The Fiddler’s Companion

© 1996-2010 Andrew Kuntz

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[COMMENT1] [COMMENT2] 

LADY G – LADY L

 

 

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 GARDNER'S. AKA and see "Ballyvaughan," “Bunch of Keys,” “Corporal Casey [2]," “Corporal Casey’s Fancy,” “The Five Mile Chase [1]," “Four-Hand Reel,” “Parnell’s Reel,” “The Wild Fire Chase,” “Yellow Haired Laddie [1]." Scottish, Reel. G Major. Standard tuning. AABB. Cole (1000 Fiddle Tunes), 1940; pg. 6. Ryan’s Mammoth Collection, 1883; pg. 28.

X:1

T:Lady Gardner’s

M:C|

L:1/8

R:Reel

S:Ryan’s Mammoth Collection (1883)

Z:AK/Fiddler’s Companion

K:G

D |: G2 BG dGBG | FGDA FADA | G2BG dGBG | egfa gedB | G2 BG dGBG |

FGDA FADA | G2 BG dGBG | egfa g2g2 :: gdBd edBd | gdBd gaba |

gdBd edBd | effg a2a2 | gabg fgaf | e^deg edBd | cBcd edBd | egfa gedB :|

 

LADY GARNERS TROOP. English, Reel. F Major. Standard. AABB. See “Mrs. Garden of Troup [1].” Huntington (William Litten’s), 1977; pg. 15.

 

LADY GEORGE BEAUCLARK. Scottish, Reel. C Major. Standard. AAB. John Glen (1891) finds the earliest appearance of the tune in print in Robert Bremner's 1757 collection. Bremner (Scots Reels)c. 1757; pg. 33. Glen (The Glen Collection of Scottish Dance Music), Vol. 1,1891; pg. 11.

X:1

T:Lady George Beauclark

M:C

L:1/8

R:Reel

S:Glen Collection  (1891)

Z:AK/Fiddler’s Companion

K:C

G|E2 (CG) cGEC|FAGE (FDD)G|E2 (CG) cGEC|FDGF ECC:|

g|egcg afge|afge f(dd)g|e2 cg fage|fdgf e(ccg)|egcg afge|afge f(dde)| cedf egfa|egdf ecc||

 


LADY GEORGINA CAMPBELL. Scottish, Reel. G Major. Standard. AAB. Composed by "S.D.S." The tune was recorded on a 78 RPM record by Margaree, Cape Breton, fiddler Angus Allan Gillis. MacDonald (The Skye Collection), 1887; pg. 184. Atlantica Music 02 77657 50222 26, Natalie MacMaster - “Atlantic Fiddles” (1994). Canadian Broadcasting Corp. NMAS 1972, Natalie MacMaster - "Fit as a Fiddle" (1993). Rounder CD 11661-7033-2, Natalie MacMaster – “My Roots Are Showing” (2000).

X:1

T:Lady Georgina Campbell

M:C

L:1/8

R:Reel

Z:AK/Fiddler’s Companion

S:MacDonald – Skye Collection (1887)

K:G

B|GEDE G2 Ge|dGBG dBA<B|GEDE G2 Ge|dGBG A/A/A A2:|

f|gdde g2 ga|agab agea|gdde g2 gb|agab g/g/g ga|gdde g2 ga|

agab agea|gdde gaba|gegB A/A/A A2||

 

LADY GEORGINA GORDON. Scottish, Reel. D Minor. Standard tuning. AB. Composed by Robert “Red Rob” Mackintosh. Lady Georgina, daughter of Alexander,  4th Duke of Gordon, and his wife, the beautiful Jane Maxwell, became the Duchess of Manchester. She evidently loved to dance, as we see in this excerpt from a London paper called The Star (06/01/1799), which reported on a recent ball at Oatlands Palace, Surrey, England:

***

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

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

4. Lady Harriet Hope’s Reel. And lastly, the enchanting tune of Miss Gordon of Troupe’s Strathspey

was called for by Princess Augusta, and danced twice over by all the fet. Between the second and

third dance, Their Majesties desiring to see the Highland Reel in all its purity, it was danced by the

Marquis of Huntley and the Lady Georgiana Gordon, Colonel Erskine and Lady Charlotte Durham,

with all the elastic motion, hereditary character, and boundless variety of the Scottish dance.

***

Glen (The Glen Collection of Scottish Dance Music), vol. 2, 1895; pg. 42. Stewart-Robertson (The Athole Collection), 1884; pg. 226.

X:1

T:Lady Georgina Gordon

M:C|

L:1/8

R:Reel

Z:AK/Fiddler’s Companion

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

K:D Minor

a|f(ddA) FDdf|eccG ECce|f(ddA) FDAd|cAGE A(Dde)|f(ddA) FDdf|

e(ccG) ECcE|FDEG AFGB|Ad^ce d(DD)||a|fada bgaf|egcg acgc|

fada bgad|^ceAa f(dde)|fada bgaf|egcg acgc|dAeA fAgA|afge ~f(dd)||

 

LADY GEORGINA GORDON'S STRATHSPEY. AKA and see "The Duchess of Manchester('s Strathspey)." Scottish, Strathspey. F Major. Standard tuning. AABBCCDD'. Composed by William Marshall (1748-1833) for yet another member of the family of his influential employer and patron, and published by him in his First Collection of 1781. Later it was published by Gow, in his Repository, Part Third, 1806, as "The Duchess of Manchester's Strathspey" without composer credit given to Marshall. MacDonald (The Skye Collection), 1887; pg. 147. Marshall, Fiddlecase Edition, 1978; 1822 Collection, pg. 49. McGlashan (A Collection of Reels), Vol. 3, c. 1786; pg. 2.

X:1

T:Lady Georgina Gordon’s Reel

M:C|

L:1/8

R:Strathspey

C:William Marshall

Z:AK/Fiddler’s Companion

S:McGlashan – Collection of Reels  (1786)

K:F

C|F/F/F/ F>F A>FAc|d<f c>A G2 GA|F/F/F FF A>F A<c|d>f c<A F2 F:|

|:f>gag a/g/f/d/ c<f|d<f c>A G2 G2|f>gag a/g/f/d/ cf|d<f c>A F2 F2:|

|:CFA,F CFBd|cAFA G2 G2|CFA,F CFBd|cAGA F2 F2:|

||f>gag a/g/f/d/ c<f|c>dfa g2 g2|f>gag a/g/f/d/ cf|d<f c>A F2 F2|

f>gag a/g/f/d/ cf|c>dfa g2 g2|b/a/g/f/ a/g/f/e/ f>c d<f|c>BA>G F2 F2||

 

LADY GEORGINA RUSSEL('S REEL). AKA – “Lady Georgina Russell’s Reel.” 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 Georgina as the daughter of Lady Georgianna Gordon and John Russell, the 6th Duke of Bedford, Woburn Abbey. She was thus the grand-daughter of Marshall’s employer, Alexander, the 4th Duke of Gordon, for whom Marshall worked as Steward of the Household. Georgina married Charles Romilly. Her portrait was engraved by H.T. Ryall (after E. Landseer), around 1840. She liked to ride to the hunt, according to this entry in the New Sporting Magazine for 1836: [Ampthill Park, 1835] “Lady Georgina Russell honoured the field this morning, and rode a beautiful thorough-bred chestnut.” Cranford (Jerry Holland: The Second Collection), 2000; No. 59, pg. 24. MacDonald (The Skye Collection), 1887; pg. 138. Marshall, Fiddlecase Edition, 1978; 1822 Collection, pg. 2. Stewart-Robertson (The Athole Collection), 1884; pg. 293. Rounder CD 7038, “Traditional Fiddle Music of Cape Breton, vol 2: The Rover’s Return” (2002). Carl MacKenzie – “Highland Fiddle.”

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 Georgina Russell

M:C|

L:1/8

R:Reel

Z:AK/Fiddler’s Companion

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

K:Bb

~B,2 B,D FDBF|GFGB c/c/c c2|~B,2 B,D FDBF|GFGA B/B/B ~B2:|

dfdB egec|dfdB c/c/c ~c2|dfdB egec|FBAc B/B/B ~B2|dfdB egec|

dfdB c/c/c ~c2|B,DCE DFEG|FBAc B/B/B ~B2||

 

LADY GETHIN. Irish, Planxty. C Major. Standard tuning. This tune was perhaps composed by blind Irish harper Turlough O'Carolan (1670-1738), though Donal O’Sullivan in his definitive work on the bard could find no incontrovertable evidence for its origin. Complete Collection of Carolan's Irish Tunes, 1984; No. 51, pg. 51. Shanachie 79013, Derek Bell - "Carolan's Receipt" (1987).

                       

LADY GIG. English, Jig. D Major. Standard tuning. AABB. Source for notated version: a c. 1847 music manuscript by Ellis Knowles, a musician from Radcliffe, Lancashire, England [Plain Brown Tune Book]. Plain Brown Tune Book, 1997; pg. 47.

                       

LADY GLASGOW. Scottish, Strathspey. A Major. Standard tuning. AAB. Composed by the Earl of Eglinton. Glen (The Glen Collection of Scottish Dance Music), vol. 2, 1895; pg. 4.

X:1

T:Lady Glasgow

M:C

L:1/8

R:Strathspey

Z:AK/Fiddler’s Companion

S:Glen Collection  (1895)

K:A

Ac/d/ e>c f>de>c|Ac/d/ ed cA e2|Ac/d/ e>c f>de>c|d<fc<e B>c d2:|

a>ece a/g/f/e/ c>e|a>ece A>ce2|a>ece a/g/f/e/ ce|d<fc<e B>cd2|

a>ece a/g/f/e/ c>e|a>ece Ace2|f<ae<f d<fc<e|B>cB>c d>e f2||

 

LADY GLENORCHY. Scottish, Pipe Reel. A Mixolydian. Standard tuning. AAB. A Scottish country dance from the island of Barra went by this title about 1910; elsewhere the same dance was known as "Round About Hullachan" and "Reel of Tulloch in a Circle" (Flett & Flett, 1964). The 19th century tune is attributed to Duncan MacKercher. Source for notated version: Winston Fitzgerald (1914-1987, Cape Breton) [Cranford]. Cranford (Winston Fitzgerald), 1997; No. 56, pg. 24. Kerr (Merry Melodies), vol. 2; No. 32, pg. 6. Little (Scottish and Cape Breton Fiddle Music in New Hampshire), 1984; pg. 36. Stewart-Robertson (The Athole Collection), 1884; pg. 33. Breton Books and Records BOC 1HO, Winston “Scotty” Fitzgerald - “Classic Cuts” (reissue of Celtic Records CX 17). Rounder Records , John L. MacDonald – “Formerly of Foot Cape Road: Scottish Fiddle Music in the Classic Inverness County Style” (2005).

X:1

T:Lady Glenorchy

M:C|

L:1/8

R:Pipe Reel

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

Z:AK/Fiddler’s Companion

R:Reel

K:A

g|aefd c2Ae|cA A/A/A aeeg|aefd c2Ad|B=G G/G/G =gBBe:|

cAA=g fded|cAAe ce a2|cAA=g fded|B=GGA Bcde|

cAA=g fded|cAAe ce a2|ceae fdec|B=GGA Bcde||

 


LADY GORDON OF GORDONSTOWN. Scottish (originally), Canadian; Reel. Canada, Cape Breton. C Mixolydian. Standard tuning. AB. Composed by William Morrison, appearing in his 1812 collection (Inverness, Scotland). Originally written in the key of C Minor, in Cape Breton it is usually played in the Mixolydian mode according to Paul Stewart Cranford (1995). The melody was played by influential Cape Breton fiddler Angus Chisholm. The estate of Gordonstown is near Elgin. Cranford (Jerry Holland’s), 1995; No. 78, pg. 23. Boot Records, Jerry Holland - “Master Cape Breton Fiddler” (1982). Green Linnet GLCD 1156, Jerry Holland – “The Fiddlesticks Collection.”

See also listing at:

Alan Snyder’s Cape Breton Fiddle Recording Index

 

LADY GORDON’S MINUET. Irish, Minuet (3/4 time). Ireland, County Mayo. G Major. Standard tuning. AB. Source for notated version: “Set by (the Irish collector) Forde in the Co. of Mayo” [Stanford/Petrie]. Stanford/Petrie (Complete Collection), 1905; No. 786, pg. 196.

X:1

T:Lady Gordon’s Minuet

M:3/4
L:1/8

N:”Set by Forde in the Co. of Mayo.”

N:”Andante”

S:Stanford/Petrie (1905), No. 786

Z:AK/Fiddler’s Companion

K:G

BA | G2 G>E G>A | G>E Dc (3BAG | A2 A>G A>G | B>A Gc B/A/G/B/ |

d>B G>E G>A | G>E D>c B/A/G/B/ | d>B G>E G>A | G>E Dc B/A/G/A/ |

B2 A>B A>G | G4 || Bc d2d2 .d.d | d2 (gd)BG | c2c2 .c.c | c2 ec (3ABc |

d>B G>E G>A | G>E D>c (3BAG | d>B G>E G>A | G>E D>c (3BAG | B2 A>B A>G | G4 ||

 

LADY GORDON’S REEL [1] (An Bhantiarna Gordon). AKA – “Lady Gordon.” AKA and see “Matt Peoples(‘ Reel) [3],” “Tommy Peoples’ (Reel) [10].” Irish, Reel. D Major. Standard tuning. AB. Sources for notated versions: Brendan Mulvihill (Baltimore, MD) [Mulvihill]; Mulvihill (1st Collection), 1986; No. 11, pg. 3. GTD Heritage HCD 008, Tommy Peoples – “Tommy Peoples: Traditional Irish Music Played on the Fiddle” (last tune of “Seán Ó Duibhir" set).

See also listing at: 

Alan Ng’s Irishtune.info

X:1

T:Lady Gordon’s Reel [1]

M:C|

L:1/8

R:Reel

S:Mulvihill – 1st Collection (1986), No. 11

K:D

FABA d2 BA|d2 BA FE{F}(3EDE|FABA d2 BA|fafe dB {c}(3BAB|

FABA d2 BA|d2 BA FE {F}(3EDE|FABA d2 BA|fafe dB B2||

f|ad{e}(3dcd adbd|ad{e}(3dcd fe e2|adfa b2 {b}af|egfe dB{c}(3BAB|

ad{e}(3dcd adbd|ad{e}(3dcd fe e2|fa{b}(3aga b2 af|egfe dB B2||

 

LADY GORDON’S (REEL) [2].  AKA – “Lady Gordon.” AKA and see “Paddy Carty’s (Reel).” Irish, Reel. D Major. Standard tuning. AABB. Bronx flute player Jack Coen says the tune was popularized by the recording of the Ballinakill Traditional Dance Players in 1938. Editor Jackie Small (CRÉ V) notes that the tune is very much associated with the east Galway tradition. Source for notated version: fiddler Aggie Whyte of the Ballinakill, County Galway, céilí band in 1938 [Breathnach]. Breathnach (CRÉ V), 1999; No. 157, pg. 78. Miller (Fiddler’s Throne), 2004; No. 189, pg. 120. Peoples (Fifty Irish Fiddle Tunes), 1986; 45. Celtic Crossings CD0299-02, Gearóid Ó hAllmhuráin & Patrick Ourceau – “Tracin” (1999). Shanachie 78015, James Keane – “With Friends Like These” (1998. Learned from a 78 RPM recording of the Ballinakill Céilí Band). MOL 001, Kevin Moloney & Sean Moloney – “Bridging the Gap” (Kevin Moloney was a member of the Ballinakill band that recorded the tune in 1938).

See also listing at: 

Alan Ng’s Irishtune.info

X:1

T:Lady Gordon’s (Reel) [2]

M:C|

L:1/8

R:Reel

Z:AK/Fiddler’s Companion

K:D

FEDF A3B|defd efdB|BAFB ABdf|afge fd d2|

FEDF A3B|d2fd BcdB|BAFB ABdf|afea fddA:|

|:defg a2 bf|afed (3Bcd eg|defa {b}afdB|ABde fddA|

defg ~a3b|afed (3Bcd eg|fedB {d}BAFB|ABde fa a2:|

 

LADY GRACE DOUGLAS('S REEL). AKA and see “Mr. Gray of Carse,” "Mrs. Gray of Carse." Scottish, Reel. B Flat Major. Standard tuning. AB (Surenne): AAB (most versions). Composition of the melody has been credited to Perthshire fiddler-composer Niel Gow (1727-1807), as it is attributed to him in the Gow's Third Collection (Second Edition, 1807). However, it has been alleged that the tune originally was "Mrs. [Mr.] Gray of Carse," claimed by Charles Duff, who published it in 1790, and John Glen (1895), for one, is doubtful it is Gow's composition. Lady Grace Douglas (d. 1846, nee Stewart) of Cavers was the second daughter of Francis, 10th Earl of Moray and Jane Gray (eldest daughter of John 12th Lord Grey). She married Mr. George Douglas in 1789, with who she had two children. Carlin (The Gow Collection), 1986; No. 262. Gow (Third Collection of Niel Gow’s Reels), 1792; pg. 6 (3rd ed.). MacDonald (The Skye Collection), 1887; pg. 126. Martin (Ceol na Fidhle), vol. 2, 1988; pg. 7. Stewart-Robertson (The Athole Collection), 1884; pg. 286. Surenne (Dance Music of Scotland), 1852; pg. 104.

See also listing at:

Alan Snyder’s Cape Breton Fiddle Recording Index 

X:1

T:Lady Grace Douglas

M:C|

L:1/8

R:Reel

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

Z:AK/Fiddler’s Companion

K:Bb

g|f2 dB c2 AF|~B2 FD ECCg|f2 dB dcAF|BFGE DB,B,:|

E|DE/F/ FB GBFB|EBDB cCCE|DE/F/ FB GBFB|DFBF DB,B,E|

DE/F/ FB GBFB|EBDB cCCE|DFBd cFAg|fdce dB~B||

X:2

T:Lady Grace Douglas’s Reel

M:C

L:1/8

R:Reel

C:Niel Gow (1727-1807)

B:Gow – 3rd Collection of Niel Gow’s Reels, 3rd ed., pg. 6  (orig. 1792)

Z:AK/Fiddler’s Companion

K:Bb

g|”tr”f2 dB “tr”c2 AF|B2 FD ECCg|”tr”f2 dB “tr”c2 AF|BFGE|DB,B,:||E|

D/(E/F) FB GBFB|EGDB cCCE|D(E/F/) FB GBFB|DFBF DB,B,E|

D(E/F/) FB GBFB|EBDB cC”tr”C>E|DFBd cFBg|fdce d”tr”BB||

 

LADY GRACE STEWART. Scottish, Strathspey. B Minor. Standard tuning. AAB. The composition is credited to Nathaniel Gow in the Gow’s 2nd Collection (1788), where is appears as “Lady Grace Stewart’s (now Douglass) Strathspey.” Glen (The Glen Collection of Scottish Dance Music), vol. 2, 1895; pg. 49. Gow (Second Collection of Niel Gow’s Reels), 1788; pg. 11 (3rd edition). Stewart-Robertson (The Athole Collection), 1884; pg. 132.

X:1

T:Lady Grace Stewart

M:C

L:1/8

R:Strathspey

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

Z:AK/Fiddler’s Companion

K:Bmin

B,<B B>c dB A2|B,<B B>c d<B d>f|ef/^g/ a>f e<A c2|B,<B B>c d<B d>f:|

d/e/f/g/ a>f e<A c2|d/e/f/g/ a>g f<d f>a|gb/g/ fa/f/ e<A c2|B,<B B>c d<B d>f|

d/e/f/g/ a>f e<A c2|d/e/f/g/ a>g f<d f>a|(3gbg (3faf (3efd (3cBA|B>cd>e f>Bd>f||

 

LADY GRANT OF DALVEY. Scottish. John Glen (1891) finds the earliest appearance of the tune in print in Angus Cumming's 1780 collection (pg. 6).

 

LADY GRANT OF GRANT. AKA and see "Athol Cummers." AKA – “Lady Grant’s Reel.” Scottish, Reel. John Glen (1891) finds the earliest appearance of the tune in print in Angus Cumming's 1780 collection (pg. 2).

 

LADY GRANT OF MONYMUSK. Scottish. John Glen (1891) finds the earliest appearance of the tune in print in Angus Cumming's 1780 collection (pg. 6).

 

LADY GRAY. Scottish, Strathspey. F Major. Standard tuning. AABCCD. Composed by Nathaniel Gow (1763-1807). The melody honors Mary-Anne, Dowager Lady Gray, daughter of Lieutenant Colonel James Johnston, who in 1794 married Francis, Fourteenth Lord Gray. She lived long, born prior to 1779, and died on the last day of the year 1858. The seat of the family was Kinfauns Castle, on the River Tay, 3 miles from Perth. Carlin (The Gow Collection), 1986; No. 95. Gow (Fifth Collection of Strathspey Reels), 1809; pg. 10. Jones [Ed.] (Complete Tutor Violin), c. 1815; pg. 12.

X:1

T:Lady Gray's Strathspey.

R:strathspey

M:C

L:1/8

B:Complete Tutor Violin  (c. 1815)

Z:Dr. Evan Jones, 2005

K:F

f |:: c>df>g (a/g/f/e/) f2 | c>df>a gGBd | c>df>g (a/g/f/e/) (f>d) | c<Af>d cFA<f :||: cFF>c (d/c/B/A/) (c>F) | A<cf>c dGBd |

cFF>c (d/c/B/A/) (c<F) | A<cf>d cF Af | cFF>c (d/c/B/A/) (c<F) | A>cf>c dGBd | c>Aa>f g>ef>d | c>f e/f/g/e/ fF A<f |]

 

LADY GWYDER. Scottish, Strathspey. D Major. Standard tuning. AB (Surenne): AAB (MacDonald). Composed by John Bowie. MacDonald (The Skye Collection), 1887; pg. 64. Surenne (Dance Music of Scotland), 1852; pgs. 160-161.

X:1

T:Lady Gwyder

M:C

L:1/8

R:Strathspey

S:MacDonald – Skye Collection  (1887)

Z:AK/Fiddler’s Companion

K:D

F|D>AF>A Ddd>B|ADF>D EB,B,E|D>AF>A Dgf>e|d>BA>F D/D/D D:|

f|(d/e/f/g/) ad fdad|(A/B/c/d/) eA cAeA|(d/e/f/g/) ad fdad|Agf>e fddf|

(d/e/f/g/) ad fdad|(A/B/c/d/) eA cAec|d>fe>g f>d e<f|d>BA>F D/D/D D||

 

LADY HADDO. Scottish, Reel. C Major. Standard tuning. AAB. Composed by Malcolm Macdonald. Lady Haddo was Charlotte Baird (b. before 1765, d. 1795), who married in 1782 George Gordon, Lord Haddo, Grandmaster of the Freemasons between 1784 and 1786. His father, the 3rd Earl of Aberdeen, bought Gight Castle, Aberdeenshire, for the couple. Tragically, Lord Haddo died suddenly in 1791 at Gight from a fall from his horse. Charlotte never recovered from it, living “in great retirement and dejection. She pined during some four years and died in 1795.” The castle was abandoned and became ruinous. They had seven children, the oldest of whom, George, was left orphaned and virtually penniless, stranded in London where his mother had taken him. He had to fight for his inheritance, but was able to enlist the help of Viscount Melville and PM William Pitt to intercede with the “Wicked Earl”, Lord Aberdeen, his grandfather. Aberdeen had been displeased with Lady Haddo for her well-grounded disapproval she had expressed of his mode of life, and the old man had carried the grudge into the next generation, withholding funds and support. George managed to distinguish himself as a scholar in university and later as a statesman, eventually himself becoming the 4th Earl of Aberdeen and Prime Minister in 1852. Gow (Second Collection of Niel Gow’s Reels), 1788; pg. 13 (3rd edition). Gow (Beauties of Niel Gow), c. 1819. Temple TP022, The Battlefield Band – “Music in Trust” (1986).

X:1

T:Lady Haddo

C:M Macdonald

B:The Beauties of Niel Gow (c1819)

N:Composer played bass with Niel Gow

Z:Nigel Gatherer

M:4/4

L:1/8

K:C

F|E/F/G G2 c>GA>G|c/B/A/B/ cE D/D/D DF|E/F/G G2 c>GA>G|c/B/A/B/ cE C/C/C C:|]

f|egcg a/g/f/e/ gc|f<ag>e d/d/d df|egcg a/g/f/e/ gc|f<ag>e c/c/c cg|

egcg a/g/f/e/ gc|f<ag>e d/d/d de|c>edB c>A GE|FAG>E C/C/C C|]

 

LADY HALL. Scottish, Strathspey. G Major. Standard tuning. AB. Composition credited to J. McKenzie by Kerr. Kerr (Merry Melodies), vol. 2; No. 178, pg. 20.

X:1

T:Lady Hall

M:C

L:1/8

R:Strathspey

S:Kerr – Merry Melodies, vol. 2, No. 178  (c. 1880’s)

Z:AK/Fiddler’s Companion

K:G

D|G>AG>E D>EG>A|(B<e)d>B d>AB>A|G>AB>d e>fg>G|A>Bc>A (B<G) E2|

G>AB>E D>EG>A|(B<e)d>A d<AB<d|({c/d/}e>)dB>G A>Bd>B|G>AB>A (GE) G2||

g>dB>d G>AB>d|g>fe>fg>ab>a|g>d(eg) G>A(Bd)|c>Ad>B A>G(Ed)|

g>dB>d G>AB>d|g>fe>f g>ab>a|g>de>B G>AB>d|c>Ad>B (AG) E2||

 


LADY HAMILTON [1]. Slight resemblance to "Eileen Curran" (says Krassen). Old‑Time, Breakdown. USA; Western North Carolina, Eastern Tennessee. G Mixolydian. Standard tuning. AB (Krassen): ABB (Phillips). Blanton Owen believes the tune was learned by North Carolina fiddler Manco Sneed from J. Dedrick Harris (eastern Tenn.). Harris was a native of Tennessee who regularly fiddled with Bob Taylor when the latter ran for Governor of that state in the late 1800's. He moved to western North Carolina in the 1920's and greatly influenced a generation of young fiddlers there, including Manco Sneed, Bill Hensley, Osey Helton and Marcus Martin. The latter two also played “Lady Hamilton” and there are recordings of Martin’s version circulating privately—Martin played the tune in G major fingering position, however, his fiddle was tuned a whole-step down so it sounds in F. The tune was considered a ‘signature piece’ of Sneed’s. It was also in the repertoire of fiddler Tommy Magness (1911-1972), born in north Georgia near the southeastern Tennessee border. Source for notated versions: Manco Sneed (Graham County, N.C.) [Krassen, Phillips]. Krassen (Masters of Old Time Fiddling), 1983; pg. 123. Phillips (Traditional American Fiddle Tunes), vol. 2, 1995; pg. 74. (There is also a transcription of a version by Marcus Martin of Ararat, N.C., in the article "Instrumental Music of the Southern Appalachians: Traditional Fiddle Tunes," North Carolina Folklore Journal, vol. 12, No. 2., Dec. 1964, pp. 1‑8).

 

LADY HAMILTON [2]. Old-Time, Breakdown. G Mixolydian. Standard tuning. AABCC'. Source for notated version: Tony Marcus [Phillips]. Phillips (Traditional American Fiddle Tunes), vol. 2, 1995; pg. 73.

 

LADY HAMILTON('S REEL) [3]. AKA and see "Countess of Sutherland [1]." Scottish, Reel. B Flat Major. Standard tuning. AAB. Composed by George Jenkins who was a Scottish dancing teacher in London about the year 1794, when he probably published his collection of New Scotch Music, &c, dedicated to the Prince of Wales. John Glen (1895) is of the opinion that Jenkins composed a few good reels and strathspeys, but that "a number of his tunes do not possess the true Scottish character." The most famous Lady Hamilton (perhaps the subject of the title) was Emma Hart (1765-1815), a beautiful woman of great charm who rose from humble (and perhaps questionable) beginnings to win international fame. She was the mistress of Charles Greville who educated her in music and literature, but it was his uncle, Sir William Hamilton, the British Ambassador to Naples, whom she married. She entertained guests with her “attitudes”, a kind of Romantic aesthetic posturing achieved with the aid of shawls and classical draperies, and she was often painted in different aspects or guises—George Romney (1734-1802) did no less than twenty paintings of her. She became the mistress of Lord Horatio Nelson, a notorious affair that lasted until his death at the battle of Trafalgar.  Unfortunately, although Emma had inherited money from both Nelson and Hamilton, she lived to excess, incurred debt and died in poverty.

***

Lady Hamilton, about 1785.

***

Glen (The Glen Collection of Scottish Dance Music), vol. 2, 1891; pg. 29. MacDonald (The Skye Collection), 1887; pg. 128.

X:1

T:Lady Hamilton

M:C|

L:1/8

R:Reel

S:Glen Collection  (1891)

Z:AK/Fiddler’s Companion

K:B_

d|B2 FB GBFB|EBDB C (c2d)|B2 FB Ggfe|dfcf dBB:|

(3f/g/a/|bfdf egce|dfBd cFF (3f/g/a/|bfdf egce|Bgfc dB B(3f/g/a/|

bfdf egce|dfBd cFFf|gfga bgfe|dfcf dBB||

 

LADY HAMILTON (OF) DALRYMPLE('S STRATHSPEY). Scottish, Strathspey. G Minor (Gow, Kerr): G Dorian (Athole). Standard tuning. AB. Composition of the tune has been claimed by Robert 'Red Rob' MacIntosh, who published the melody in 1793 and who undoubtedly acquired his nickname due to having red hair. The Gows republished it with the same title in their Fourth Collection of 1800, but without composer credit. Lady Hamilton Dalrymple was the wife of Sir Hew Dalrymple-Hamilton (1746-1800), 3rd Baronet, of North Berwick, who assumed the name Hamilton in addition to his own upon assuming the Bargeny estate in 1796. Sir Hew was MP for East Lothian in several parliaments. He married Janet, 2nd daughter of William Duff, esq., and Elizabeth Dalrymple of Crombie. They had ten sons and four daughters, although only four sons and two daughters survived childhood. Carlin (The Gow Collection), 1986; No. 96. Gow (Fourth Collection of Strathspey Dances), 2nd ed., originally 1800; pg. 23. Kerr (Merry Melodies), vol. 3; No. 183, pg. 21. Stewart-Robertson (The Athole Collection), 1884; pg. 194.

X:1

T:Lady Hamilton Dalrymple

M:C

L:1/8

R:Strathspey

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

Z:AK/Fiddler’s Companion

K:Gmin

d | “tr”B>G “tr”(G>F) (D<G) G>B | A<F c>F d>F(A>c)|~B<G “tr”(G>F) (D<G) “tr”G>A|

“tr”(B>A)B>c d<g~g>a | b>ga>^f g>d=f>c | (d<B) f>B (A<F)A<c|

~B<G (G>F) (D<G) G>A | “tr”(B/A/)(B/c/) (d/c/)(B/A/) BG<”tr”G || B |

(G<g) ~g2 d<gB<g | F<f d<fc<f A>F | (G<g) (~g>f) {^c}d>^fg>b |

(3aba (3ga^f “tr”(g>f)g>a | b>ga>=e g(f/e/) g>B | =e>cd>G ^F<dD<c |

B<G (G>F) (D<G) G>A | “tr”(B/A/)(B/c/) (d/c/)(B/A/) “tr”BG<G ||

X:2

T:Lady Hamilton Dalrymple’s Strathspey

M:C

L:1/8

N:”Slowly”

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

Z:AK/Fiddler’s Companion

K:Gmin

d|B<G “tr”G>F D(GG>)B|AF c>F d>FAc|B<G “tr”G>F D(GG>)A|”tr”B>ABc d<g “tr”g>a|

b>ga>^f g>d=f>c|{e]d{c}B f>B A<FA<c|B<G “tr”G>F D<G”tr”G>A|(B/A/B/c/ e/d/c/B/A/) BGG||

B|G<g “tr”g2 {^f/g/}dgBg|F<f d<f c<f AF|Gg “tr”g>f d^fgb|(3aba (3ga^f “tr”g>fga|

b>ga>d gf/e/ fB|ecdG ^F<dD<c|B<G “tr”G>F D(G”tr”G>)A|(B/A/B/c/ d/c/B/A/) BGG||

 

LADY HAMILTON'S RANT. English, Reel or Rant. England, Northumberland. G Mixolydian. Standard tuning. AABB. Seattle (William Vickers), 1987, Part 2; No. 307.

 

LADY HAMMOND'S ALMAN (Downland). English, Country Dance Tune (2/2 time). D Major. Standard tuning. AABBC. Published before 1730. Raven (English Country Dance Tunes), 1984; pg. 15.

X:1

T:Lady Hammond’s Alman

M:2/2

L:1/8

K:D

A2 | d2 cd e2f2 | g2 fe d2e2 | f2 e2 de f2 | e8 | e2 ee cAcd | e6 ag | f2 gf ed e2 | d6 :|

|: A2 | c2 cd e2 de | f6 ag | f2 ef g2 f2 | e8 | a3g fe d2 | g3f e2 ag | f2 gf ed e2 | d6 :|

z2 | a3g f3 d2 | g3f e4 | f2 ef g2f2 | e8 | a3g fe d2 | g3f e2 ag | fe/f/ gf edfe | d6 ||

 


LADY HAMPDEN. Scottish, Strathspey. A Major. Standard tuning. AAB. The melody appears in Malcolm MacDonald's 3rd collection (c. 1792), dedicated to Miss Drummond of Perth. Glen (The Glen Collection of Scottish Dance Music), vol. 2, 1895; pg. 27. MacDonald (A Third Collection of Strathspey Reels), c. 1792; pg. 6. Stewart-Robertson (The Athole Collection), 1884; pg. 154.

X:1

T:Lady Hampden

M:C

L:1/8

R:Strathspey

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

Z:AK/Fiddler’s Companion

K:A

c | A,>A Ac/d/ e>Ac>A|B,>BB>c B>A F2|A,>A Ac/d/ e>Ac>a|e>dc>B c<AA:|

c/d/|e<a c>a e<ac<a|d>fe>c f>B Bc/d/|e<Ac<A e<A c>A|d>fe>d c>A Ac/d/|

e<ac<a e<a c>a|d>fe>c f>B Bc/B/|A<Ec<A d<fe<g|a>f e/f/e/d/ c<AA||

X:2

T:Lady Hampden’s Strathspey

M:C|

L:1/8

R:Strathspey

S:MacDonald – 3rd Collection of Strathspey Reels (c. 1792)

Z:AK/Fiddler’s Companion

K:A

c | A,(AA)c/d/ eAcA | B,BB>c “tr”B>A F2 | A,(AA)c/d/ eAc<a | “tr”e>d”tr”c>B cAA :|

c/d/ | e<a c>a e<ac<a | d>fe>c fBBc/d/ | e<ac<a eaca | dfed cAAc/d/ |

e<ac<a e>ac>a | dfec fBBc/B/ | A<Ec<A d<fe<g | af e/f/e/d/ cAA ||

 

LADY HARDWICKS REEL. English, Reel. D Major. Standard tuning. AABB. Some settings of "The Keel Row" resemble it slightly, according to Huntington (1977). Huntington (William Litten's), 1977; pg. 16.

 

LADY HARRIOT HAY. AKA and see "Brechin Castle," "Miss Douglas of Brigton." Scottish, Strathspey. B Flat Major. Standard tuning. AABB. The melody appeared under this title in Kirkmichael, Perthshire, fiddler and composer Robert Petrie's 2nd Collection (1795). Charles Gore finds it was printed previously by Glasgow publisher James Aird in his Selection of Scotch, English, Irish and Foreign Airs, vol. 3 (c. 1790). John Bowie published a reel, presumably dedicated to the same person, called “Lady Herriot Hay.”

X:1

T:Lady Harriot Hay's Strathspey

S:Petrie's Second Collection of Strathspey Reels and Country Dances &c.

Z:Steve Wyrick <sjwyrick'at'astound'dot'net>, 6/5/04

N:Petrie's Second Collection, page 8

% Gore's Index gives earliest publication as James Aird's

% "Selection of Scotch, English, Irish and Foreign Airs" v4 ca 1790

L:1/8

M:C

R:Strathspey

K:Bb

F|B<B TB2 B>df<d|B<B TB2 A/B/c/B/ AF|B<B TB2 B>df<d|e<gd<f Tc>BA::a|

bBdB fBdB |bBdB A/B/c/B/ AF|bBdB fBdB|(3ege (3dfd Tc>BA:||

 

LADY HARRIET HOPE. AKA and see “Lady Forbes,” “Miss MacDonald’s [2],” “Monday Morning [2],” “Victory [2].” Scottish, English, American; Reel. England, Northumberland. F Major (Athole, Bremner, Gow, Howe, Johnson/Petrie, Kerr, O’Neill, Skye, Surenne, Vickers): D Major (Aird, Hall & Stafford, O’Farrell). Standard tuning. AB (Skye, Surenne): AAB (most versions): AABB (Howe). Lady Harriet/Harriot Hope has been identified (by Jerry O’Sullivan & Brian McCandless) as Lady Henrietta Johnstone (1682-1750), married to the Charles Hope (1681-1742), 1st Earl of Hopetoun in 1699. Henrietta was the daughter of William Johnstone, the first Marquess of Annandale, and bore the Earl thirteen children. One of their grandchildren was a highly decorated naval officer who fought in the Battle of Trafalgar. Charles Hope was a Member of Parliament for Linlithgow in 1702, a Privy Councillor in 1702, and an Earl by 1703; he was a supporter of the Treaty of Union, wedding England and Scotland in 1707. Further titles followed. He was responsible for the erection of Hopetoun House, designed by Sir William Bruce, a prominent period architect. Henrietta herself inherited the estates and titles of the Johnstone family upon the death of her brother, James Johnstone (who thereby disinherited their half-brothers), but she held them only briefly before they went to another member of the family, George. Unfortunately, George (who never married), Marquess of Annandale, was declared legally insane in 1748, and Henrietta’s son, John Hope, 2nd Earl of Hopetoun, was appointed ‘trustee in lunacy” for his half-uncle.

***

John Glen (1891) finds the earliest appearance of the tune in print in Robert Bremner's 1757 collection (pg. 10), although it also appears in the Gillespie Manuscript of Perth (1768, vol. 4).  Subsequently, the very popular melody appears in many Scottish collections under titles such as  “Lady Harriet Hope,” “Miss Hope,” or similar variants. For example, it appears in Robert Petrie’s Third Collection of Strathspey Reels (1800), Neil Stewart’s Collection of Newest and Best Reels or Country Dances (Edinburgh, 1775), and the Irish collections O’Neill lists below. The reel appears in the music manuscript collection of John Fife, begun in 1780 in Perthshire, and evidently continued when at sea (through 1804). Northumbrian musician William Vickers penned it in his large manuscript collection of 1770. When a fashion for Scottish dancing hit London at the turn of the 18th century, “Lady Harriet Hope” was one of the tunes danced to, as we see in this excerpt from a London paper called The Star (06/01/1799), which reported on a recent ball at Oatlands Palace, Surrey, England:

***

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

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

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

***

Purser (1992) states this tune was one of a number that crossed the Atlantic to appear in several American fife manuals. John Ives's Twenty-four Figures of the Most Fashionable Country Dances (New Haven, 1799), a book of dance instructions, lists "Lady Harriet Hope's Reel" as one of his dances, and the tune appears in the music copybook of Miss Caroline Rachel Frobisher (1793), of Canada (in the possession of Hôpital General Fleury, Montreal, Quebec, Canada). Lancaster, Pa., flute player John Hoff (1776-1818) copied it into his music manuscript collection of 1797-1799, where it appears as “Lady Harhope’s Reel.” Ryan’s Mammoth Collection (1883) gives it as “Lady Forbes.”

***

In Ireland versions of the tune are known as the “Victory Reel” (recorded by Jackie Daly, among others), although Brendan Breathnach printed it under the title Inion Mhic Dhonaill (Miss McDonald's Reel). O’Neill (1922) remarks: “I saw this tune in manuscript written in West Cork early in the 19th Century. The fact remains that it had been preserved in printer's ink in Bremner's Collection of Scots Reels, or Country Dances, Edinburgh 1757. Its old-time popularity is attested by its inclusion in several other worthy Collections long out of print, such as The Caledonian Muse 1785; and Neil Gow's and Sons' Complete Repository etc., 1805.” Source for notated version: Robert Petrie’s 3rd Collection [S. Johnson]. Aird (Selections), vol. II, 1785; No. 104, pg. 38. Bremner (A Collection of Scots Reels), 1757; pg. 10 (appears as “Lady Hariot Hope’s Reel”). Gow (Complete Repository), Part 1, 1799; pg. 31. Hall & Stafford (Charlton Memorial Tune Book), 1974; pg. 36. Howe (1000 Jigs and Reels), c. 1867; pg. 134. S. Johnson (A Twenty Year Anniversary Collection), 2003; pg. 34. Kerr (Merry Melodies), vol. 1; Set 22, No. 4, pg. 14. MacDonald (The Skye Collection), 1887; pg. 144. McGoun (Repository), 1803. O’Farrell (Pocket Companion, vol. II), c. 1806; pg. 136. O’Neill (Waifs and Strays of Gaelic Melody), 1922; No. 241. Seattle (William Vickers), 1987, Part 3; No. 430. Stewart-Robertson (The Athole Collection), 1884; pg. 216. Surenne (Dance Music of Scotland), 1852; pg. 32. Wilson (Companion to the Ball Room), 1816; pg. 62. Culburnie COL 102, Alasdair Fraser & Jody Stecher – “The Driven Bow” (1988). Jerry O’Sullivan – “O’Sullivan Meets O’Farrell” (2005).

X:1

T:Lady Harriet Hope

M:C|

L:1/8

R:Reel

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

Z:AK/Fiddler’s Companion

K:F

A|FAcf dcBA|f2 af gGGA|FAcf dcBA|BGcA F/F/F F:|

c|fcfg f/g/a gf|ecgc acgc|fcfg f/g/a gf|cfeg f/f/f fc|fcfg f/g/a gf|

gfga baga|fdcB A2 fd|cABG F/F/F F||

X:2

T:Lady Harriot Hope's Reel

M:4/4

L:1/8

S:McGoun's Repository, 1803

Z:Paul Kinder

R:Reel

K:F

A|:FAcf dcBA|(3fga g>f gGGA|FAcf dcBA|BGcA F/2F/2F F2:||

fcfg (3fga gf|ecgc acgc|fcfg (3fga gf|dfeg (3fff f2|

fcfg (3fga gf|gfga baga|fdcB AfdB|cABG F/2F/2F F2||

X:3

T:Lady Harriot Hope’s Reel (sic)

M:C|

L:1/8

R:Reel

S:Aird, vol. II (1782)             

Z:AK/Fiddler’s Companion

K:D

DFAd A2GF | d2 fe/d/ eEEF | DFAB A2 GF | GEAF DD D2 :|

|| dAde (d/e/f) ed | cAeA fAeA | dAde d/e/f ed | Adc/d/e dd d2 |

dAde d/e/f ed | edef gedf | dBAG F2 dB | AFGE DD D2 ||

X:4

T:Lady Harriet Hope's Reel

S:Petrie's Second Collection of Strathspey Reels and Country Dances &c.

Z:Steve Wyrick <sjwyrick'at'astound'dot'net>, 6/5/04

N:Petrie's Second Collection, page 10

% Gore's Index gives earliest publication as James Aird's

% "Selection of Scotch, English, Irish and Foreign Airs..." v4 ca 1790

L:1/8

M:C|

R:Reel

K:F

A|:FAcf {d}c2 (BA)|f2 (a/g/f) gGGA|FAcf {d}c2 (BA)|BGcA F/F/F F2:|

fcfg (f/g/a) (gf)|ecgc acgc|fcfg (f/g/a) (gf)|cfeg f/f/f f2 |

fcfg (f/g/a)  gf |(gfg)a baga|f(dTcB) A2 (fd)|cABG F/F/F F |]

                       

LADY HARRIET LEE’S WALTZ. English, Waltz. D Major. Standard tuning. ABABC. The melody appears in Button & Whitaker’s Selection of Dances, Reels, Waltzes No. 1, an undated publication from the early 19th century.

X:1

T:Lady Harriet Lee’s Waltz

M:3/8

L:1/8

R:Waltz

S:Button & Whitaker’s Selection of Dances, Reels, Waltzes No. 1 (undated, early 19th

S:century)

Z:AK/Fiddler’s Companion

K:D

A | F/G/AA | B/c/dd |E/F/GG | F2 A | 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 | FGA | AGF | EDE | F2a |

a>gf | d’c’d’ | b^ab | g2e | fga | agf | ede | d2 ||

                       

LADY HARRIET'S. Irish, Reel. D Major. Standard tuning. ABB. Cole (1000 Fiddle Tunes), 1940; pg. 33. Ryan’s Mammoth Collection, 1883; pg. 59.

X:1

T:Lady Harriet’s

M:2/4

L:1/8

R:Reel

S:Ryan’s Mammoth Collection (1883)

Z:AK/Fiddler’s Companion

K:D

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

(3D/D/D/ (A/F/) .D(f/e/) | d/B/A/F/ E/D/E/F/ | (3D/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 HARRIOT MONTAGUE'S FAVORITE. Scottish, Slow Air. D Major. Standard tuning. AABB. The title refers to Lady Harriet Montagu-Scott (d. 1833), youngest daughter of Henry Scott, 3rd Duke of Buccleuch, and Lady Elizabeth Montagu. The family became Montagu-Scott when the latter inherited the family estates. In 1806 Lady Harriet married William Kerr, 6th Marquess of Lothian, a friend of writer Sir Walter Scott’s. Carlin (The Gow Collection), 1986; No. 342. Gow (Fourth Collection of Strathspey Dances), 2nd ed., originally 1800; pg. 34.

X:1

T:Lady Harriot Montague’s Favorite

M:6/8

L:1/8

R:Slow Air

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

Z:AK/Fiddler’s Companion

K:D

A|”tr”d>ed (fe).f|dBB ~B2d|Afd (B/A/)(G/F/)(E/D/)|Eee ea/>f/g/>e/|”tr”d>ed (fe)f|

~(d/c/)(d/e/)(f/g/) afd|”tr”B>ce/B/ (AF).G|(Ad).d ~d2::B|AFA {c}d2B|AFA A2{c}d|BGF Ee/f/g/f/|

(e/f/).e/.d/.c/.B/ (A/B/).A/.G/.F/.E/|DFA ~d2A|~(d/c/)(d/e/)(f/g/) afd|”tr”B>cdgb AF.G|(Ad).d “tr”f2:|

                       

LADY HELEN DALRYMPLE'S NEW REEL. Scottish, Reel. John Glen (1891) finds the earliest appearance of the tune in print in John Riddell's 1782 collection (pg. 23).

                       

LADY HELEN DOUGLAS. Scottish, Reel. D Major. Standard tuning. AAB. John Glen (1891) finds the earliest appearance of the tune in print in Neil Stewart's 1761 collection (pg. 69). Glen (The Glen Collection of Scottish Dance Music), vol. 1, 1891; pg. 21.

X:1

T:Lady Helen Douglas

M:C

L:1/8

R:Reel

S:Glen Collection, vol. 1  (1891)

Z:AK/Fiddler’s Companion

K:Dmin

A|FD A2 FD A2|d(fe>d) cCCE|FDFA (d/c/B/A/) c2|AcGE FDD:|

e|fde^c dAA=c|(d/c/B/A/ c)B ECCe|fde^c defd|=cAGE FDDe|

fde^c dAAd|=cdAc ECCE|FDAF GBA(g|fd)e^c dD D||

           

LADY HELEN WEDDERBURN. Scottish, Reel. D Mixolydian. Standard tuning. AAB. Stewart-Robertson (The Athole Collection), 1884; pg. 123.

           

LADY HELONORA HUME. Scottish, Reel. D Major. Standard tuning. AABBCCDD. The melody may have been composed by Pate Baillie (1774‑1841): "When Baille was ten or eleven years old, 'Lady Helenora Hume's Reel' was published in Gow's first collection. Baillie later printed it as his own strathspey; those who believed he had composed it as a boy said that Niel Gow had taken it down from Pate's playing. His name has been kept alive by ‘Pate Baillie's Jig’. Whether he composed it or not is not known; he never published it" (Alburger, 1983). Carlin (Gow Collection), 1986; No. 263. Gow (First Collection of Niel Gow’s Reels), 1784 (revised 1801); pg. 11.

X:1

T:Lady Helonora Hune (now Dundas)

M:C|

L:1/8

R:Reel

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

Z:AK/Fiddler’s Companion

K:D

(Dd)”tr”dc “tr”cB”tr”(BA)|afdf ~edef|(Dd)”tr”(dc) “tr”(cB)”tr”(BA)|A>F”tr”E>F D/D/D D2:|

|:A,DA,D B,DB,D|A,DGA (B/A/G/F/) EF|A,DA,D B,DGB|AF”tr”e>F D/D/D D2:|

|:~(aba)f dfdf|(g/b/g) (f/a/f) “tr”edef|abaf defd|Bg”tr”f>e d/d/d d2:|

|:~(BA)~(AG) ~(GF)~(FE)|(D/E/F/G/) AF “tr”EDEF|~(BA)~(AG) ~(GF)~(ED)|B,BAF D/D/D D:|


           

LADY HERIET GEORGINA HAMILTON. Scottish, Strathspey. F Major. Standard tuning. AAB. Composed by William Marshall (1748-1833). Moyra Cowie (The Life and Times of William Marshall, 1999) thinks Lady Harriet may have been the daughter of Viscount Hamilton, and step-daughter of the 4th Earl of Aberdeen. Marshall, Fiddlecase Edition, 1978; 1845 Collection, pg. 2.

X:1

T:Lady Heriet Georgina Hamilton

M:C

L:1/8

R:Strathspey

S:Marshall1845 Collection

Z:AK/Fiddler’s Companion

K:F

d|c>FA>F d2 df|c>FA>F dGGf|c>FA>F [Fd] df|b/a/g/f/ c/d/e/g/ fFF:|

f|b/a/g/f/ af g/f/e/d/ cA|B>c d/c/B/A/ BGGf|b/a/g/f/ g/f/e/d/ cAAd|

cfeg [ca]ffg|b/a/g/f/ a/g/f/e/ g/f/e/d/ cA|B>c d/c/B/A/ [EB]GGA|

F/G/A/B/ cA d2 Bd|EGc>B AF[A,F]||

           

LADY HOLDERNESS’S JIG.  English, Jig. A Major. Standard tuning. AABB. The melody first appeared in print in John Johnson’s Choice Collection of 200 Favourite Country Dances, vol. 6 (London, 1751). Lady Holderness was blackballed from the assembly rooms at Almacks by the clique of aristocratic matrons who held power there in the 1760’s, for some unknown infraction. Perhaps it was for her smuggling of 114 gowns and other prohibited finery from Paris, where she had travelled in the company of her husband, Lord Holderness, on state matters. Thompson (Compleat Collection of 200 Favourite Country Dances, vol. 1), 1757; No. 11.

X:1

T:Lady Holderness’s Jigg

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:A

aed cBA|eBA GFE|FAd cea|dec B3|aed cBA|eBA GFE|FAd cea|gaf e3:|

|:bge dcB|cBA cBA|eBG EGB|d2e cBA|a2e cBA|e2A GFE|FAd cBA|”tr”B3 A3:||

 

LADY HOME'S JIG. AKA and see "Lady Ann Hamilton('s Rant)." Scottish, Jig. C Major. Standard tuning. AABB. Gow (Complete Repository), Part 1, 1799; pg. 21.

X:1

T:Lady Home’s Jig

M:6/8

L:1/8

R:Jig

S:Gow – 1st Repository  (1799)

Z:AK/Fiddler’s Companion

K:C

C2(g g)eg|gea g2e|ceg {a}gfe|ded f2d|c2(g g)eg|gea g2e|

f>ga gfe|ded f2d:||:c>dc cGc|cGc {cd}e2d|c>dc cGE|

DED {f}e2d|c>dc cGE|CDE CGE|FdF EcE|DED e2d:|

           

LADY HOPE OF PINKIE.  Scottish, Strathspey. B Flat Major. Standard tuning. AB. Composed by Nathaniel Gow (1763-1807). Pinkie House is located in Musselburgh, East Lothian, Scotland. It is a mansion built around a three-story tower, and has been renovated and added to several times since the 16th century. Lady Hope at the time of the Gow’s Sixth Collection (1822) was Anne (1788-1867), 4th and youngest daughter of Sir John Wedderburn of Blackness and Ballindean, Bart., who married Sir John Hope (1781-1858) of Craighall co. Fife, and Pinkie, 11th Bart., in 1805. He was an MP for Edinburgh for eight years and an excellent horseman (his father, Alexander, had been head of the Caledonian Hunt). The couple had two daughters and eight sons. The Hope family came late to Pinkie House, acquiring it from the Hay family in 1778. Gow (Sixth Collection of Strathspey Reels), 1822; pg. 9. Neil (The Scots Fiddle, vol. 2). Culburnie Records CUL 121D, Alasdair Fraser & Natalie Haas – “Fire and Grace” (2004).

X:1

T:Lady Hope of Pinkie

M:C

L:1/8

R:Strathspey

N:”Slowly”

C:Nathaniel Gow (1763-1831)

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

Z:AK/Fiddler’s Companion

K:Bb

d|B<B b2 af g2|f>de>c dB AF|B<B b2 af f>g|f>de>c “tr”B2 B,d|

B<B b2 af g2|f>de>c dB AF|B<B b2 af ~f>g|f>de>c “tr”B2 B,||F|

(D/E/F) BD EG B2|(A/B/c) (.c.c) de f2|(D/E/F) BD EG c>B|(A/B/c) F>A “tr”B2 B>F|

(D/E/F) B>D EG BB|(A/B/c) (e/d/c) ~d>e f2|(3DBf (3fDf (3gEg|(3Fca .a.F.a b2 B||

 

LADY HOPE'S REEL. English, American; Country Dance Tune. “Lady Hariet Hope’s Reel”?  Very popular in both countries. The tune is to be found on page 13r of Giles Gibbs' (1760-1780) music manuscript collection of tunes made in Connecticut in 1777.

           

LADY HUNTER BLAIR’S REEL.  Scottish, Reel. A Minor. Standard tuning. AAB. Composed by Nathaniel Gow (1766-1831). Henry Cockburn Cockburn (Memorials of His Time, 1856) wrote of her:

***

Lady Blair’s elegance and sprightliness would have graced and enlivened the

best society; but her tastes and virtues were entirely domestic, and made her

the most delightful of household deities. Mild, affectionate, and cheerful, she

she attracted the love of all ages, and closed her many days without once knowing

from personal consciousness what selfishness or want of charity meant.

***

Gow (Third Collection of Niel Gow’s Reels), 3rd ed., originally 1792; pg. 37.

X:1

T:Lady Hunter Blair’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:Amin

a|e2(.A.A) e2 ea|g2 eg dGBG|e2AA e2 eg|^fdgB|A/A/A A2:||

c|A>E E/E/E ABcA|GABc ~dedB|A>E E/E/E ABcd|e^fgB A/A/A A>c|

A>E E/E/E ABcA|GABc dedB|ecgc dBgB|cAB^G A/A/A A||

 

LADY HUNTLY’S STRATHSPEY. Scottish, Strathspey. E Flat Major. Standard tuning. AAB. Composed by Neil Gow Jr. (1795-1823), son of Nathaniel Gow (1763-1831) and grandson of Niel Gow (1727-1807). Neil was a member of his father’s publishing business, a medical student, and a promising composer until his early demise. Nathaniel’s Sixth Collection (Edinburgh, 1822) was dedicated to the Marchioness of Huntly (and her family), Elizabeth Brodie (1794‑1864), wife of George Gordon (1770-1836), Marquis of Huntly and the future 5th Duke of Gordon. Elizabeth was the daughter of a wealthy merchant named Alexander Brodie and his wife, Elizabeth Wemyss, of Arnhall in Kincardinehsire. When Elizabeth and George married, at Bath in December, 1813, he was twenty-four years her senior. Elizabeth Grant of Rothiemurchas described them at the time:

***

Lord Huntly now in the decline of his rackety life, overwhelmed with debts,

sated with pleasure, tired of fashion, the last heir male of the Gordon line. His

bride was young, and good, and rich but neither clever nor handsome. She

made him very happy and paid his most pressing debts, that is her father did,

old Mr. Brodie of the Burn, brother to Brodie of Brodie…He made a really

large fortune; he gave his daughter, his only child, £100,000 down, and left

her more than another at his death. Really, to her husband her large fortune

was the least part of her value: she possessed upright principles, good sense,

and she turned out a first rate woman of business.

***

Gow (Sixth Collection of Strathspey Reels), 1822; pg. 1.

X:1

T:Lady Huntly’s Strathspey

M:C|

L:1/8

C:Neil Gow Jr. (1795-1823)

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

Z:AK/Fiddler’s Companion

K:Eb

B|(G/A/B) g>f eB c2|B>Ge>G fF FA|(G/A/B) g>f eB c2|~B>c (c/B/)(A/G/) {G}BEE:||

B|{A}G>EB,E G,EB,E|B>Ge>G AFFB|{A}G>EB,E G,EB,E|B>Ge>G {G}BEEB|
{A}G>EB,E G,EB,E|B>Ge>G AFF B/A/|GeBg eG BE|AB/c/ D>B GEE||

 

LADY IN PENNSYLVANIA LOVELY NANCY YOU’LL BE, A. Irish, Air (3/4 time). D Major. Standard tuning. AB. Stanford/Petrie (Complete Collection), 1905; No. 690, pg. 173.

X:1

T:Lady in Pennsylvania Lovely Nancy You’ll Be, A

M:3/4

L:1/8

S:Stanford/Petrie (1905) – No. 690

Z:AK/Fiddler’s Companion

K:D

DF |A2F2 AB | d2F2 AF | E2D2D2 | D4 || AB | d2 de f2 | e2d2c2 |

B2 AF AB | d4 AB | d2 de f2 | e2d2c2 | B2 AF AB| d4 DF |

A2F2 AB/c/ | d2F2 AF | “tr”E2D2D2 | D4 ||

           

LADY IN THE BOAT. AKA and see "The Bugle Quickstep," "The Bugle Horn," “Bugle Horn Quickstep,” "The Gettysburg March," "Fermanagh Quickstep," "McCarthy March,” “McCarthy’s Quick Step."  Scottish, Irish; Single Jig. D Major. Standard tuning. AABB. The earliest printed set of this tune that Bayard (1981) found is in McDonald Gesto, pg. 130 as "Bugle Horn." However, an earlier appearance of the tune in print would seem to be in Church of Ireland cleric James Goodman’s mid-19th century music manuscripts under the title “McCarthy’s Quick Step.” Goodman (1828-1896) was an uilleann piper, and an Irish speaker who collected locally in County Cork and elsewhere in Munster. He also obtained tunes from manuscripts and printed collections. Brody (Fiddlers Fakebook), 1983; pg. 162. Joyce (Old Irish Folk Music and Songs), 1909; No. 124, pgs. 62-63. Kennedy (Fiddlers Tune Book), vol. 1, 1951; No. 98, pg. 48. Lerwick (Kilted Fiddler), 185; pg. 44. Sweet (Fifer’s Delight), 1964/1981; pg. 23. Transatlantic 337, Dave Swarbrick‑ "Swarbrick."

X:1

T:Lady in the Boat, The

M:6/8

L:1/8

R:Jig

N:”Moderate. Time well marked.”

S:Joyce – Old Irish Folk Music and Songs (1909)

Z:AK/Fiddler’s Companion

K:D

A|dfA d2A|dfA d2f|a2f d2f|fee e2A|dfA d2A|dfA d2f|aba gfe|ddf d2:|

|:e|fff gfg|a2g f2a|agg gff|fee ede|fff gfg|a2g f2a|aba gfe|ddf d2:|

           

LADY IN THE BOTTLE. Scottish, Jig. A Major. Standard tuning. AA’BB’. Composed by A.G. Kenneth. Martin (Ceol na Fidhle, vol. 3), 1988; pg. 34.

                       

LADY IN THE DARK. English, Country Dance Tune (6/8 time). G Dorian. Standard tuning. AA. The tune dates to 1665. Barnes (English Country Dance Tunes), 1986. Sharp (Country Dance Tunes), 1994; pg. 30.

X:1

T:Lady in the Dark

M:6/8

L:1/8

S:Sharp – Country Dance Tunes  (1909)

Z:AK/Fiddler’s Companion

K:G Minor

|: (G | G2A Bcd | G3G2) (A | B2c d=ef | B3B2) (d/=e/) |

(fd2) B2c | (cA2) F2(F | G2A Bcd | B3G2) :|

           

LADY IN THE LAKE. Old‑Time. The title appears in a list of traditional Ozark Mountain fiddle tunes compiled by musicologist/folklorist Vance Randolph, published in 1954.

           

LADY IN THE SUN, THE. Irish, Slow Air (3/4 time). A Dorian. Standard tuning. AB. "From as MS. evidently written by a skilled fiddler with much musical taste, from Limerick, but the name of the writer nowhere appears" (Joyce). Joyce (Old Irish Folk Music and Songs), 1909; No. 354, pg. 163.

X:1

T:Lady in the Sun, The

M:3/4

L:1/8

R:Air

S:Joyce – Old Irish Folk Music and Songs (1909)

Z:AK/Fiddler’s Companion

N:”Slow. There were some irregularities in the phrasing, which I have corrected.”

K:A Dorian

(5G/A/B/c/d/|e2 edcd|e2A2 AB|cABGAF|G2E2E2|E4 AB|

c2 cedA|d2e2 ag|e2A2 (6G/2E/2D/2E/2F/2G/2|E2A2 A>B|A6||

(6A/B/c/d/e/f/|gagede|gagede|abaged|c>d B2A2|G4 (6B/d/e/f/g/a/|

bgafge|fdcABG|A2 dcAF|G2E2E2|E4 AB|c2 cedA|d2e2 ag|

e2A2 (6G/2E/2D/2E/2F/2G/2|E2A2 A>B|A4||

           

LADY ISABELLA WEMYSS' STRATHSPEY. Scottish, Strathspey ("Slow when not danced"). D Major. Standard tuning. AAB. Composed by William Marshall (1748-1833). Lady Isabella was the first cousin of Elizabeth Brodie, the 5th Duchess of Gordon, the daughter-in-law of Marshall’s employer, Alexander, the 4th Duke of Gordon (Cowie, The Life and Times of William Marshall, 1999). Marshall, Fiddlecase Edition, 1978; 1822 Collection, pg. 32. MacDonald (The Skye Collection), 1887; pg. 156.

X:1

T:Lady Isabella Wemyss’ Strathspey

M:C

L:1/8

R:Strathspey

S:Marshall1822 Collection

Z:AK/Fiddler’s Companion

K:D

D2 E>F AB ~B,2|A,DDF E2 DA,|DDEF AB ~B,2|d>BAF E2 D2:|

A>df>d g/f/e/d/ ~B2|Addf e2 d>A|~B>d B/A/G/F/ G/F/E/D/ B,2| A,>DDF E2D2 |

A>df>d g/f/e/d/ ~B2|Addf e2 d>A|A/d/c/d/ B/A/G/F/ G/F/E/D/ B,2| d>B A<F E2 D2||

           


LADY IVEAGH ("Bantighearna Ibheach" or "Bantiarna Ibheachadh"). Irish, Air (2/4 time). G Minor (Bunting): A Minor (Heymann). Standard tuning. AB (Heymann): AABB (Bunting). The Irish collector Edward Bunting obtained this song air from harper Arthur O'Neill in 1792. O'Sullivan (1983) reports that composition of the melody has been attributed to Thomas Connallon (or Connellan), born at Cloonmahon, County Sligo, in 1640, or his brother William, the younger by five years. O’Neill (1913) credits it to Thomas’s younger brother, whose name he gives as Laurence O’Connellan. Bunting's comment on the tune was thus:

***

An air remarkable for its haughty and majestic style, suitable

most probably to the rank and character of the lady to whom

it is addressed. The Lady Iveagh whose name is preserved in

this characteristic melody was Sarah, daughter of Hugh O'Neill,

the great Earl of Tyrone. She was married to Art Roe Magennis

[Aodh Ruadh Mag Aonghuis], who was created Viscount Iveagh

by patent of July 18th, 1623.

***

Iveagh is a barony in County Down, most of whose land was granted in by Queen Elizabeth in 1584 to the Magennis family, who had been lords of the area for centuries--the name now is commonly called Guinness. O'Sullivan's researches find that Bunting must be in error, for the dates of the Connellans and Sarah O'Neill do not match, and that either the melody is the composition of an earlier bard or that Sarah is not the Lady Iveagh to whom the composition was dedicated. If either of the Connellans was the composer they likely referred to the last Lady Iveagh, he finds, whose name was Margaret, daughter of the seventh Earl of Clanricarde, and a woman of great personal charm who married into the Iveagh house in the late 17th century. Margaret's husband (the fifth Viscount) died in 1692 in service of the Emperor of Austria, but she returned home to marry again in 1696 to Colonel Thomas Butler of Kilcash (Co. Tipperary), dying a widow in 1744. The Connellans were in their 40's during the brief period Margaret was Lady Iveagh (who was probably still known by her former title after her second marriage by the local Tipperary population). Heymann (1990) adds that she was apparently well-loved, being mentioned by name and alluded to in the famous “Caoine Chille Cais” (Lament for Kilcash), as well as being the object of a praise poem by a priest named Lane. O'Sullivan also reports there is a MS variant of "Lady Iveagh" called "Miss Crofton" which is often attributed to O'Carolan on the strength of stylistic criteria. Heymann (Off the Record), 1990; pgs. 19-22. O'Sullivan/Bunting, 1983; No. 2, pg. 2. Temple Records 013, Ann Heymann & Alison Kinnaird – “Harper’s Land” (1983).

                                   

LADY JANE GRAY'S REEL. Scottish, Reel. G Major. Standard. AABB. Cole (1000 Fiddle Tunes), 1940; pg. 37. Ryan’s Mammoth Collection, 1883; pg. 63.

X:1

T:Lady Jane Gray’s

M:C|

L:1/8

R:Reel

S:Ryan’s Mammoth Collection (1883)

Z:AK/Fiddler’s Companion

K:G

DGGF Adde | ABcA dBcA | DGGF Adde | fdcA (BG)G2 | DGGF Adde |

ABcA dBcA | DGGF Adde | fdcA (BG) G2 :: dggf g2 (ag) | edde fgaf |

dggf g2 (ag) | fdcA (BG)G2 | eggf g2 (ag) | edde (fg) a2 | bgaf gdde | fdcA (BG) G2 :|

                       

LADY JANE MONTGOMERY. AKA and see “Earl of Home.” Scottish, Strathspey. F Major. Standard tuning (fiddle). AAB. Attributed to Niel Gow (1727-1807) in the Fourth Collection (1800). Lady Jane (d. 1860) was the 2nd daughter of Hugh Montgomerie (1739-1819), 12th Earl of Eglinton, and Eleanora Hamilton, who married in 1779.  Hugh was the Lord Lieutenant of Ayrshire (1796-1819) at the time the Gows printed their strathspey in honor of his daughter. She, along with her father, was on of the Proprietors and chief investors of the ill-fated Glasgow, Paisley and Ardrossan Canal, begun in 1807 and completed in 1811. Lady Jane married her cousin Captain Archibald Hamilton in 1828 (he was a former sea captain with the East India Company), but had no children. Lord Montgomerie bestowed upon the couple a life-rent interest in the mansion house of Rozelle. She participated in her brother’s (who had become the 13th Earl) luxurious fete, the Eglinton Tournament, in 1839, a quasi-medieval pagent in which the majority of the elite guests attended in costume. Unfortunately for all, the Tournament coincided with inclement weather and was largely conducted in the rain. The first starin of the strathspey had previously been employed by Nathaniel Gow in “Earl of Home,” which appeared  in the Gow’s Third Collection of Niel Gow’s Reels (1792). Gow (Fourth Collection of Niel Gow’s Reels), 2nd ed., originally 1800; pg. 27. Stewart-Robertson (The Athole Collection), 1884; p. 236.

X:1

T:Lady Jane Montgomery

L:1/8

M:C

R:Strathspey

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

Z:AK/Fiddler’s Companion

K:F

f|c<F c>A G>AB>d|c<F c>A c>df>a|f<d c>A G>A B<d|c<F c>A F2F:|

f|F<f ~f>a g>fg>a|c<f ~f>a f>a f<c|d>fc>A G>AB>d|c<F c>A F2 F>f|

F<f ~f>a g>fg>a|c<f ~f>a f>af>c|d>f c<A G>AB>d|Ff/g/ a>e ~f2 f>d||

                       

LADY JANE NEVILLE. AKA ‑ "Lady Jane Nevill's Reel." Scottish, Reel. G Major. Standard tuning. AAB (Athole, Marshall, Skye): AABB' (Kerr). Composed by William Marshall (1748-1833). According to Moyra Cowie (The Life and Times of William Marshall, 1999), Lady Jane Neville was the daughter of Lady Louisa Gordon and Charles, Marquis Cornwallis; thus she was the grand-daughter of Marshall’s employer, Alexander, the 4th Duke of Gordon. She married the Honorable Richard Griffin Neville in 1819 and became the Marchioness Cornwallis of Culford, Suffolk. Her mother-in-law reputedly had a great sense of humor and Cowie says she was a particular favorite of Marshall’s. Kerr (Merry Melodies), vol. 2; No. 119, pg. 15. MacDonald (The Skye Collection), 1887; pg. 99. Marshall, Fiddlecase Edition, 1978; 1822 Collection, pg. 40. Stewart-Robertson (The Athole Collection), 1884; pg. 162.

X:1

T:Lady Jane Neville

M:C|

L:1/8

R:Reel

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

Z:AK/Fiddler’s Companion

K:G

d|g2 dg Bgdg|Bgdg a2ab|g2 dg Bgdg|DAFD G2G:|

c|Bc/d/ dB cd/e/ ec|Bc/d/ dB A2 Ac|Bc/d/ dB cd/e/ ec|

dgfa g2gc|Bc/d/ dB cd/e/ ec|Bc/d/ dB A2 Ac|BdBd cece| dgaf ~g2g||

           

LADY JANE STUART’S RANT.  AKA and see “Dick a Dollis,” “Stewart’s Rant,” “Stuart’s Rant.” “Was Yow at the Wedding.” Scottish, Reel. A Major. Standard tuning. AABB. The melody under this title appears in the 1770 music manuscript collection of Northumbrian musician William Vickers, about whom unfortunately nothing is known.

X:1

T:Lady Jane Stuart’s Rant

M:C|

L:1/8

R:Reel

S:William Vickers’ 1770 music manuscript (Northumberland)

K:A

B|cd/e/ fg/a/ e2 dc|dBfB dBaB|cd/e/ fg/a/ edc|dBgB aAA:|

|:B|cA A/A/A cAcA|BE E/E/E BEdB|cA A/A/A cAcA|dBgB aAA:|

 


LADY JANE TAYLOR'S STRATHSPEY--OF ROTHIEMAY. Scottish, Pastoral Strathspey. C Major. Standard tuning. AB (Kerr, Marshall): AABB' (Athole). Composed by William Marshall (1748-1833). Rothiemay is located in the Strathbogie district of Aberdeenshire, not far from Huntly. According to Moyra Cowie (The Life and Times of William Marshall, 1999), Lady Jane was the third daughter of the Earl of Fife and the sister of Lady Anne Warton Duff. She lived at Rothiemay Castle, which no longer stands. lived in Rothiemay Castle near the River Devon, Hardie (Caledonian Companion), 1992; pg. 49. Kerr (Merry Melodies), vol. 3; No. 127, pg. 15. Marshall, Fiddlecase Edition, 1978; 1822 Collection, pg. 46. Stewart-Robertson (The Athole Collection), 1884; pg. 80.

X:1

T:Lady Jane Taylor

M:C

L:1/8

R:Strathspey

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

Z:AK/Fiddler’s Companion

K:C

G/F/|E>Gc>G EGcG|E<GcB/c/ d<DDG/F/|E>G c<E F>Ad>f|

f/e/d/c/ G/c/B/d/ c<CCG/F/|E>Gc>G EGcG|E<GcB/c/ d<DDG/F/|

E>Gc>E F>Ad>f|f/e/d/c/ G/c/B/d/ c<CC||

|:e/f/|g>c e/f/g/e/ a/g/f/e/ de/f/|g>c a/g/f/e/ f<dde/f/|1 c>d c/d/e/f/ g/f/e/d/ c>G|

c>A G/A/F/G/ E<CC:|2 g/f/e/g/ f/e/d/f/ e/d/c/e/ d/c/B/d/|c/B/c/A/ G/A/F/G/ E<CC||

 

LADY JANE’S.  English, Waltz. D Major. Standard tuning. AABCCDD. Kennedy (Fiddler’s Tune-Book: Slip Jigs and Waltzes), 1999; No. 140, pg. 35.

 

LADY JARDINE. Scottish, Strathspey. F Major. Standard tuning. AB (Gow): AAB (Athole). Carlin (The Gow Collection), 1986; No. 423. Gow (Complete Repository), Part 3, 1806; pg. 29. Stewart-Robertson (The Athole Collection), 1884; pg. 218.
X:1

T:Lady Jardine

M:C

L:1/8

R:Strathspey

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

Z:AK/Fiddler’s Companion

K:F

f|:c>AF>A FA/B/ c>A|c<A F>A G>AB>d|c>AF>A F>Ac>A|B>dc>A G>AB>d:|

~c>df>g a>gf>c|d<fc>A G>AB>d|c<A f>g a>gfc|d/e/f e/f/g a>f ~fe/d/|

c>fa>c B>ge>B|A<f c>A G>AB>d|c>fe>g a>fe>g|~f>dc>A G>AB>d||

 

LADY JEAN HUM(E)'S REEL. Scottish, Country Dance Tune (12/8 or 6/8 time). C Major. Standard tuning. AABB. The melody 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", and in the Gillespie Manuscript of Perth (1768). John Glen (1891) found the earliest appearence of the tune in print only in Robert Bremner's 1757 collection, and was evidently unaware of Young's MS. Bremner (Scots Reels), c. 1757; pg. 50.

X:1

T:Lady Jean Hume’s Reel

M:6/8

L:1.8

R:Jig

S:Bremner – Scots Reels (c. 1757)

Z:AK/Fiddler’s Companion

K:C

c2 (g g)eg | gea “tr”g2e | c2g g(a/g/f/e/) | ded e2d | c2(g g)eg | gea “tr”g2e |
(f/e/f/g/a) gfe | ded “tr”e2d :: c>dc cGc | cGc “tr”e2d | c>dc cGE | DED “tr”e2d |

cdc cGE | GAB cGE | FGA GFE | DED “tr”e2d :|

           

LADY JEAN LINDSAY'S MINUET. Scottish, Minuet (3/4 time). F Major. Standard tuning. AA'BB'. Composed by Daniel Dow (1732‑83) of Perthshire and Edinburgh. The tune first appeared in the Gillespie Manuscript (1768) as "A New Minuet," and he must have later selected a patron, for it appears under the "Lady Jean" title in his 1773 collection. Source for notated version: the James Gillespie MS, Perth, 1768; pg. 88 [Johnson]. Johnson (Scottish Fiddle Music in the 18th Century), 1984; No. 62, pg. 154.

           

LADY JEAN MONGOMRIE. Scottish, Strathspey. F Major. Standard tuning. AAB. Composed by Niel Gow. Carlin (The Gow Collection), 1986; No. 97.

           

LADY JEAN MURRAY'S RANT. Scottish, Reel or Rant. D Mixolydian. Standard tuning. AABB. John Glen (1891) finds the earliest appearance of the tune in print in Robert Bremner's 1757 collection. Bremner (Scots Reels), c. 1757; pg. 35.

X:1

T:Lady Jean Murray’s Rant

M:C

L:1/8

R:Reel

S:Bremner – Scots Reels (c. 1757)

Z:AK/Fiddler’s Companion

K:D Mix

A | D/D/D (D>A) “tr”F2 FA | E2 E>B (c2 c)e | D/D/D D>A “tr”F2 FA | E2 E^c (d2d) :|

|: g | (f/g/a) fd (f/g/a) fd | (e/f/g) ec (e/f/g) ec | (f/g/a) fd (f/g/a) fd | (e/g/f/e/) (a/g/f/e) d2d :|

           

LADY JEMIMA CORNWALLIS. Scottish, Reel. A Major. Standard tuning. AB. Composed by William Marshall (1748-1833). Lady Jemima was one of the five daughters of Lady Louisa Gordon and her husband Charles Cornwallis, Bury Street, Edmonds, Suffolk. She later became Countess St. Germans (Cowie, The Life and Times of William Marshall, 1999). Marshall, Fiddlecase Edition, 1978; 1822 Collection, pg. 20. MacDonald (The Skye Collection), 1887; pg. 27.

X:1

T:Lady Jemima Cornwalis’ Reel

M:C|

L:1/8

R:Reel

S:Marshall1822 Collection

Z:AK/Fiddler’s Companion

K:A

A2a2 a/g/f/g/ a2|aece fedc|B2b2 b/^a/g/a/ b2|bB^df bfg=a|A2 a2 a/g/f/g/ a2|

Aece fedc|defg aedc|Bbfb agfa||Aece Aece|Aeca fedc|Bf^df Bf^df|bB^df bfga|

Aece Aece|Aeca fedc|defg aedc|Bbfb agfa||

           

LADY JEMINIA JOHNSTON. AKA ‑ "Lady Jemima Johnston." Scottish, Reel or Strathspey. C Major. Standard tuning. AB. Carlin (The Gow Collection), 1986; No. 98. Gow (Fourth Collection of Niel Gow’s Reels), 2nd ed., originally 1800; pg. 26. Kerr (Merry Melodies), vol. 2; No. 94, pg. 12. MacDonald (The Skye Collection), 1887; pg. 108 (appears as "Lady Jemima Johnston"). Stewart Robertson (The Athole Collection), 1884; pg. 76.

See also listing at:

Alan Snyder’s Cape Breton Fiddle Recording Index

X:1

T:Lady Jemima Johnston

M:C

L:1/8

R:Strathspey

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

Z:AK/Fiddler’s Companion

K:C

F|E>FG>F E<c G>c|E>Gc>E F<D D>F|E>FG>F E>cG>E|F<D G>F E<C C>F|

E>FG>F E>cG>c|E<c G>E F<D D>F|E>FG>E G>A d>f|e<c G>B c<CC||

e/f/|g>ec>e g>ag>e|f>d ed/c/ B>dde/f/|g>ec>e g>ag>e|f>dg>G A>cce/f/|

g>ec>e g>ag>e|f>d ed/c/ B<d d>f|e>g G>E F>d F>D|B>cd>f e<cc||

X:2

T:Lady Jemima Johnston’s Reel

M:C

L:1/8

R:Reel

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

Z:AK/Fiddler’s Companion

K:C

F|”tr”E>FGF EcGc|”tr”E>GcE F(DD)F|”tr”E>FGF EcGE|F<D {G,}G>F ECCF|

“tr”E>FGF EcGc|E<cG>E F(DD>)F|”tr”E>FGE FA df|e<cG>B cCC||e/f/|

“tr”g>ece “tr”g>age|f>d {f}ed/c/ B(dd)e/f/|”tr”g>ece “tr”g>age|f>dgG A(cc)e/f/|

g>ece g<ag>e|fd {f}ed/c/ B(dd>)f|eg GE Fd FD|”tr”B>c~d>f ecc||

           

LADY JOHN SCOTT. Scottish, Strathspey. A Major. Standard tuning. AB. Composed by William Marshall (1748-1833). Lady John Scott (1810-1890) is Alicia Spottiswoode, according to Moyra Cowie (The Life and Times of William Marshall, 1999), who married John Scott, the third son of the Duke of Buccleuch. Alicia was a great historian and the author of many famous ballads, including “Annie Lawrie,” “Durisdeer” and “Think on Me” (see note for “Annie Laurie”). See also the companion title “Lord John Scott.” Marshall, Fiddlecase Editon, 1978; 1845 Collection, pg. 28.

X:1

T:Lady John Scott

M:C

L:1/8

R:Strathspey

S:Marshall1845 Collection

Z:AK/Fiddler’s Companion

K:A

A<E A>c B>A B<c|e<c B>A BA F2|A<E A>c B>A B<c|e<c B>c A/A/A A2|

A<E A>c B>A B<c|e<c B>A BA F2|A<E A>c B>A B<c|e<c B>c A/A/A A2||

A/a/g/a/ f/e/d/c/ d/e/f/e/ d/c/B/A/|B/c/d/c/ d/c/B/A/ B>A F2|

A/a/g/a/ f/e/d/c/ d/e/f/g/ ac|B>ABc A/A/A A2|A/a/g/a/ f/e/d/c/ d/e/f/e/ d/c/B/A/|

B/c/d/c/ e/d/B/A/ B>A F2|A<E A>c B>A B<c e>cB>c A/A/A A2||

 

LADY JOHNSTON’S REEL.  Scottish, Reel. D Major. Standard tuning. AABB. Composed by Nathaniel Gow (1766-1831). Gow (Third Collection of Niel Gow’s Reels), 3rd ed., originally 1792; pg. 38.

X:1

T:Lady Johnston’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:D

B|AFFd AFdF|AFdF (FE) E>B|AFFd AFdA|fdAF D2D:|

|:addg fdaf|bdaf {f}e2 eb|add(g f)dcA|(d/c/B/A/) dF D2D:|

 


LADY KELLY’S REEL. AKA and see “Northern Lasses,” “Up Roscommon.” Irish, Reel. G Major. Standard tuning. ABC. The melody was played by 19th century Mohill, County Leitrim piper Owen Brennan in a competiton with thirty other pipers sponsored by an Englishman who was passionate about Irish piping. Brennan won the first prize with the tune which was “viewed with special favor” (O’Neill, 1913). Brennan is also remembered for his habit of accompanying his friends and acquaintances  who were emigrating, serenading them all the way to the port of Longford to send them on their journey to America. O’Neill (1922) remarks: “This famous reel as played by John Kelly a fiddler of phenomenal execution now living in San Francisco Cal., is a florid setting of Sergt. James O'Neill's ‘Northern Lasses’ printed in the O'Neill Collections. Kelly a native of Roscommon, Ireland, says this reel was known as ‘Kelly's Reel’ before his time. It was his masterly rendering of ‘Lady Kelly's Reel’ that won the championship for Owen Brennan an expert piper, as described on page 215, Irish Minstrels and Musicians.” Source for notated version: John Kelly (San Francisco) [O’Neill]. O’Neill (Waifs and Strays of Gaelic Melody), 1922; No. 201. 

X:1

T:Lady Kelly's Reel

T:Up Roscommon

M:4/4

L:1/8

S:as played by John Kelly of San Francisco

Z:Paul Kinder

R:Reel

K:G

ef|gG (3GGG EGDG|EGDG (3EFG DG|(3EFG AB cBcA|BcdB cBAB|

(3ccc gc (3BBB dB|(3AAA af gfed|cBAG FGAc|BGAF G2||

ef|g2 dg (3efg dg|bgag bgef|g2 dg (3efg dg|bgag bg g2|

g2 dg (3efg dg|bgag bgef|(3gag (3fgf (3efe (3dc|(3Bcd ef gfef||

(3ggg dg (3efg dg|bgag bgef|(3ggg dg (3efg dg|bgag bg g2|

(3ggg dg (3efg dg|bgag bgef|(3gag (3fgf (3efe dc|(3Bcd ef gfef||

 

LADY L. RAMSAY. Scottish, Reel. B Flat Major. Standard tuning. AAB. Composed by Nathaniel Gow. Carlin (The Gow Collection), 1986; No. 264. Gow (Third Collection of Niel Gow’s Reels), 1792; pg. 11 (3rd ed.).
X:1

T:Lady L. Ramsay’s Reel

M:C|

L:1/8

R:Reel

C:Nathaniel Gow

B:3rd Collection of Niel Gow’s Reels, 3rd ed., pg. 11  (orig. 1792)

Z:AK/Fiddler’s Companion

K:Bb

e|”tr”d2 (.f.d) ecce|d2 fd gefe|”tr”d2 (.f.d) ecge|dBcA “tr”B2B:||

B|(AB)GB FBDB|FBdB cC”tr”C>B|(AB)GB FBdB|FBAc “tr”B2 Bd|

(AB)GB FBDB|FBdB cC”tr”C>E|DFBF “tr”G>ABg|fdec “tr”B2B||

 

LADY LAETITIA BURKE. Irish, Planxty (2/4 time). C Major. Standard tuning. AABBCC. Composed by Turlough O'Carolan. Recorded by the Belfast Northern Star of July 15th, 1792 (as "Lady Latitia"), 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. Complete Collection of Carolan's Irish Tunes, 1984; No. 10, pg. 30.

 

LADY LAUDER DICK’S JIGG.  Scottish, Jig. F Major. Standard tuning. AABB. Composed by Malcolm MacDonald, it first appears in his c. 1788 Collection of Strathspey Reels, vol. 1, dedicated to Mrs. Baird of Newbyth. MacDonald (A Collection of Strathspey Reels, vol. 1), c. 1788; pg. 21.

X:1

T:Lady Lauder Dick’s Jigg

M:6/8

L:1/8

R:Jig

S:MacDonald – Collection of Strathspey Reels (c. 1788)

Z:AK/Fiddler’s Companion

K:F

 f | cAF F2A | c2f e2d | cAF F2A | G3 G2f | cAF F2A | c2f e2d | cdc cAc | F3F2 :|

|: c | (A/B/c)d c2f | edc d2c | B2B A2A | G3 G2c | A/B/cc c2f | edc d2c | B2B A2G | F3F2 :|

 

LADY LEVER PARK. Scottish, March (2/4 time). D Major. Standard tuning. AABB'CCDD'. Composed by Peter MacLeod (Jr.). Martin (Ceol na Fidhle), vol. 2, 1988; pg. 35.

 

LADY LIE NEAR ME. AKA ‑ "Green Garter." English, Country Dance Tune (3/4 time). D Major. Standard tuning. AAB. The air is published in Playford's English Dancing Master (1650), however, the original song is not known. Chappell (Popular Music of the Olden Times), vol. 1, 1859; pg. 319. Raven (English Country Dance Tunes), 1984; pg. 46.

X:1

T:Lady, Lie Near Me

M:3/4

L:1/8

S:Chappell – Popular Music of the Olden Times (1859)

Z:AK/Fiddler’s Companion

K:D

FG A2F2 | E2F2D2 | B2A2d2 | B4A2 :|

d3e fe | d2d2A2 | d2d2e2 | f4e2 | f2f2e2 | d3e f2 | A2F4 | E4 D2 ||

 

LADY LOMAN'S. AKA and see "Belles of Campbelltown."

 

LADY LOUDEN('S STRATHSPEY). AKA and see “Blind Nora O’Neill,” “Blind Norry’s.” Scottish, Strathspey. C Major. Standard tuning. AB (Athole, Cole): AAB (Gow): AABB' (Kerr, Skye). Composed by Niel Gow's eldest son William (1751-1791), who was leader of the Edinburgh Assembly Orchestra until his death. He was replaced in that position by his younger brother, Nathaniel. Variants of the tune are known in Cape Breton as “Blind Nora O’Neill,” printed in Boston in Ryan’s Mammoth Collection (1885) as “Blind Nora.” Hamish Moore notes that “Lady Louden” is also related to “Lucy Campbell [3].” See also the related Irish reel “Donegal Rambler.” Cole (1000 Fiddle Tunes), 1940; pg. 126. Gow (The Second Collection of Niel Gow’s Reels), 1788; pg. 3. Kerr (Merry Melodies), vol. 2; No. 80, pg. 11. MacDonald (The Skye Collection), 1887; pg. 117. Ryan’s Mammoth Collection, 1883; pg. 165. Stewart-Robertson (The Athole Collection), 1884; pg. 62.

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 Loudon

M:C

L:1/8

R:Strathspey

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

Z:AK/Fiddler’s Companion

K:C

e/f/|g<c g>e g<c g>e|g<c g>e fd d/e/f|g<c g>e g<c g>e|f<a g>f e<c ce/f/|

g<c gf/e/ g<c gf/e/|g<c gf/e/ f<d de/f/|g<c gf/e/ g<c g>e|f<a g>f e<c c||

e|G>cE>c G>ce>c|G>cE>c d<D D>c|G>cE>c G>ce>c|f/g/a g>f e<c c>e|

G>cE>c G>ce>c|G>cE>c d<D Df/g/|a>fg>e f>de>c|f<a g>f ecc||

 

LADY LOUGHBOROUGH’S REEL.  See note for “Major McLean.”

                          

LADY LOUISA CORNWALLIS' STRATHSPEY. Scottish, Strathspey. E Flat Major. Standard tuning. AAB. Composed by William Marshall (1748-1833). Lady Louisa was the fourth of the five daughters of Lady Louisa Gordon and her husband Charles, second Marquis of Cornwallis, Bury Street, Edmonds, Suffolk (Cowie, The Life and Times of William Marshall, 1999). See note for “Lady Louisa Gordon’s Reel” below for more. Gatherer (Gatherer’s Musical Museum), 1987; pg. 34. MacDonald (The Skye Collection), 1887; pg. 130. Marshall, Fiddlecase Edition, 1978; 1822 Collection, pg. 24.

X:1

T:Lady Louisa Cornwallis’ Strathspey

M:C

L:1/8

R:Strathspey

S:Marshall1822 Collection

Z:AK/Fiddler’s Companion

K:E_

F|[G,2E2] A/G/F/E/ BE ~G2|CFFG A/G/F/E/ DB,|[G,2E2] GE BEGE|

A,c/B/D/ [G,2E2] [G,E]:|

B|e/d/c/B/ G>e Be ~g2|cffg afdB|e/d/c/B/ Ge BeGE|A,cBD [G,2E2] [G,E] B|

E/d/c/B/ Ge Be ~g2|cffg afdB|e>g (3fed (3edc (3BAG|(3ABc BD [G,2E2] [G,E]||

 


LADY LOUISA GORDON'S REEL. AKA and see "Miss McLeod's Fancy," "Miss Farquharson of Invercauld." Scottish, Strathspey. F Major. Standard tuning. AABB. Composed by William Marshall (1748-1833), and first appearing in print in his 1781 collection. Robert Burns called Marshall “the greatest composer of strathspeys of the age.” Madame Hillsburgh, a celebrated stage dancer of the first half of the nineteenth century, danced to this tune at the Edinburgh Opera House (before 1845). The Gows renamed the tune "Miss M'Leod's Fancy" and did not give composition credit to Marshall until their Sixth Collection. In Marshall's posthumous collection the melody can be found under the title "Miss Farquharson of Invercauld".

***

Lady Louisa was the fourth daughter of the beautiful and witty Jane Maxwell, and married Charles, Lord Broome, the son of the Marquis of Cornwallis, “the justly celebrated Governor of India.” Charles succeeded his father as the second Marquis of Cornwallis. Louisa’s father was Alexander, 4th Duke of Gordon (Marshall’s patron and employer), but Moyra Cowie (1999) says that daughter Louisa was reputed not to have been a Gordon child. “When Louisa married…Jane Maxwell insisted Louisa ‘had not a drop of Gordon blood in her veins!’, in response to the Marquis’s concerns that insanity ran in the Duke of Gordon’s family.” Jane was “indefatigable in her ambition,” writes Mary Robinson (Beaux and Belles of England), and, although her daughters were far less beautiful than she, skilful diplomacy found exquisite matches for each of them.

***

Glen (The Glen Collection of Scottish Dance Music), vol. 1, 1891; pg. 14. Marshall, Fiddlecase Edition, 1978; 1781 Collection, pg. 7. Culburnie COL 102, Alasdair Fraser & Jody Stecher – “The Driven Bow” (1988). Culburnie COL 113D, Alasdair Fraser & Tony McManus – “Return to Kintail” (1999).

X:1

T:Lady Louisa Gordon

M:C

L:1/8

R:Strathspey
S:Glen Collection, Vol. 1  (1891)

Z:AK/Fiddler’s Companion

K:F

A|C>FF>G A>GA>F|D<G G>A (B2 B<)c|d<fc<A G>F G<A|C>FE>G F3:|

|:e|f>c f<a f>c f<a|fcfa g2 g<a|f>c c<A f>b a<g|f<d c>A G3:|

 

LADY LOUISA HAMILTON. Scottish, Reel. F Major. Standard tuning. AB. Composed by William Marshall (1748-1833). Marshall, Fiddlecase Edition, 1978; 1845 Collection, pg. 7.

X:1

T:Lady Louisa Hamilton

M:C|

L:1/8
R:Reel

S:Marshall – 1845 Collection

Z:AK/Fiddler’s Companion

K:F
(f|c)FcA cFfd|cFcA dGG(f|c)FcA fgaf|dfcA G3||

e|fgag fFF(A|f)gaf bgga|fgaf gefc|dfcA G3||

 

LADY LOUISA RUSSELL'S JIG. Scottish, Jig. B Flat Major. Standard tuning. One part. Composed by William Marshall (1748-1833). Lady Louisa was the grand-daughter of Marshall’s employer, Alexander, the 4th Duke of Gordon, by the Duke’s daughter Lady Georgiana Gordon and her husband John Russell, the 6th Duke of Beford. Marshall, Fiddlecase Edition, 1978; 1822 Collection, pg. 5.

X:1

T:Lady Louisa Russell’s Jig

M:6/8

L:1/8

R:Jig

S:Marshall1822 Collection

Z:AK/Fiddler’s Companion

K:Bb

~f2d ~f2d|B2B Bcd|e2c d2B|cAF ~F3|f2d ~f2d|B2B Bcd|efg fba|ga=e f3|

f2d f2d|B2B Bcd|e2c d2B|cAF F3|f2d f2d|B2B Bcd|efg fba|bg=e f3|

F2F e2c|d2B cAF|(FA)F (Bd)B|(df)d c3|F2F e2c|d2B cde|def gba|ga=e f3|

~g2e gfe|~f2d fed|~e2c gfe|dcB AGF|~g2e gfe|~f2d fed|efg f2F|~B3 B3||

 

LADY LOVAT (Baintighearna Mhic Shimi). Scottish, Slow Strathspey. D Major. Standard tuning. AB. "There have been events in the fate of every Lady Lovat, of whom the editor has either heard or read, suited to the plaintive and affecting strain of this melody. The present worthy dowager‑lady having seen a fine family of sons entombed, after arriving at the age of manhood, and, on the death of her husband, the family estate devolve to a distant collateral heir of entail,‑‑no small share of affliction for the only one mentioned" (Fraser). Fraser (The Airs and Melodies Peculiar to the Highlands of Scotland and the Isles), 1874; No. 176, pg. 72.

X:1

T:Lady Lovat

T:Gaintighearna Mhic Shimi

M:C

L:1/8
R:Strathspey
S:Fraser Collection  (1874)

Z:AK/Fiddler’s Companion

K:D
d||A<F d>F B>AF>B|A<F d>F [G/B/][F/A/][E/G/][D/F/] [CE]>B|

A<F d>A B<A[DF]>A|d>ef>d e>d e<f|A<F d>A B>A[DF]>B|

A<F d>F [G/B/][F/A/][E/G/][D/F/] [CE]>B|A<F d>A B>A[DF]>A|

d>e (f/d/a/f/) e2 d||e|f>g/4f/4) ed c>B ^A2|d>^d e>^e fF [C2E2]|

f>g/4f/4 ed c>B ^A2|Ff (e/4f/4g/) f/e/ dc [D2B2]|f>g/4f/4 ed c>B ^A2|

d>^d e>^e fF [C2E2]|[A,2F2] A<G F/A/B/c/ d2|D<d’ a<f e<c (d e/4d/4c/4B/4)||

                       

LADY LUCINDA RAMSAY. Scottish, Strathspey. G Dorian. Standard tuning. AA'B. Stewart-Robertson (The Athole Collection), 1884; pg. 195.

X:1

T:Lady Lucinda Ramsay

M:C

L:1/8

R:Strathspey

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

Z:AK/Fiddler’s Companion

K:Gmin

B/c/|d<GB<G D<GGA/B/|c<FA<F C<FFA/c/|1 d<GB<G D<GGA/B/|

AB/c/ d/c/B/A/ B>GG:|2 BA/G/ AG/^F/ G<DE<C|B,>C D<^F G>G,G,||

d|g<ba<b g<dB<G|c<ag<a f<cA<F|g<ba<b g<dB<G|AB/c/ D>d B<G G>d|

g<ba<b g<dB<G|c<ag<a f<cA<F|G>B c<A B>d =e<c|d<g^f<a g2g||

                       

LADY LUCY CAMPBELL’S STRATHSPEY. See “Lucy Campbell’s Strathspey.”

                       

LADY LUCY LES(S)LIE MELVILLE. Scottish, Reel. F Major. Standard tuning. AAB. A double-tonic tune composed by Niel Gow (1727-1807). Lady Lucy Leslie Melville (1794-1865) was but a child when Niel Gow composed this tune in her honor. She married, in 1824, Henry Smith of Wilford House, a Nottingham banker. Lucy was the daughter of Alexander, 10th Earl of Leven and Melville, and elder sister to the 11th Earl. She was known throughout her life for her Christian piety and charity, and she has been the subject of inspirational pieces for Gospel magazines. Carlin (The Gow Collection), 1986; No. 265. Gow (Fifth Collection of Strathspey Reels), 1809; pg. 5.  Stewart-Robertson (The Athole Collectio), 1884; pg. 236.

X:1

T:Lady Lucy Leslie Melville

M:C|

L:1/8

C:Niel Gow (1727-1807)

R:Reel

B:Gow – Fifth Collection of Strathspey Reels (1807)

Z:AK/Fiddler’s Companion

K:F

a|f>dcA F/F/F F>A|G/G/G “tr”g>f dfga|fdcA (cd/e/ f>c)|df c>A F/F/F F:||

A|F (f2g) fdcA|G (g2.a) “tr”gfdf|c (f2.g) fdcA|BG cA F/F/F F>A|

F (f2.g) fdcA|G (g2.a) “tr”g>f dg|fa df cf Af|c>A f>A F/F/F  F||

           

LADY LUCY RAMSAY. Scottish, Strathspey. C Major. Standard tuning. AB (Surenne): AAB (Gow, Honeyman): AABB' (Athole, Kerr, Skye). MacDonald’s Skye Collection credits this tune to Nathaniel Gow, however the Gows printed the tune with the attribution "By a Lady." It may be a companion piece to “Lady Mary Ramsay.” Carlin (Gow Collection), 1986; No. 99. Gow (Fourth Collection of Strathspey Dances), 2nd ed., originally 1800; pg. 16. Honeyman (Strathspey, Reel and Hornpipe Tutor), 1898; pg. 15. Kerr (Merry Melodies), vol. 1; Set 23, No. 3, pg. 14. MacDonald (The Skye Collection), 1887; pg. 120. Stewart-Robertson (The Athole Collection), 1884; pg. 66. Surenne (Dance Music of Scotland), 1852; pgs. 64-65.

Alan Syner’s Cape Breton Fiddle Recording Index

Jane Keefer’s Folk Music Index: An Index to Recorded Sources 

X:1

T:Lady Lucy Ramsay

M:C

L:1/8

R:Strathspey

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

Z:AK/Fiddler’s Companion

K:C

f|e<g g>a g>ec>a|g>ca>c e<d d>f|e<g g>a g>ag>e|f>dg>f e<cc:|

|:e|G>cE>c d>cd>e|c<c e>d c<A A>c|1 G<cE<c d>cd>e|c<A G>F E<C d>c:|2

G<cE<c F<dE<c|D<a g>f e<cc||

 

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