The Fiddler’s Companion
© 1996-2009 Andrew Kuntz
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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]
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 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
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
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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