCIS WEMYS' REEL. AKA and see "The Ruffian's Rant," "Roy's Wife (of Aldivalloch)," "Coig na Scalan," "The Kilt Is My Delight," "Ben Nevis," "Old Virginia Reel [1]," "I'm Over/Owre Young To Marry Yet [1]." Scottish, Reel. First published in Walsh's Twenty‑four Country Dances (1724), but is almost certainly considerably older according to Scottish musicologist Ewan MacColl; the fact that it can be found in reel, strathspey, march, fling and vocal sets indicates to Bayard (1981) that it is indeed quite old. Other early versions in print include "The Ruffian's Rant" (1759) and "Coig na Scalan" (1780). It is also the tune for the song "Roy's Wife (of Aldivalloch)." Bayard (1981) notes that these tunes have "more than a passing resemblance" to the first strain if "Moniemusk " {he also prints a derivative Pennsylvania‑ collected, untitled march, No. 308, pg. 260}.

 

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