The Fiddler’s
Companion
© 1996-2009 Andrew Kuntz
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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] |
LORAN RAMSEY’S. Canadian, Reel. Canada, Cape Breton. A Major.
Standard tuning. AABB. Composed by the late Cape Breton fiddler Jerry Holland
(1955-2009). Cranford (Jerry Holland: The Second Collection), 2000; No.
26, pg. 12.
LORCA’S REEL. Canadian, Reel. Canada, Cape Breton. A Major. Standard tuning. AABB’.
Composed by Cape Breton editor, publisher, lighthouse-keeper, composer and
fiddler Paul Stewart Cranford. Cranford (Jerry
Holland’s), 1995; No. 28, pg. 9.
LORD ABOYNE. Scottish, Slow Strathspey. D Major. Standard tuning. AAB. Carlin (The Gow Collection), 1986; No. 116. The
Lords Aboyne were the Gordon family. Aboyne Castle was a stronghold for the
Gordons from the 13th century onward. In the hills above the village
of Aboyne stands an ancient cairn, said to mark the spot where MacBeth made his
last stand before being slain by Malcolm in 1057. Gow (Complete Repository), Part 2, 1802; pg. 3.
X:1
T:Lord Aboyne
M:C
L:1/8
R:Slow Strathspey
S:Gow – 2nd Repository (1802)
Z:AK/Fiddler’s Companion
K:D
DE|F2 F>E F3d|A2 {B}A>F E2
D>E|F2F2 d2 F>E|F4G2:|
~d>e|f2 f>e d2 B>A|A>BdF
E2 ~d>e|(dc) (BA) d2 F>E|
F4 B2 ~d>e|f2 f>e d2
B>A|A>BdF E2 ~d>e|(dc) (BA) d2 (F>E)|F4 B2||
LORD AIRLEY. AKA – “Lord Airly’s Reel.” Scottish, Reel. F Major. Standard tuning.
AAB (Gow): AABB (Athole). Composition of the melody was claimed by Niel Gow
(1727-1807), or for him by his son Nathaniel,
although John Glen (1895) insists the tune was published earlier by another
composer. He was probably referring to Malcolm
MacDonald of Dunkeld, who published the tune in his 3rd Collection, a volume dedicated to Miss Drummond of
Perth. The seat of the Ogilvie family, Lords Airlie, is Cortachy Castle, in
north-western Angus, near the River Esk. Lord Airlie in Gow’s time was David,
Lord Ogilvie, who had gone out for Bonnie Prince Charlie in the rising of 1744.
After the defeat at Culloden, Ogilvie managed to escape to France, where he
found service with the Bourbon king who made him a Knight of St. Louis. Upon
his father’s death in 1761, Ogilvie syled himself Earl of Airlie, though of
course his titles had been forfeit. He disdained to have anything to do with
French service after the French Revolution and the execution of King Louis XVI,
and refused Napoleon’s offer of his pension, which had been in arrears. Ogilvie
was finally allowed to come home, and died at Cortachy at the age of 79.
However, more interesting is the story of his ardently Jacobite wife, Margaret,
Lady Ogilvie—another tale. Carlin (The
Gow Collection), 1986; No. 269. Gow (Fourth Collection of Strathspey
Dances), 2nd ed., originally 1800; pg. 28. MacDonald (A Third Collection of Strathspey Reels),
c. 1792; pg. 3. Stewart-Robertson
(The Athole Collection), 1884; pg.
235.
X:1
T:Lord Airlie
M:C|
L:1/8
R:Reel
B:Stewart-Robertson – The
Athole Collection (1884)
Z:AK/Fiddler’s Companion
K:F
f | cFAF EGGf | cFAF cFAF | BdAc GABd | cFAF C(FF) :|
|:
c | ~fcfa dg~g>a | gcfa cfAF | BdAc GABd | cFAF CFF :|
LORD ALBERMARLE. Scottish. John Glen (1891) finds the earliest appearance of this tune in print in Neil Stewart's 1761 collection (pg. 32).
LORD ALEXANDER GORDON('S). Scottish, Strathspey. A Major. Standard tuning. AB (Cole, McGlashan, Surenne): AAB (Gow, Marshall): AABB (Athole, Kerr): AABB' (Skye). The melody was composed by William Marshall (1748-1833) and appears earliest in his First Collection of 1781. It was republished by the Gows in Repository, Part First, 1799, without composer credit. A Scottish fiddler and composer, Marshall is most famous for his many fine strathspeys. He worked for much of his life for the Alexander, the 4th Duke of Gordon as the Steward of his Household, and it is fortunate that the Duke was an enthusiastic supporter and patron of Marshall’s music. Lord Alexander was the son and namesake of Marshall’s employer, born in 1785, who lived only until the age of 23, dying in Musselburgh Barracks on January 8th, 1808, “after a life of dissipation” (Cowie, 1999). Cole (1000 Fiddle Tunes), 1940; pg. 127. Gow (Complete Collection), Part 1, 1799; pg. 23. Kerr (Merry Melodies), vol. 2; No. 23, pg. 5. MacDonald (The Skye Collection), 1887; pg. 25. Marshall, Fiddlecase Edition, 1978; 1822 Collection, pg. 17. McGlashan (A Collection of Reels), c. 1786; pg. 38. Ryan’s Mammoth Collection, 1883; pg. 166. Surenne (Dance Music of Scotland), 1852; pgs. 116-117.
See also listings at: Alan Snyder’s Cape Breton Fiddle
Recording Index |
X:1
T:Lord Alexander Gordon
M:C
L:1/8
R:Strathspey
B:Stewart-Robertson – The
Athole Collection (1884)
Z:AK/Fiddler’s Companion
K:A
c|A,>(A A)c/d/ e<A c2|e>e f/e/d/c/ d<B B>c| A,>(A A)c/d/ e<A c>e|
(3fga (3efd c<AA::E|C<(E E)F/G/ A<E A2|F<B B>c d>cB>A|
(3cde (3fga a>cd>c|(3Bcd (3efd c<AA:|
LORD ALEXANDER RUSSELL'S JIG--WOBURN ABBEY. Scottish, Jig. C major. Standard. AAB. Composed by William Marshall (1748-1833). A Scottish fiddler and composer, Marshall is most famous for his many fine strathspeys. Marshall worked for much of his life for the Duke of Gordon as the Steward of his Household, and it is fortunate that the Duke was an enthusiastic supporter and patron of Marshall’s music.
***
Woburn Abbey, Bedfordshire, has been the home of the Russell family, Dukes of Bedford, for over 450 years, and houses one of the finest private art collections in the world, the result of generations of collecting. The history of the house begins in the year 1145 when a religious house was begun for a group of Cistercian monks. The present north wing of the mansion is on the site of the monastic church and the present courtyard is on the site of the great cloister and garth. In 1538 the Abbot, Robert Hobbes, was found guilty of treason and the monastery confiscated. Legend states that he was hanged from an oak tree at the Abbey's gate. The Russells were granted Woburn Abbey in 1547 by Edward IV, although it did not become their residence until 1619 with the first Duke of Beford. The tune’s namesake, Lord Alexander George Russell, was born on the 16th of December, 1821, at Woburn Abbey, the son of John Russell (1766-1839), the 6th Duke of Bedford, and his second wife, Lady Georgiana Gordon, the daughter of Alexander Gordon, the 4th Duke of Gordon, Marshall’s employer. Marshall’s jig commemorates the birth of the Duke’s grandson. Lord Alexander Russell died in 1907, at Wood Eaton, Oxford.
***
Sir
Edwin Landseer (1802-1873). The First Leap: Lord Alexander Russell on his Pony
“Emerald”.
***
From Queen Victoria’s journal of her trips to Balmoral, Scotland, Sept. 4, 1860:
***
We met Lord and Lady Alexander Russell at a small
farmhouse, just as we rode out of the wood, and had some talk with them. They
feel deeply the ruin of the place where they formerly lived, as it no longer
belongs to them. We rode on for a good long distance, twelve miles, till we
came to the ferry of the Spey. Deer were being driven in the woods, and we
heard several shots. We saw fine ranges of hills on the Spey-side, or
Strathspey, and opening to our left, those near Loch Laggan. We came to a wood of
larch; from that upon cultivated land, with Kinrara towards our right, where
the monument to the late Duke of Gordon is conspicuously seen on a hill, which
was perfectly crimson with heather.
Before entering the
larch wood, Lord Alexander Russell caught us up again in a little pony
carriage, having to go the same way, and he was so good as to explain
everything to us. He showed us "The Duke of Argyll's Stone" -- a
cairn on the top of a hill to our right, celebrated, as seems most probable, from
the Marquis of Argyll having halted there with his army.
***
Marshall, Fiddlecase Edition, 1978; 1822
Collection, pg. 59.
X:1
T:Lord
Alexander Russell’s Jig—Woburn Abbey
M:6/8
L:1/8
R:Jig
S:Marshall
– 1822 Collection
Z:AK/Fiddler’s Companion
K:C
G|[G,3E3c3]
(c2e)|(B/c/d)B c2G|cBA GFE|D3 (D2B)|[E3c3] (c2e)|(de)c B2G|cBA GEG|C3 C3:|
(e/f/g)c
gfe|(f/g/a)f agf|gec cde|d3 d2 e/f/|(e/f/g)c gfe|(f/g/a)f agf|edc GAB|c3 c2
e/f/|
gec afd|gec
afd|gec cde|d3 d2 e/f/|gfe fdcB|cBA GEG|C3 C2||
LORD ALEXANDER’S REEL. Canadian, Reel. A classic of Canadian ‘Down-East’ fiddling, composed by
Abbe Andrews.
LORD AMHERST’S. Scottish, March. The tune was published by Robert Bremner in 1778, but was composed
by John Reid for the Third Regiment of Foot. Reid, ultimately to become a
general, was an officer who fought the Jacobites and later served in France. He
subsequently turned up in North America with the Black Watch in 1755 and took
part in the capture of Montreal. In
addition to his military prowess, Reid was also an accomplished and sensitive
player on the German flute and a composer of merit.
LORD AND LADY
COURTNEY’S DELIGHT. AKA – “Lord Courtney’s Delight,”
“Lady Courtney’s Delight.” English, Reel. C Major. Standard tuning. AABB. Peter
Kennedy references “Dance to Your
Daddy” as a related tune. Kennedy (Traditional
Dance Music of Britain and Ireland: Reels and Rants), 1997; No. 107, pg.
26.
LORD ARBUTHNOT.
Scottish, Strathspey. G Minor. Standard tuning. ABCD. Composed by Nathaniel Gow
(1763-1831). The Arbuthnots were from Kincardineshire; Arbuthnot House was
located there. The Viscount Arbuthnot(t) in Nathaniel’s time was John
Arbuthnott, known as “the rich Lord”, who was a Scottish peer an soldier. Born
in 1778, he succeeded to the title in 1800, after service in the 52nd
Regiment of Foot and the 7th Dragoon Guards (Princess Royals). He
married in 1805 to Margaret Ogilvy, daughter of the Earl of Airlie, and served
for many years in the House of Lords. Unfortunately, in 1829 he suffered a fall
from a horse, which resulted in severe brain injury from which he never fully
recovered. His judgement and reason impaired, he was prosecuted for his
subsequent actions in 1848, and ended his life in lonely exile from Scotland.
***
One Lord Arbruthnot (who died in
1794) had a reputation as a miser. Robert Pearse Gillis wrote a sketch of him
in Personal Reminisces (1876), in which he said that Arbruthnot
caricatured the part, and for this demanded respect and not ridicule for his
attention to purpose. He kept a few servants, but seldom needed or wanted them;
visitors would be fed meagre fare. His personal valet was wont to drink, which
Arbruthnot seemed to tolerate, until one day, fed up and angry, he declared
“Either you shall quit this house directly, you scoundrel, or I must.”
His acquaintances knew this as an idle threat, however, for Arbruthnot was
comfortable in his parsimonious routines and home. He never did fire his man.
Apparently, in his old age he usually retreated to his upstairs room, where he
horded food, books and odds and ends, and would not tolerate visitors there.
***
If a guest arrived on a winter’s day,
and complained of cold in the reception-room,
where perhaps
there was only a smouldering peat in
the grate, his Lordship would trot back into the closet, and
reappear, carrying a portion of
coals on a broken plate. Possibly, he weighed out his own daily
portions of food and drink, and
drove hard bargains with himself, and tried the question on how
little he could subsist.
***
This Arbruthnot had a sarcastic,
biting wit, which endeared him to few. However, he succeeded in erasing the
family debts and putting his estates on a sound financial footing, leaving them
to his heirs in a comparatively prosperous position. Gow (Sixth Collection
of Strathspey Reels), 1822; pgs. 10-11.
X:1
T:Lord Arbuthnot
M:C
L:1/8
R:Strathspey
C:Nathaniel Gow (1763-1831)
B:Gow – Sixth Collection of
Strathspey Reels (1822)
Z:AK/Fiddler’s Companion
K:Gmin
~B>A ~G>^F GA B2|(GAB=B) .c(^c d).A|B>AG>^F GA B2|(A/c/d/=e/) f>d “tr”c>B AF|~B>A~G>^F GA B2|
GAB=B c^c dA|”tr”B>AG>^F GA
B2|A/c/d/=e/ f>d “tr”c>B AF||(db) (a^f) gd g2|dg(^fa) .g.d(bg)|
(db)a^f gd g2|”tr”=f>=efg
afcA|(db)a^f gd g2|(dg)(^fa) (gd)bg|(3db.g (3a^fa (3gdg (3=f=e_e|
(3.d.c.B f>d c>B AF||d>B GG
GA B2|~G>ABG (cA)(dB)|d>B GG GA B2|(Ac d/=e/)”tr”f/g/ (af).c.A|
d>B GG GA B2|G>ABG
(cA)(dB)|d>B GG GA B2|(Ac d/=e/”tr”f/g/ afcA||b>a gg gd g2|d(g ^f).a
(gd)(bg)|
b>a gg (gd) g2|(af) (g=e) f>c
AF|b>a (.g.g) (gd) g2|d(g ^f)(a g)d g>a|(3bag (3ag^f (3g=fe (3dcB|(3ABc
(3d=ef c(FAc)||
LORD ARTHUR'S CAIRN. Scottish, Reel. G Major. Standard tuning. AAB. Composed by Alexander
Walker. Walker (A Collection of
Strathspeys, Reels, Marches, &c.), 1866; No. 165, pg. 57.
LORD ATHLONE'S MARCH. AKA and see "The Atholl
Highlanders."
LORD
BALGO(W)NIE'S FAVORITE. AKA and see "Reverend Mr.
Patrick MacDonald of Kilmore," "Gloomy Winter('s Now Awa),"
“Lord Balgonie’s Delight.” Scottish,
Slow Strathspey. A Minor (Gow): C Minor (Gatherer): D Minor (O’Farrell).
Standard tuning. ABC (Gatherer, O’Farrell): AABBCC (Gow). Appears in Gow's Fourth Collection (1800) with the note
"A very old Highland tune." The same melody was claimed and published
(in 1792, and again in Albyn's Anthology,
1815) by Alexander Campbell as "Reverend Mr. Patrick McDonald of
Kilmore", and later used as the melody for Tannahill's popular song
"Gloomy winter's now awa;'" John Glen (1891), for one, is convinced
that Gow has no claim on the melody (curious, as there is no attribution to Gow
in the Fourth Collection), and
concludes was composed by Campbell. The editor of Wood's Songs of Scotland, George Farquhar
Graham, notes that an air appearing in Fraser called "An Dileachdan"
(The Orphan) is similar in many respects,
and could be the ancestral tune of "Balgonie' Favorite." Carlin (The Gow Collection), 1986; No. 117.
Gatherer (Gatherer’s Musical Museum),
1987; pg. 27. Gow (Fourth Collection of Strathspey Dances), 2nd
ed., originally 1800; pg. 36. O’Farrell (Pocket
Companion, vol. III), c. 1808; pg. 55.
X:1
T:Lord
Belgonies Favorite (sic)
M:C
L:1/8
R:Strathspey
S:O’Farrell
– Pocket Companion, vol. III (c.
1808)
Z:AK/Fiddler’s Companion
K:Dmin
A | d2 d>e dc A2 | f2 f>a gf e>c | d<d a2 dc AF | GG A^c d2 D || E |
F2 FA G>F EG | F>E D>F EA A2 | f2 fa g>f eg | f2 (ed) f/e/d/c/ Add || e |
f(a/b/) c’/a/(g/f/) (ef) g2 | f>e df ea a2 | A2 (BA/G/) Ad eg | f(e/d/) (f/e/)d/c/ Add ||
X:2
T:Lord Balgonie’s Favorite
M:C
L:1/8
R:Strathspey
N:”Slow. With Much Expression.”
N:”A Very Old Highland Tune.”
B:Gow – Fourth Collection of Strathspey Dances (1800)
Z:AK/Fiddler’s Companion
K:Amin
E|A2 A>B AG E2|c2 ~c>e {e}d>c B<G|A<A e2 A>G EC|D<D E>^G AA, A,:|
|:B,|C2 “trC>E {E}D>C B,D|~C>B, A,C B,E [^G,2E2]|c2 “tr”ce {e}d>c Bd|c>A (c/B/)A/G/ (EA)A:|
|:B|c<c
g2 “tr”B>c d2|{Bd}c>B Ac Be e2|E2 {G}FE/D/ (EA)(Bd)|c>A (c/B/)A/G/
(EA)A:||
LORD BALLENDEN. Scottish, "Very Slow" Strathspey. E Major (Gow): D Major
(Johnson). Standard tuning. AABBCCDD. Composed by George Jenkins (c.
1760-1806). According to John Glen (1833-1904), Jenkins “followed the
profession of a teacher of Scotch dancing in London about the year 1794, at
which date he probably published his Collection
of New Scotch Music &c., dedicated to the Prince of Wales. We are not
aware of his nationality...” Jenkin’s most famous composition is “The Marquis of
Huntly’s Highland Fling.” The 'C' and 'D' parts to “Lord Ballenden” were
added by Nathaniel
Gow. Lord Bellenden (note spelling) is now a dormant title, last held by
William Ker (1728-1805), 7th Lord Bellenden and 4rd Duke
of Roxburgh, who died childless. Carlin (The
Gow Collection), 1986; No. 118. Gow (The
First Collection of Niel Gow’s Reels), 1784 (revised 1801); pg. 21. Gow (The Beauties of Niel Gow), 1819; pg. 8.
Johnson (The Kitchen Musician's No. 10:
Airs & Melodies of Scotland's Past), 1992 (revised 2001); pg. 9.
X:1
T:Lord Ballenden
M:C
L:1/8
R:Strathspey
S:Gow – First Collection of Niel Gow’s Reels (1784)
Z:AK/Fiddler’s Companion
K:E
e|B2 B>G GFF>e|B2 B>G
Beg>f|e>c BG “tr”GFF>G|E<B, B<C E2 E:|
|:a|g<(ee>)g
~a>gfb|g(ee>)b gebg|a>fg>e “tr”f>ec>f|e>cBG B2 B:|
|:e|E>BG>B
“tr”F>ECF|E>BG>B E>ege|f>de>G “tr”F>ECf|e>cBG B2B:|
|:g|e>bg>b (a/g/)(f/e/)
cf|e>bg>b e>gbg|”tr”ab/a/ ~ga/g/ (a/g/)(f/e/) c>f|{d}e>cBG B2B:|
LORD BANFF('S
STRATHSPEY).
Scottish, Strathspey. E Major. Standard tuning. AAB. “Very Slow” says Gow. The
melody was composed by one Issac Cooper of Banff (b. 1755, d. 1810/1811 or
1820), a multitalented musician who taught and published several collections in
the late 18th and early 19th centuries. Collinson (1966) pronounced it "a
good tune," while John Glen (1895) describes it as one of the excellent
compositions from this composer. See also “Lord
Banff’s Reel.” Gow (Complete
Repository), 1799, Part 1; pg. 7. MacDonald (A Third Collection of Strathspey Reels), c. 1792; pg. 12.
X:1
T:Lord Banff’s Strathspey
M:C
L:1/8
R:Strathspey
S:Gow – 1st Repository (1799)
Z:AK/Fiddler’s Companion
K:E
G/F/ | E<B, B,>C E>FG>c
| B>(G A/G/)(F/E/) F>EC>F | E<B,B,>C EFGg | f>e{e}g>f
f2{ef}e :|
B | e>gb>g (a>g)(f>e) |
fa/f/ gb/g/ f>ec>f | e>gb>g (a>g)(f>e) | (f/a/)(g/a/)
(b/a)g/f/ {f}e2 e>B|
e>g {eg}b>g (a>g)(f>e)|
(f/a/)(g/f/) (g/b/)(a/g/) f>ec>{d}e | B>e (c/B/)(A/G/) A>Bc>A |
G>E BG/E/ F2E ||
LORD BANFF’S REEL (Ríl
an Tiarna Banff).
Irish, Reel. E Major. Standard tuning. AAB. A reel version of the Scottish
strathspey “Lord Banff.” Breathnach (1996) notes that it is unusual to have an
Irish reel set in the key of E Major, but that “some musicians—particularly
fiddlers—like to have the occasional one as a challenge.” Source for notated
version: a c. 1880's collection by fiddler and uilleann piper Stephen Grier
(Farnaght, County Leitrim) [Breathnach]. Breathnach (CRÉ IV), 1996; No. 127, pg. 63.
LORD BATH’S GATE. English,
Country Dance Tune (cut time). D Major. Standard tuning. AABB. The melody was
originally published in Bride’s Twenty Four Country Dances for the Year 1769
(London). It subsequently appeared in Charles and Samuel Thompson’s Compleat
Collection, vol. 3 (London, 1773), Straight and Skillern’s Two Hundred
and Four Favourite Country Dances, vol. 1 (London, 1775), Skillern’s Compleat
Collection of Two Hundred and Four Reels and Country Dances (London, 1780),
Longman and Broderip’s Compleat Collection of Two Hundred Country Dances
(London, 1781), and James Aird’s Selection of Scotch, English, Irish and
Foreign Airs, vol. 5 (Glasgow, 1797). Manuscript versions may be found in
the 1788 copybook of fiddlers John and William Pitt Turner (Norwich, Conn.),
who entered numerous tunes from the Thompson’s 1773 collection, and in the
manuscript collection of Northumbrian musician William Vickers, begun in 1770.
Thompson (Compleat Collection of 200 Favourite Country Dances, vol. 3),
1773; No. 179.
X:1
T:Lord Bath’s Gate
M:C|
L:1/8
B:Thompson’s Compleat Collection of 200 Favourite Country Dances, vol. 3 (London, 1773)
Z:Transcribed and edited by Flynn Titford-Mock, 2007
Z:abc’s:AK/Fiddler’s Companion
K:D
dDAD BDEAD|dDAD GDFD|dAfA eAaA|fdcB A2 A,2::ez fz gz ez|(f/g/a) aa a4|
ez
fz gz ez|fdec d4::dfad ee f2|dfad ee f2|g g2f b b2a|gefc d2 D2:||
LORD BAYKIM. Irish, Slow Air (2/4 time). G Mixolydian. Standard tuning. One part.
Source for notated version: Hugh O'Beirne, professional fiddler from
Ballinamore, Co. Leitrim, 1846. Joyce (Old
Irish Folk Music and Songs), 1909; No. 617, pg. 317.
LORD BEICHAN. English, Air (3/4 time). England, Northumberland. G Major. Standard
tuning. One part. "There are several versions of this highly popular and
apparently ancient ballad in the works of Jamieson, Kinloch, Motherwell,
&c., and in the Local Historian's
Table Book, Vol. II, p. 20, Newcastle‑Upon‑Tyne, 1842, the last
being an English traditional version communicated by Mr. J.H. Dixon, of Seaton
Carew. Jamieson suggests that the name of the hero should not be 'Beichan,' but
'Buchan;' and another editor or annotator (Percy Society Publications, No. 43)
surmises 'that the hero was one of the ancient and noble border family of
'Bertram;'' whilst Motherwell refers the ballad to an incident in the life of
Gilbert, father of the celebrated Thomas a Becket. In this opinion he is
supported by Professor Child, of Boston, USA. There is also the popular song
'Lord Bateman,' a lucicrously corrupt copy of this ballad,an edition of which
(in the Cockney vernacular, with comic illustrations by George Cruickshanks,
and notes of a burlesque character) was published by Tilt, of London, many
years ago, containing the air to which the ballad was sung in the South of
England‑‑totally different from the Northern melody, which is here
given" (Stokoe).
***
Lord Beichan was a noble lord,
A noble lord of high degree;
He shipped himself on board a ship,
He longed strange countries for to see. (Stokoe)
***
Bruce & Stokoe (Northumbrian Minstrelsy), 1882; pgs. 64‑70.
X:1
T:Lord Beichan
M:3/4
L:1/8
R:Air
S:Bruce
& Stokoe – Northumbrian Minstrelsy
(1882)
Z:AK/Fiddler’s Companion
K:G
D|GA
B2 (GA)|cB A3 D|GA B2 c2|d^c d3 D|Bc d2 c2|AG F2 (GA)| Bc d2c2|AG G3||
LORD BERKELEY’S WHIM.
English, Country Dance Tune (cut time). A Major. Standard tuning.
AABBCCDD. Thompson (Compleat Collection of 200 Favourite Country
Dances, vol. 1), 1757; No. 191.
X:1
T:Lord Berkeley’s Whim
M:C|
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
C2
E<A c<ec<A|B2 d<B F<BG<E|A2 E=G F<DC<B,|C<E c<B
A2 A,2:|
|:c2 c<A c2 c<A|c<Ae<c A2c2|B2 B<F B2 B<F|G<AE<A C2
A,2:|
|:c2 (e/d/c) (e/d/c) (e/d/c)|eagf e2c2|d2 f<d f<d f<d|B<fe<d c2
A2:|
|:A2 E<C A2 E<C|D<BA<G A2 E2|A2 E<C A2 E<C|D2 E2 [A,4E4A4]:||
LORD BINNING/BINNY. Scottish, Reel. E Minor. Standard tuning. AAB. Composed by Daniel Dow, appearing earliest in his c.
1775 collection (pg. 11). Carlin (The Gow
Collection), 1986; No. 396. Gow (Complete
Repository), Part 3, 1806; pg. 20.
X:1
T:Lord Binnings Reel
M:C|
L:1/8
R:Reel
S:Gow – 3rd Repository (1806)
Z:AK/Fiddler’s Companion
K:Emin
B|E/E/E GA B2 Ee|dBAd FDAF|GEGB
DFAd|BdFA BEE:|
B|eBge ^dfB(g|f)dBG FADf|eBge
dBe^c|dAFA BEEB|eBge ^dfB^c|
DBAG FADF|GBEe ^dfBA|GBAF GEE||
LORD BLANTYRE'S. Scottish, Strathspey. A Mixolydian. Standard tuning. AAB (Athole, Gow,
Skye): AABB' (Kerr). Composed by Niel Gow (1727-1807), probably in honor of
Robert Walter Stewart (1777-1830) the 11th Lord Blantyre, a
Major-General in the British army. Stewart was the commanding officer of the 42nd
Regiment—the famous Black Watch—during Wellington’s Napoleonic War campaigns in
Portugal and Spain in 1811-12. He was also the Lord Lieutenant of Renfreshire.
Blantyre accidentally shot himself in Brussels in September, 1830. See "Tulleynet/Tulleymet Hall" for a
minor mode, reel setting that is very similar. See also “Lennox Love to Blantyre” for
more on the family. Carlin (The Gow
Collection), 1986; No. 119. Gow (Fifth Collection of Strathspey Reels),
1809; pg. 33. MacDonald (The Skye
Collection), 1887; pg. 19. Stewart-Robertson
(The Athole Collection), 1884; pg.
34. Rounder 7059, Alex Francis MacKay with Gordon
MacLean – “Gaelic in the Bow” (2005).
X:1
M:C
L:1/8
R:Strathspey
B:Stewart-Robertson – The
Athole Collection (1884)
Z:AK/Fiddler’s Companion
R:Strathspey
K:A
e|c<e A<e c<e a2|f<d =g2 B<=G G>B|c<e A<e c<e a>f|=g>d B>d e<AA:|
e|c>e a2 a/g/f/e/ a2|B>d =g2 B<=G
G>B|c>e d>f e>=g f>a|=g>ea>e c<AA||
LORD
BLAYNEY'S DEMESNE. Irish, Air (4/4 time). E Flat Major. Standard tuning.
AB. Source for notated version: piper Daniel Markey (Drogheda, Ireland) [Darley
& McCall]. Darley & McCall (Darley
& McCall Collection of Traditional Irish Music), 1914; No. 23, pg. 10.
LORD BREADALBANE’S
DELIGHT.
Scottish, Jig. D Major. Standard tuning. AABB’. The melody appears in
the 4th collection of Malcolm
MacDonald of Dunkeld, a volume dedicated to the Countess of Breadalbane.
MacDonald had dedicated his 2nd collection to the Earl of
Breadalbane, and the family evidently were patron’s of his music. MacDonald (A Fourth Collection of Strathspey Reels),
1797; pg. 8.
X:1
T:Lord Breadalbane’s Delight
M:6/8
L:1/8
R:Jig
S:MacDonald – 4th Collection of Strathspey Reels (1797)
Z:AK/Fiddler’s Companion
K:D
A, | DDD DDD | D>EF/G/ AFD | DDD
DDD | EFA “tr”B2d | DDD DDD |
D>EF/G/ AFD | E>DE “tr”(F2E) |
DB,B, B,2 :: (A/4B/4c/) | ddd d>ef | AFd (B/A/)G/F/E/D/ |
ddd e>fg | fdB B2 (A/4B/4c/ |1
ddd d>ef | AFd B/A/G/F/E/D/ | E>DE F2E | DB,B, B,2 :|2
d>ef B>cd | AFd B/A/G/F/E/D/ |
E>DE F2E | DB,B, B,2 ||
LORD BREADALBANE'S
MARCH. Scottish, Slow March (6/8 time). D
Major. Standard tuning. AABBCD. David Murry, in his book Music of the Scottish Regiments (Edinburgh, 1994), notes this tune
is said to have been played to turn the soldiers of the highland regiments out
in the early hours of the morning of Quatre Bras (1815), the battle just prior
to Waterloo. He says it is “the tune of a song from Strathspey in the Central
Highlands. ‘People of this Glen, Awake!’, the song begins, and goes on to warn
that James Grand of Carron on Speyside, a notorious ruffian and reiver, has
been seen in the glen with his henchmen. ‘People of this Glen’ is also said to
have been played in the gloaming of the winter’s evening before the massacre of
Glencoe in February 1692, in a last-minute attempt to warn the people of the
treacherous attack that was planned for the next morning. It was played by Hugh
MacKenzie, piper to Robert Campbell of Glenlyon, who commanded the soldiers of
the Earl of Argyll’s Regiment who carried out the massacre. The tune, and its
connotations, would be well known to the Highland soldiers of the Black Watch,
the 79th and the 92nd who heard it in the first light of
that June morning” (pg. 106). Kerr (Merry
Melodies), vol. 1; No. 16, pg. 48.
X:1
T:Lord Breadalbane's March
B:Songs of Scotland Without Words, J T Surenne
N:Transposed from another key (no shaps or flats)
Z:Nigel Gatherer <gatherer@argonet.co.uk>
M:6/8
L:1/8
K:D
d \
| "D"A>BA f>ed | "G"B>AB d>BG |
"D"A>BA f>ed | "Em"B>ee "A7"e2d \
| "D"A>BA f>ed | "G"B>AB d>BG |
"D"A>BA f>ed | "Em"B>ee "A7"e2 ||d \
| "Em"e>fe a>fe | "D"f>ef f>ed |
"Em"e>fe a<fe | "A7"e>fe e2d \
| "Em"e>fe a>fe | "D"f>ef f>ed | "D"a>fe
f>ed | "Em"Bee "A7"e2 |]
LORD BUCHAN. Scottish, Slow Air (3/4 time). D Major/B Minor. Standard. ABB.
"Very old" (Gow). Carlin (The
Gow Collection), 1986; No. 596. Gow (Complete
Repository), Part 3, 1806; pg. 2.
X:1
T:Lord Buchan
M:3/4
L:1/8
R:Air
S:Gow – 3rd Repository
(1806)
Z:AK/Fiddler’s Companion
K:D
f>e|(e2B2)A>F|A2(f2e2)|(dB)d2d2|d4
f>e|(d2B2)A>F|A2 (f2e2)|(dB)d2d2|d4:|
|:A2|d3 efg|a4 (ba)|(g2f2)d2|B4A2|d3
efg|a4 (ba)|g2f2d2|B4 f>e|(d2B2)A>F| A2(f2e2)|(dB) {F}d2d2|d4:|
LORD BYRON'S FAVORITE. Scottish, Strathspey. E Minor. Standard tuning. AB. Cole (1000 Fiddle Tunes), 1940; pg. 126. Ryan’s Mammoth Collection, 1883; pg.
164.
X:1
T:Lord Byron’s Favorite
M:C
L:1/8
R:Strathspey
S:Ryan’s Mammoth Collection (1883)
Z:AK/Fiddler’s Companion
K:Emin
c | (B<E) (B>.A)
(G>.E)(E>.e) | (B<E) (B>.d) e2 e>g | (B<E) B>A
G>AB>e | d>BG>B A2 A>c |
(B<E) B>A G>EE>e |
(B<E) B>d e2 e>g | (B<E) B>A G>AB>e | d>BG>B A2A ||
c |
(B<e) (e>.f) g>BB>A |
(B<e) e>f g2 f>e | (B<e) e>f g>eB>g | d>BG>B A2
A>c |
(B<e) e>f g>BB>A |
(B<e) e>f g2 f>a | e>gf>e d>BG>B | (d<B) g>B A2A ||
LORD CASSIL [1]. Scottish. John Glen (1891) finds the earliest appearance of this tune in print in John Riddell's 1782 collection (pg. 14).
LORD CASSIL [2]. Scottish. Glen (1891) finds the
earliest appearance of this tune in print in John
Riddell's 1782 collection (pg. 51) and Neil
Stewart's 1761 collection (pg. 26).
LORD CATHCART. AKA – “Lord Cathcart’s
Favourite.” English, Jig. G Major. Standard tuning. AAB. In America the melody
appears in George Willig’s Collection of Popular Country Dances, No. 1
(Philadelphia, 1812) and the first volume of Edward Riley’s Flute Melodies
(New York, 1814). Middletown, Conn., fifer Gerge Bevens included it in his
commonplace book of 1825. It also appears in Balls’ Gentleman’s Amusement
Book 3 (London, 1815), a publication later reissued in London and
Philadelphia in 1830. Colclough (Tutor
for the Irish Union Pipes), c. 1830; pg. 14.
X:1
T:Lord Cathcart
M:6/8
L:1/8
R:Jig
S:Colclough – Tutor for the Irish Union Pipes
(c. 1830)
Z:AK/Fiddler’s Companion
K:G
D | DGB d2d | dcB A2c | BGd cAe | G3
F2D | DGB d2d | dcB A2c | dBG cAF | “tr”A3G2 :|
d |
def gdg | gfe d2d | ecB Ace | “tr”G3 F2G | ABc def | B3 g2g | fed cde |
d2 def |
gdB GBd | dcB A2c | BGd cAe | G3 F2D
| DGB dDd | dcB A2c | dBG cAF | A3G2 ||
LORD CATHCART’S MINUET. English, Minuet. G Major.
Standard tuning. AABB. From the music manuscript copybook of Henry Livingston,
Jr. Livingston purchased the estate of
Locust Grove, Poughkeepsie, New York, in 1771 at the age of 23. In 1775 he was
a Major in the 3rd New York Regiment, which participated in
Montgomery’s invasion of Canada in a failed attempt to wrest 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. See note for “Lord Cathcart’s Welcome Home”
for more on Cathcart.
X:1
T:Lord Cathcart’s Minuet
M:3/4
L:1/8
S:Henry Livingston’s manuscript
copybook, late 18th century
Z:AK/Fiddler’s Companion
K:G
BdGBAc | B2d2g2 | B2 AGAF | G4A2 |
B^c d2g2 | ^c2e2a2 | f2 ede^c | d6 :|
|: d2 BdBd | e2c4 | c2 AcAc | d2B4 |
B2 GBGB | c2 AcAc |
Bd g2 B2 | {B}”tr”A6 | BdGBAc |
B2d2g2 | B2 AGAF | G6 :|
LORD CATHCART’S REEL.
English, Reel. D Major. Standard tuning. AAB. See note for “Lord
Cathcart’s Welcome Home” for more on Cathcart. Goulding (Twenty Four Country
Dances for the Year 1808), 1808; No. 23.
X:1
T:Lord Cathcart’s Reel
M:C
L:1/8
R:Reel
B:Goulding & Co. – Twenty Four Country Dances for the Year 1808 (London)
N:”With proper Tune & Directions to each Dance (as they may be
N:performed at Court, Bath, and all Public Assemblys.”
Z:Transcribed and edited by Flynn Titford-Mock
Z:abcs’s:AK/Fiddler’s
Companion
K:D
(d2 d<)A F>G AF|(d2 d<)A
cdef|(d2 d<)A FGAF|Ee2d c<d e2:||
f<d a2 f<d a2|gfed ceeg|f<d
a2 f<d a2|gfed cdef|
d2 d<A F>A dF|d2 d<A
cdef|d2 d<A FGAF|Ee2 d c<d e2||
LORD CATHCART’S WELCOME HOME.
English, Jig. G Major. Standard tuning. AAB. A country dance called
“Lord Cathcart’s Welcome” appears in The Treasures of Terpsichore: or a
Companion to the Ballroom, printed in London in 1809 by W. Calvert.
However, “Lord Cathcart’s Welcome Home” as a folk tune was adapted from the
finale of Joseph Haydn’s Military Symphony, completed in London in 1794.
A period newspaper, the Morning Chronicle, wrote after the symphony’s
debut:
***
…the middle movement was again received with absolute shouts of
applause. Encore! encore! encore!
resounded from every seat: the Ladies
themselves could not forbear. It is the advancing to battle; and
the march of men, the sounding of the charge,
the thundering of the onset, the clash of arms, the groans
of the wounded, and what may well be called
the hellish roar of war increase to a climax of horrid sublimity!
which, if others can conceive, he [Haydn]
alone can execute; at least he alone hitherto has effected these wonders.
***
Apparently, the public associated the musical theme (which does not sound all that war-like) with a popular military figure of the time, Lord Cathcart. Descended from a Scottish noble family, the 10th Lord, Sir William Schaw Cathcart (1745-1843), rose to the rank of Lieutenant General during the Napoleonic Wars and was credited with capturing a Danish fleet of over sixty vessels in 1807. The daring mission was carried out just as Napoleon’s troops were about to take control of Denmark, and prevented the fleet from falling into French hands. William was rewarded reward with the titles of Viscount Cathcart of Cathcart and Baron Greenock (County of Renfrew) for this action. He received the title Earl Cathcart in 1814. Cathcart began his military career with service in America during the Revolution, and, at the time of Haydn’s symphony, he was Colonel of the 29th Foot and serving again with distinction in the campaigns in the Low Countries.
***
Kennedy
(Jigs & Quicksteps, Trips & Humours), 1997; No. 106, pg. 27.
X:1
T:Lord Cathcart’s Welcome Home
M:6/8
L:1/8
K:G
D|DGB d2d|dcB A2c|BGd cAe|G3 F2D|…
LORD CATHEART'S
HORNPIPE. English, Hornpipe. England,
Shropshire. D Major. Standard tuning. AABB. Source for notated version: a c.
1837-1840 MS by Shropshire musician John Moore [Ashman]. Ashman (The Ironbridge Hornpipe), 1991; No. 74a,
pg. 30.
LORD CAVANDISH’S MARCH. English (?), March (cut time). D Major. Standard tuning. AABB. From the
music manuscript copybook of Henry Livingston, Jr. Livingston purchased the estate of Locust Grove, Poughkeepsie,
New York, in 1771 at the age of 23. In 1775 he was a Major in the 3rd
New York Regiment, which participated in Montgomery’s invasion of Canada in a
failed attempt to wrest 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.
X:1
T:Lord Cavandish’s March
M:C|
L:1/8
R:March
S:Henry Livingston’s manuscript
copybook, late 18th century
Z:AK/Fiddler’s Companion
K:D
DE | FEFG A2 Bc | dcde d2 cB | A2 GF
GFED | DEFG E2 DE | FEFG A2 Bc |
defg a2 gf | f2 ed cABc | d2dd d2 ::
de | fefg a2 gf | edcd e2 dc | defd afed |
cdef e2 DE | FD GE AF BG | A2 fg
a2g2 | f2 ed cABc | d2dd d2 :|
LORD CHARLES MURRAY. Scottish, Strathspey. D Minor. Standard tuning. One part. Composed by
Niel Gow (1727-1807). Carlin (The Gow
Collection), 1986; No. 120. Gow (Fifth Collection of Strathspey Reels),
1809; pg. 4.
X:1
T:Lord Charles Murray’s Strathspey
M:C
L:1/8
R:Strathspey
C:Niel Gow (1727-1807)
B:Gow – Fifth Collection of
Strathspey Reels (1809)
Z:AK/Fiddler’s Companion
K:Dmin
Dd Fd E>C E/F/G/E/|D<d F<d
D<d F<d|G<e F<d E>C E/F/G/E/|Dd Fd A(DF)d E<C E/F/G/E/|
Dd Fd Dd Fd|Ge Fd EC E/F/G/E/|Dd Fd
.A(DF).A|d>a f/g/a/f/ gceg|da f/g/a/f/ dafd|gb/g/ fa/f/ gceg|
{g}”tr”f>d e>^c
.D(DF).G|d>a f/g/a/f/ gceg|d>a f/g/a/f/ dafd|gb/g/ fa/f/ gceg|a>f
g>e .d(DFA)||
LORD COCHRANE.
English, Jig. G Major. Standard tuning. ABCBC. The melody appears in the
music manuscript copybook of John Burks, dated 1821. Nothing is known of Burks,
although he may have been from the north of England. The title refers to
Admiral Thomas Alexander Cochrane, 10th Earl of Dundonald, styled
Lord Cochrane between 1778 and 1831. He was an enormously successful naval
captain during the Napoleonic Wars, nicknamed le loup des mers (the Sea Wolf) by the French. After the cessation
of hostilities with France Cochrane found himself no longer needed by Britain’s
reduced military, and he sought adventure in the navies of Chile, Brazil and
Greece, during those countries’ wars for independence. He was reinstated in the
Royal Navy in 1832 with the rank of rear admiral, though not before having to
weather disgrace and scandal because of a conviction as a conspirator in the
Great Stock Exchange Fraud of 1814. His exploits were mined by modern day naval
adventure writers such as Patrick O’Brien. Burks’ tune is reminiscent of (and
perhaps in imitation) of a bugle call, with its interval leaps. This was a composition convention that was
sometimes employed in pieces in honor of military men of the era.
X:1
T:Lord Cochrane
M:6/8
L:1/8
R:Jig
S:John Burks’ music manuscript
copybook, dated 1821
K:G
D|G2B G2G|G2B G2B|B2d G2B|G2B
B2d|gfe dcB|
Gfe dcB|A2A A2A|ded cBA||:G2B
G2G|G2B G2B|
B2d B2G|B2d G2d|(gf).e dcB|(gf).e
dcB|A2A A2A|G2B G2||
d|B2G d2d|B2G d2d|gfe dcB|A2A
A2d|B2G d2d|B2G d2d|g2f ge^c|ded cBA:||
LORD CORNWALLIS' JIGG. English, Jig. D Major. Standard tuning. AABB. Huntington believes the
tune similar to "Go to the Devil and
Shake Yourself."
***
***
Huntington (William Litten's), 1977; pg. 30.
LORD CORNWALLIS' MARCH. English, March (4/4 time). D Major.
Standard tuning. AABB. Huntington (William
Litten's), 1977; pg. 37.
LORD COURTNEY’S
DELIGHT.
See “Lord and Lady
Courtney’s Delight.”
LORD DALHOUSIE('S). Scottish, Reel. D Major. Standard tuning. AB (Cole, Ryan, Surenne): AAB
(Athole, Kennedy, Martin, Skye): AABB' (Kerr). James Andrew Broun Ramsay was
the Marquees and 10th Earl of Dalhousie. He was a Member of
Parliament at a young age, served in the Peel government, and, in 1847 at age
35 was appointed Governor General of India. His tenure there lasted until just
before the Indian Mutiny of 1857, and Dalhousie has been partly blamed for the
rebellion due to his annexation policies, which created resentment in the
Muslim elite. He was not helped by his aggressive and abrasive manner, although
he was a capable administrator. Source for notated version: Hector MacAndrew
[Martin]. Cole (1000 Fiddle Tunes),
1940; pg. 18. Kennedy (Traditional Dance
Music of Britain and Ireland: Reels and Rants), 1997; No. 108, pg. 27. Kerr
(Merry Melodies), vol. 2; No. 142,
pg. 17. MacDonald (The Skye Collection),
1887; pg. 48. Martin (Traditional
Scottish Fiddling), 2002; pg. 127. Ryan’s
Mammoth Collection, 1883; pg. 42. Stewart-Robertson
(The Athole Collection), 1884; pg.
94. Surenne (Dance Music of Scotland),
1852; pg. 12.
X:1
T:Lord Dalhousie
M:C|
L:1/8
R:Reel
S:MacDonald – Skye Collection (1887)
Z:AK/Fiddler’s Companion
K:D
A | d2 (fd) A/A/A fd | egfe dBBc | d
(fd) egfe | dBAF D/D/D D :|
B | AD[FA]A B2 cd | ABFA BEEB | ADFA
BcdA | GdAF D/D/D (DB) |
ADFA B2 (Bd ) | ABFA BEEB | AFGA
Bcde | fdef d/d/d d ||
LORD DILLON. See "Dillon, Lord".
LORD DONERAILE (An Tigearna Dun-Air-Aill). AKA and see "Boys in the Gap [1]," "Cat in the Hopper," "Laird O'Cockpen." Irish, Air (6/8
time, "with spirit"). G Minor. Standard tuning. ABC. The Lords
Doeneraile were the St. Leger family of County Cork, originally colonial
administrators who rose to prominence under the Tudor dynasty, and who profited
by the land confiscations of the late 16th and early 17th
centuries after the various rebellions were put down by the ruling English.
They held sway over lands in Cork for three centuries, until 1969, when the
remnants of their estate, Doneraile Park on the Awbeg river, was taken over by
the Irish state. In 1712, a member of the family, Elizabeth St. Leger, the
first Viscount’s daughter and aged 17 at the time, fell asleep while reading in
a room. An adjoining Library was the site of a Masonic meeting, the sounds of
which awakened the girl, and curious, she removed a brick from the wall and
spied on the goings-on in the next room. Unfortunately, she made a noise and
was discovered by the Masons, including Lord St. Leger, and the discussed her
fate for some hours. A few held that she should be killed for trespassing on
their rites, but eventually a solution was proposed in which the girl would be
presented for membership into the all-male Freemasons to preserve the secrets.
She choose this far more preferable fate, and became a life-long Mason,
devoting herself to the groups charitable causes. She was one of only three
female Freemasons in the history of the group. Source for notated version:
Chicago Police Sergeant James O’Neill, a fiddler originally from County Down
and Francis O’Neill’s collaborator [O’Neill]. O'Neill (O’Neill’s Irish Music), 1915/1987; No. 32, pg. 24. O'Neill (Music
of Ireland: 1850 Melodies), 1979; No. 106, pg. 19.
X:1
T:Lord Doneraile
M:6/8
L:1/8
R:Air
N:”With spirit”
S:O’Neill – Music of Ireland
(1903), No. 106
Z:AK/Fiddler’s Companion
K:Gmin
D | G>AG (Gc>)c | (A<F)F
F2A | G>AG (Gg>)g | (fd>)d d2 (d/=e/) |
f>gf {g}fed | c>dB ABc |
d>ed {e}dzc | (B<G)G G2 || d | g>dg gab |
(a<f).f f2a | g>ag gfe |
(f<d)/d d2=e | f>gf fed | cdB ABc | d>ed {e}dzc |
(B<G)G G2 || D | G3 c3 |
(A<F)F F2A | G3 g2e | (f<d)d d2=e |
f>gf fed | cdB ABc | d>ed
{e}dzc | (B<G)G G2 ||
LORD DOWN [1]. Scottish, Strathspey. G Minor. Standard tuning. AAB. The tune appears
in Malcom MacDonald's 1797 4th
collection, a volume dedicated to the Countess of Breadalbane. Glen (The Glen Collection of Scottish Dance Music),
vol. 2, 1895; pg. 39. MacDonald (A Fourth
Collection of Strathspey Reels), 1797; pg. 1. Stewart-Robertson
(The Athole Collection), 1884; pg.
201.
X:1
T:Lord Down [1]
M:C
L:1/8
R:Strathspey
B:Stewart-Robertson – The
Athole Collection (1884)
Z:AK/Fiddler’s Companion
K:Gmin
g | G<G d>c d<G G>f | F<F c<A c<F F>g | G<G c>c c<G G>c | f<d c<A G2G :|
d | g>ab>g d>gb>g | f>ga>f c>fa>f | g>ab>g d<gA<f | A<F c>A G2 G>d |
g>ab>g d>gb>g | f>ga>f c>fa>f |
G>AB>c d>g b>g | f<dc<A G2G ||
X:1
T:Lord
Down’s Strathspey [1]
M:C
L:1/8
R:Strathspey
S:MacDonald
– 4th Collection of Strathspey
Reels (1797)
Z:AK/Fiddler’s Companion
K:Gmin
g | G<G
d>B d<G G>f | F<F “tr”c>A c<F F>g | G<G d>B d<G
G>g | f<d {d}”tr”c>A {A}G2G :|
d |
g>ab>g d>gb>g | “tr”f>ga>f c>fa>f | g>ab>g
d<gA<f | A<F “tr”c>A {A}G2 Gd |
g>a{g/a/}b>g
d>gb>g | f>g{f/g/}a>f c>fa>f | G>AB>c d<gbg |
f<d{d}c>A G2G ||
LORD DOWN [2]. Scottish, Strathspey. G Major. Standard tuning. AABB’. Kerr (Merry Melodies), vol. 4; No. 135, pg.
16.
X:1
T:Lord Down [2]
M:C
L:1/8
R:Strathspey
S:Kerr – Merry Melodies, vol. 4, No. 135
(c. 1880’s)
Z:AK/Fiddler’s Companion
K:G
(3GAB | d2 (3edc d2 | c>AF>A
c2 (BA) | (3GAB d2 (3edc d2 | (3efg d>c B>A G2 :|
|: g2 d>g g<g d>e | =f2
c>f f<f c>f |1 g2 d>g g<g d>e | g>ed>c B>A G2 :|2
g>ef>d f>de>c | B<d c>A G3z ||
LORD DOUNE [3]. Scottish, Strathspey. G Minor. Standard tuning. AB (Surenne): AABB
(Gow). ‘Doune’ is a variation on the Gaelic word dun, meaning fort, and the title comes from Doune Castle, Stirling,
Perthshire, central Scotland, on the River Teith, built in the 15th
century by Robert Stewart. During the Jacobite rising of 1745 the castle was
employed as a prison for supporters of the loyal government captured by the
Jaobites. The Stewarts later acquired the title of the Earls of Moray, with the
title Lord Doune going to each successive eldest son until he too, was raised
to Earl. Gow (Second Collection of Niel
Gow’s Reels), 1788; pg. 18 (3rd edition). Surenne (Dance Music of Scotland), 1852; pgs.
104-105.
X:1
T:Lord Doune [3]
M:C
L:1/8
R:Strathspey
S:Surenne – Dance Music of Scotland, pgs. 104-105 (1852)
Z:AK/Fiddler’s Companion
K:Gmin
g | (d<G)c>A F>GA>c |
(d<G)d>c d>=ef>g | (f<d)c>A F>GA>c | (d<G)c>A
({A}G3)g |
(d<G)c>A F>GA>c |
(d<G)d>c d>=ef>g | (f<d)c>A F>GA>c | (d<G)c>A
({A}G3) ||
A | (G<g)g>a f>cf>a |
g<g g2 f>g({f/g/}a>)g | (f<d)c>A F>GA>c | (d<G)c>A
({A}G3)A |
(G<g)g>a f>cf>a |
g<gg2 f>g({f/g/}a>)g | (f<d)c>A F>GA>c | (d<G)c>A
({A}G3) ||
X:2
T:Lord Doune [3]
M:C
L:1/8
R:Strathspey
N:”Slowish”
B:Gow – 2nd Collection of Niel Gow’s Reels, 3rd ed.,
pg. 18 (orig. 1788)
Z:AK/Fiddler’s Companion
K:Gmin
g|d<G c>A “tr”F>GAc|d<G
“tr”d>c d>=efg|fd?tr?cA F>GAc|d<B “tr”c>A ({A}G2)G:|
|:G(gg>)a f>cfa|g/g/g “tr”g2
(f>g){f/g/}ag|f<d”tr”c>A F>GAc|d<G c>A ({A}G2)G:|
LORD
DREGHORN'S QUICKSTEP. Scottish, Quickstep (6/8 time). D
Major. Standard tuning. AAB (MacDonald): AABB’ (Cranford/Fitzgerald). An 18th
century composition by Robert ‘Red Rob’
Macintosh (b. 1745). It is one of MacIntosh’s more popular pieces among
Cape Breton fiddlers. Lord Dreghorn was John MacLaurin (1734-1796) born in
Edinburgh. In 1756 he was admitted to the bar at Edinburgh and, after a
successful career as a lawyer, he was raised to the bench in 1788 when he took
the title of Lord Dreghorn. A literary man, his works were published in
two volumes in 1798, but have made little lasting impression. While he had a
liking for poetry he was not recognized as having had much of a gift and his
poems were largely published on his own printing press, for circulation among
his friends. Source for
notated version: Winston Fitzgerald (1914-1987, Cape Breton) [Cranford].
Cranford (Winston Fitzgerald), 1997;
No. 189, pg. 74. MacDonald (The Skye
Collection), 1887; pg. 174.
X:1
T:Lord Dreghorn’s Quickstep
M:6/8
L:1/8
S:MacDonald – Skye Collection (1887)
Z:AK/Fiddler’s Companion
K:D
A|d3 ABc|dAG FED|d3 Bcd|efd cBA|d3
Adc|BAG FED|GFG EAG|FDD D2:|
A|F>ED AFD|GBd dBG|F>ED AGF|E3
A,2G|F>ED AFD|GBd dBG|Ace gfe|fdd d2 A|
F>ED AFD|GBd dBG|F>ED AGF|E3
A,2E|FED GFE|AGF BAG|Aag fge|fdd d2||
LORD DRUMMOND. Scottish, Reel. D Major. Standard tuning. AABB. Kerr (Merry Melodies), vol. 3; No. 28, pg. 6. Green Linnet SIF 1047, John Cunningham - "Fair
Warning" (1985).
X:1
T:Lord Drummond
R:Reel
S:Johnny Cunningham
Z:Adrian Scahill
M:4/4
L:1/8
K:D
Addc B2Ad|BABd edef|Addc B2AF|EDEF D2D2:||\
abaf defd|gagf efge|abaf defd|egfe d2d2:||\
LORD DUDLEY'S MARCH. Scottish, March (4/4 time, slow). B Flat Major. Standard tuning. AAB.
Composed by Alexander Walker. Walker (A
Collection of Strathspeys, Reels, Marches, &c.), 1866; No. 49, pg. 18.
LORD DUMFRIES'S
BOWLING GREEN. Scottish. John Glen (1891) finds the earliest appearance of this tune
in print in John Riddell's 1782
collection (pg. 15).
LORD DUMFRIES'S
BRIDGE.
Scottish. John Glen (1891) finds the earliest appearance of this tune in print
in John Riddell's 1782 collection (pg.
35).
LORD DUNCAN'S FLAG. Scottish, Slow Strathspey. A Minor. Standard tuning. AB. Composed by Nathaniel Gow
in honor of Adam Duncan (1731-1804), Viscount Duncan of Camperdown, a hero of
the wars against the French and Dutch in the second half of the 18th
century. Duncan was born in Lundie, Angus, Scotland, a second song of Alexander
Duncan of Lundie, Provost of Dundee, and his wife Helen Haldane. He went to sea
at age fourteen under the tutelage of his maternal uncle, Captain Robert
Haldane, and by 1761 had command of his own ship. A fighting captain, Duncan
was steadily promoted and, in 1787 attained flag rank, and by the mid-1790’s he
was Admiral of the Blue. His finest hour came in 1797 when on blockade of the
Dutch fleet under Admiral De Winter. Taking advantage of the temporary
departure of the English fleet to refit, De Winter ventured out into open sea.
Returning, Duncan found him off the coast between the villages of Egmont and
Camperdown. After a five hour battle De Winter was compelled to surrender and
gave up his sword to Admiral Duncan aboard his flagship the Venerable, a victory considered among
one of the most significant actions of the wooden ship navy. The title of Gow’s
tune perhaps references Duncan’s rank, or perhaps an incident in the battle
when the Venerable’s main top gallant
mast was shot away by the Dutch, and an English seaman named Crawford went
aloft with another flag, hammer and nails, and fixed the flag to the
topmast-head. Carlin (The Gow Collection),
1986; No. 121. Gow (The First Collection
of Niel Gow’s Reels), 1787 (revised 1801); pg. 27.
X:1
T:Lord Duncan’s Flag
M:C
L:1/8
R:Strathspey
N:”Slow”
S:Gow – First Collection of Niel Gow’s Reels (1787, revised 1801)
Z:AK/Fiddler’s Companion
K:Amin
(B/c/)|GFEc (A/G/)F/E/ G2|(Cc)(Ec)
(AG)FE|A2 “tr”c>d eE A2|A>Bcd “tr”c>B A/B/c/d/|
(.e.e) {ef}g>e de {B}c2|(Cc)(Ec)
(AG)FE|{^G}A2 “tr”C>B, A,EAB|c>e (d/c/).B/.c/ {B}A2 A||
g|”tr”a>ge(c’/a/) (a/g/)f/e/
~de|(.c.c) {cd}e>d {B}c>A G2|A<A {A}c>G A(agf)|e>c {c}e>d
cAA”tr”B {AB}|
c<c {^f}g>e|”tr”d>e
{B}c2|A(B/c/) (A/G/)F/E/ {B}”tr”c2G2|{^G}A2 “tr”C>B, A,EAB|”tr”c>e
(d/c/)B/A/ {B}A2A||
LORD DUNDEE'S
LAMENTATION.
AKA ‑ "Lord Dundee's Lamentation, Killed at the Battle of
Killiecrankie" (old title). Scottish, Air. "In this conflict the
clans of the West Highlands, representing the Stuart cause, defeated the forces
rallied to support William of Orange under Major General Mackay. The famous
'Bonny Dundee' led the victorious army, but was killed in the battle, 27, July
1689 (Williamson)." From Donald Dow's
collection. Flying Fish FF358, Robin Williamson ‑
"Legacy of the Scottish Harpers."
LORD DUNMORE. AKA – “Lord Dunmore’s Jig.” AKA and see “The Big Headed Man” (Fear a’
Chinn Mhòir),” “The Bride’s Jig,” "Brisk Irish Lad," "Bung Your Eye," "Brisk Young Lad('s),"
"Bung Your Eye," “Fear an
Dùin-Mhòr” (He of the Big Fort), "The
Jolly Old Man,” “The Man with the Big Head,” "Mary the Maid," “There Came a Braw
Lad to My Daddy’s Door,” “There Came a Young Man,” “There was a Young Man,” “Traverse
the Rough Hills,” “Travelling the Rugged Country” (Shiulbhail na Garbhlich).
Scottish, Pipe Jig. B Minor. Standard tuning. AABB. The melody appears in Angus
MacKay’s Piper’s Assistant
(pre-1847). Variants of the melody are popular in Ireland as well – see titles
under “Jolly Old Man,” “Brisk Young Lad,” etc.
Source for notated version: Dr. John Turner, director of the Jink and
Diddle School of Scottish Fiddling, held yearly in Valle Crucis, North Carolina
[Johnson/2003]. Johnson (A Twenty Year Anniversary Collection), 2003; pg. 3. Turner (Fiddletree Manuscript), 1978.
X:1
T:Lord Dunmore
M:6/8
L:1/8
R:Jig
K:Bmin
A|BAB d2e|fed c2B|AGA c2d|e<ae
c>BA|BAB d2e|
fed cde|def edc|BAB f2::c|d2e
f2g|a>fd a>fd|
A2B c2d|e<ae c>BA|d2e f2g|afd
afd|ddf e>fg|f>ec B2:|
LORD DUNMORE’S QUICK
STEP. English, March (6/8 time). D Major. Standard
tuning. AABBCCDD. John Murray (1732-1809), 4th Earl of Dunmore, was
the last Royal Governor of Virginia, serving from 1771 to 1776 when he departed
as a consequence of the American Revolution. However, he still held his
position until peace was signed in 1783, and continued to draw his pay.
Although a contentious figure with the colonists as governor, he prosecuted
Lord Dunmore’s War, a series of campaigns against the Indians (principally the
Shawnee) of western Virginia and the Ohio valley. During the Revolution Dunmore
issued a proclamation of emancipation for black slaves who would desert their
Patriot masters and join the British cause, and eventually he formed an
Ethiopian Regiment. Unfortunately, most of the black soldiers died of smallpox
on board ship, not having been inoculated against the disease. Later Dunmore
became Governor of the Bahamas (1787-1796). Aird (Selection of Scotch,
English, Irish and Foreign Airs, vol. 5), 1797; pg. 31. Johnson (A
Further Collection of Dances, Marches, Minuetts and Duetts of the Latter 18th
Century), 1998; pg. 8.
X:1
T:Lord Dunmore’s Quick Step
M:6/8
L:1/8
S:James Aird – Selection of
Scotch, English, Irish and Foreign Airs, vol. 5 (Glasgow, 1797)
K:D
d>ed def|gfe afd|d>ed e2f|gec
d3::f2d e2a|f2d e2a|d>ed e2f|gec d3:|
|:a>ba afd|g>ag gec|d>ed
e2f|gec d3::F2A G2B|A2c d2d|F2A G2f|gec d3:||
LORD DUNRALE. See note for “Con McGinley’s.”
LORD DUPLIN. Scottish, Jig. D Major. Standard tuning. ABCD. Kerr (Merry Melodies), vol. 3; No. 244, pg.
27.
X:1
T:Lord Duplin
M:6/8
L:1/8
R:Jig
S:Kerr – Merry Melodies, vol. 3, No. 244 (c. 1880’s)
Z:AK/Fiddler’s Companion
K:D
A | d2A FDF | ABA FDF | d2A BAF |
E2E EFA | d2A FDF | ABA FGA |
BGB AFA | D2D D2 || A | d2d ABc |
d2d fed | d2d cBA | B2e e2f |
d2d ABc | d2d cBA | BGB AFA | D2D D2
|| A| d2d ABc | d2d fed |
d2d BAF | E2e e2f | d2d fef | d2a
f2e | B2B cBc | d2d d2 || A | FDF ABA |
FDF cAG | FDF BAF | E2E E2A | FDF
ABA | FDF def | edB AFA | D2D D2 ||
LORD EDWARD. AKA and see "The Tap Room,"
"Scotch Maggie," "The Scotch Bonnet," "The Lady's Tight Dress," "Granshaw Glens," "Roll out the Barrel," "The Rakes of Abbey," "The Blossom of the New Tree,"
"Fitzgerald's Reel,"
"Miss Fargherson's
New Reel," "A Short Way
to Heaven."
LORD EGLINTON [1]. Scottish, Reel. D Major.
Standard tuning. AAB. John Glen (1891) finds the earliest appearance of this
tune in print in Robert Bremner's
1757 collection. Bremner (Scots Reels),
c. 1757; pg. 95.
X:1
T:Lord Eglinton’s Reel [1]
M:C
R:Reel
B:Bremner – Scots Reels (c. 1757)
Z:AK/Fiddler’s Companion
K:D
F | ABAF D/D/D dA | BdAF E/E/E EF | ABAF D/D/D “tr”(f>e) | dBAF D/D/D D2 :|
(f/g/ | a)dab abaf | gbfa e/e/e “tr”e(f/g/ | a)dab abaf | geaf d/d/d d(f/g/ |
a)dab abaf | gbfa e/e/e e(f/g/ | a)fge fdec | (d/c/B/A/) dF D/D/D D ||
LORD
EGLINTOUNE [2]. Scottish, Reel. B Flat Major.
Standard tuning. AB (McGlashan): AA'BB' (Glen). John Glen (1891) finds the
earliest appearance of this tune in print in John
Riddell's 1782 collection (pg. 33). It also appears in Kirkmichael,
Perthshire, fiddler and composer Robert Petrie’s 2nd Collection of Strathspey Reels and Country Dances,
1796. Glen (The Glen Collection of
Scottish Dance Music), vol. 1, 1891; pg. 15. McGlashan (A Collection of Reels), c. 1786; pg. 30.
X:1
T:Lord
Eglinton’s Reel [2]
M:C|
L:1/8
R:Reel
S:McGlashan – Reels (c. 1786)
Z:AK/Fiddler’s Companion
K:B_
B|FB d/c/B
FBDB|FB d/c/B cCCB | FB d/c/B FBDB | E>GF>E DB,B,B |
FB e/d/c/B/
FB DB|FB e/d/c/B/ cCCB | FB e/d/c/B/ FBDB | Gedc dBB ||
f|d>fBf
dfbf|dfBd cFFf|dfBf dfbf|Gedc dBBf|d/f/f B/f/f dfbf|d/f/f B/f/f cFFf| gecg fdBf
| ecAe dBB ||
X:2
T:Lord
Eglinton's Reel [2]
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
L:1/8
M:C
R:Reel
K:Bb
B|FB
(d/c/B) FBDB|FB (d/c/B) cCCB|FB (d/c/B) FBDF|E(GTF>E) DB,B,:|
%
Petrie shows the last 2 notes in the last measure above
%
as C naturals, but this doesn't match the chords in the bass line -SW
f|dfBf
dfbf|dfBd cFFf|dfBf dfbf|G(eTd>c) dBBf|
dfBf
dfbf|dfBd cFFf|gecg fdBf|ecAe dBB|]
LORD EGLINTOUN'S AULD MAN. Scottish, Strathspey. D Major. Standard
tuning. AB. Gow (Complete Repository),
Part 1, 1799; pg. 4. Kerr (Merry Melodies),
vol. 2; No. 157, pg.18. Stewart-Robertson
(The Athole Collection), 1884; pg.
108.
X:1
T:Lord Eglintoun’s Auld Man
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 G/F/E/D/ A<D Dd/B/|A<D G/F/E/D/ A2 Ad/c/| B<E G>E B<E E>c|d>e g/f/e/d/ B2 A>B|
d>e f<a e<f d>B| A<F E>F A>B d>e|f>de>B d>AB>F|E/E/E F>A B2B||
f/g/|a>df>d a<d df/g/ | a>df>d a2 af/a/|b>eg>e b<e ed/B/| d>e g/f/e/d/ B2 A<B|
d>e f<a e<fd<B|A<F D>F
A>Bd>e|f>de>B d>AB>F|E/E/E F>A B2B||
LORD EGLINTON’S REEL.
English, Reel. F Major. Standard tuning. AABBCC. The melody appears
unique to London publishers Charles and Samuel Thompson’s 1757 country dance
collection. It was entered into the 1788 music manuscript copybook shared by
John and William Pitt Turner, of Norwich, Conn. In 1757 Lord Eglinton was
Alexander Montgomerie (1727-1769), 10th Earl of Eglinton. He was a
sometimes member of the House of Lords, and a Grand Master Mason of the Grand
Lodge of Scotland (1750-1751). A few years after the tune was printed, Eglinton
helped introduce a young James Boswell (Dr. Johnson’s anamnesis) to London
society, and despite some differences, they became warm and good friends.
Boswell mentions Eglinton several times in his writings, and says (in 1763)
that Eglinton kept a mistress, a Ms. or Mrs. Brown, “who had lived with him for
seven or eight years.” Alexander died at the hands of an excise man, Mungo
Campbell, in a dispute over the latter’s right to bear arms on Eglinton lands in
Scotland. Thompson (Compleat Collection of 200 Favourite Country
Dances, vol. 1), 1757; No. 17.
X:1
T:Lord Eglington’s Reel
M:C|
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:F
c|FF/F/ AF cA fg/a/\gecA G/G/G/ G2|FF/F/ AF cA f/g/a|g<eb<g f/f/f f2:|
|:g/f/e bd c/c/c c2|c/B/A/G/ F>D E/E/E E2|F/F/F AF cA f/g/a/|g<eb<g f/f/f f2:|
|:F/F/F
AF (B<G)(A<F)|(B<G)(A<F) G/G/G g2|F/F/F AF B<GA<F|cbag f/f/f
f2:||
LORD EGLISM'S. Scottish?, Reel. G Major. Standard tuning. AABB. Hardings All Round Collection, 1905; No. 87, pg. 27.
X:1
T:Lord Eglism’s
M:2/4
L:1/8
R:Reel
S:Harding’s All Round Collection (1905), No. 87
Z:AK/Fiddler’s Companion
K:G
D/G/B/G/ d/B/G/B/|D/G/B/G/
D/A/A|D/G/B/G/ d/B/G/B/|c/B/A/G/ D/G/G:|
|:d/g/g d/g/b/g/|a/g/b/g/
e/a/a|d/g/g d/g/b/g/|a/g/b/g/ d/g/g|
d/g/g d/g/b/g/|a/g/b/g/
e/a/a|g/b/e/g/ d/g/B/g/|c/B/A/G/ D/G/G:|
LORD ELCHO. Scottish, Reel. G Major. Standard tuning. AAB. Composed by Robert Mackintosh in honor of David
Wemyss, 6th Earl of Wemyss, Lord Elcho (1721-1787). The Lords Elcho
were the Wemyss family, whose historic family seat was Elcho Castle, the
property held by them since 1468. However, David was implicated in the Jacobite
rising of Prince Charles Edward Stuart 1745, having raised the elite ‘Elcho’s
Horse,’ a troop of Horse Guards that supported the Prince. He was promoted to
the rank of Colonel and served Bonny Prince Charlie through his short-lived
invasion of England and subsequent defeat at the Battle of Culloden. As a
result he fled to France and was attainted, the family estates going to his
younger brother James. Elcho lived on in exile in France and Italy, married
briefly but produced no heir. He died in Paris in 1787. His great-nephew,
Francis Charteris-Wemyss-Douglas (1771-1853) eventually managed to recover the
Earldom of Wemyss in 1826.
***
Lord Elcho produced a narrative that
covers the Jacobite adventure, as well as a later journal in French (the latter
remains in the Wemyss family and is located at Wemyss Castle). The manuscripts
reveal his bitterness at his exile and his disillusionment with the cause he
had fought for. He also appears to have come to heartily dislike Charles
Stuart. Apparently, Wemyss also had disdain for all Irishmen, most Englishmen,
and not a few Scots. Glen (The Glen
Collection of Scottish Dance Music), vol. 2, 1895; pg. 14. Hunter (Fiddle Music of Scotland), 1988; No. 201.
Mackintosh (Sixty Eight New Reels,
Strathspeys and Quicksteps), 1793; pg. 13.
X:1
T:Lord Elcho
M:C|
L:1/8
R:Reel
S:Glen Collection, vol. 2 (1895)
Z:AK/Fiddler’s Companion
K:G
d|[G,2D2B2g2] dB cgec|BgdB
cAFD|[G,2D2B2g2] dB cgec|BdAc BGG:|
c|BdGB egce|BdGB ADDc|BdGB egce|dBcA
BGGc|
BdGB egce|BdGB AFDC|B,DGD EGce|dBcA
BGG||
LORD ELCHO'S FAVOURITE. AKA and see “Bundle and Go,” "My Tocher's the Jewel," "High Way to Edinburgh."
Scottish, Slow Jig. G Minor. Standard tuning. AABB. The tune was first
published in James Oswald's Caledonian
Pocket Companion, Book III, c. 1751, pg. 28, as an untitled quick jig
(“Giga”). Nathaniel
Gow thought "that it would be pretty if slow, and, being without a
name, called it 'Lord Elcho's Favourite'" (quote from Nathaniel Gow's
response printed in the introduction to his Fifth
Collection (1809) to accusations of plagiarism on his part by the poet
Robert Burns (1808). The melody Gow prints, however, is note for note that
printed by Oswald. Burns wrote his song “Meikle Thinks My Luve” to be sung to
the melody, which he admired. Anderson (Selection
of the most Approved Highland Strathspeys, Country Dances, English & French
Dances), c. 1790; pgs. 20-21. Gow (Second
Collection of Niel Gow’s Reels), 1788; pg. 18 (3rd edition). Gow
(Beauties of Niel Gow), c. 1810; No. 25 (appears as “Lord Elcho”). McFadyen (Collection of Highland Strathspey Reels),
c. 1800; pg. 15.
X:1
T:Lord Elcho’s Favorite
M:6/8
L:1/8
R:Jig
B:Gow – 2nd Collection of Niel Gow’s Reels, 3rd
edition, pg. 18 (orig. 1788)
Z:AK/Fiddler’s Companion
K:Gmin
F|(DG).G “tr”G2F|(GB).c dgf|”tr”d2c
{B/c/}d2c|BFF “tr”F2F|(DG).G “tr”G2F|
GBc dgf|.d(bg) fdc|BGG G2::f|(g2b)
fdB|cdf (g2b) fdc {B/c/}d2c|
BFF F2F|(GB).F (GB).F|GBc dgf|(db)lg
fdc|BGG “tr”G2:|
LORD
ELPHINSTON(E'S). AKA and see "Drive Hakky," "Ca' Hawkie (Through the
Water)." Scottish, Strathspey. F Major (Glen): C Major (Kennedy).
Standard tuning. AB (Glen): AABBCCDD (Kennedy). Composed by Duncan MacIntyre,
an expatriate Scots dancing master in London who spent some years in India
(probably as a Master of Ceremonies to the Governor‑General's Court), and
who died about 1806. The title likely refers to George Keith Elphinstone,
Viscount Keith of Elphinstone (1746-1823), born at Elphinstone Tower, near
Stirling, and named after his great-uncle George Keith, last Earl Marischal.
Elphinstone entered the navy in 1761, distinguishing himself in one engagement
after another against the French. In 1794 he became a Knight of the Bath and a
Rear Admiral; the next year he was promoted to Vice Admiral. Honors amassed: he
eventually became Admiral of the Blue, then White and finally Red. He was
Commander-in-Chief in the Mediterranean from 1799 to 1802, and Commander of the
Channel Fleet in the later wars with Napoleon. Having received many
decorations, on 1 June 1814 he was created Viscount Keith. On 10 March 1823 he
died at Tullyllan, on the Firth of Forth, and was buried there. Glen (The Glen Collection of Scottish Dance Music), Vol. 2, 1895; pg. 25.
Kennedy (Traditional Dance Music of
Britain and Ireland: Reels and Rants), 1997; No. 109, pg. 27.
X:1
T:Lord Elphinstone
M:C
L:1/8
R:Strathspey
S:Glen Collection, vol. 2 (1895)
Z:AK/Fiddler’s Companion
K:F
a|F>GAf c<F
c>A|F>GA>B c<ff<a|F>G A<f c<F c>A|G>AB>c
d<gg<a|
F>GAf c<f c>A|F>GA>B
c<ff<a|f>c f<a f>c d/c/B/A/|G>AB>c dgg||
a/g/|f>fA>F c>F
Aa/g/|f>F d/c/B/A/ Gg ga/g/|f>d e/f/g/e/ f<d c>A|G>AB>c
d<gg a/g/|
f>fA>F c>F Aa/g/|f>F
d/c/B/A/ G<g ga/g/|f>ga>g f<d c>A|G>AB>c d<gg||
LORD FIFE. Scottish. John Glen (1891) finds the earliest appearance of this tune
in print in Angus Cumming's 1780
collection (pg. 16).
LORD FIFE'S MARCH. Scottish, March (4/4 time). G
Major. Standard tuning. AAB. Composed by Alexander Walker. Walker (A Collection of Strathspeys, Reels, Marches,
&c.), 1866; No. 186, pg. 64.
LORD FINLATER. AKA and see "Lord McDonald [1]."
Scottish. John Glen (1891) finds the earliest appearance of this tune in print
in Angus Cumming's 1780 collection
(pg. 8).
LORD FOPPINGTON [1]. English, Country Dance Tune (cut time). C Major. Standard tuning. AAB.
The tune dates to 1701. Barnes (English
Country Dance Tunes), 1986.
LORD FOPPINGTON [2]. AKA and see "The Pilgrim." See note for “The Pilgrim” for information
on Lord Foppington.
LORD FORBES MARCH. AKA and see "Piobaireachd
Dhomhnail" (Donald’s Pipes). Scottish. The tune appears in the David
Young's fiddle book, the McFarlane MS. (Vol. 2, No. 7), and is an earlier
version of "Piobaireached Dhomhnail."
LORD FRANCIS RUSSELL. Scottish, Strathspey. F Major. Standard tuning. AAB. Composed by William Marshall (1748-1833). Moyra Gowie (The Life and Times of William Marshall,
1999) speculates that Lord Francis Russell may have been one of the stepsons of
Georgianna Gordon, Duchess of Bedford, who married the widower John Russell,
the 6th Duke of Beford. Georgianna was the daughter of Alexander,
the 4th Duke of Gordon, Marshall’s employer, for whom he worked as
Steward of the Household. Marshall, Fiddlecase
Edition, 1978; 1845 Collection, pg. 7.
X:1
T:Lord Francis Russell
M:C
L:1/8
R:Strathspey
S:Marshall – 1845 Collection
Z:AK/Fiddler’s Companion
K:F
A|F2 FA cfcA|cfcA BGGA|F2 FA cfag|fdcB AFF:|
a|bagf egfe|fdcA BGGa|bagf egfe|fdcB AFFa|
(ba)gf (eg)fe|fdcA BGGA|F2 FA cfag|fdcB AFF||
LORD FREDERICK AND HIS
FENCIBLES. Scottish. John Glen (1891) finds
the earliest appearance of this tune in print in Joshua Campbell's 1778 collection (pg.
51).
LORD FROG (AND LADY
MOUSE). AKA and see "The Northern Lass [1]," "Muirland Willie" "Cocky mi Chari, She." English,
Air and Country Dance Tune (6/8 time). A Minor. Standard tuning. AABB. The
title, which appears in several ballad operas (such as Gay's
"Achilles" {1733}), comes from a song written by D'Urfey for his Pills to Purge Melancholy (vol. 1)
beginning "Great Lord Frog to Lady Mouse." The alternate title
"Cocky mi Chari, She" is from the chorus of D'Urfey's song. The title
is a variant of the long‑lived frog/mouse family of songs which survived
even into 20th century American folksong as "Froggie went a‑courtin'"
(Doc Watson) {see also "The Frog and Mouse"}. The melody, which also
appears in Walsh's Dances for 1713,
is said to be the original of "Muirland Willie." Kidson (Old English Country Dances), 1890; pg.
3.
X:1
T:Lord Frog and Lady Mouse
M:6/8
L:1/8
B:Kidson – Old English Country Dances (1890)
Z:AK/Fiddler’s Companion
K:Amin
E|A2B cBA|B2c d2B|cBA c2d|ede
E2E|A2B c2A|
B2c d2B|cBA c2d|(e3 e2)::e|e2f
g2f|edc f2c|
B2c d2B|BcA #G2G|A2a agf|edc f2e|edc
cBA|(A3 A2):|
LORD GALLAWAY’S LAMENT. See “Lord Galway’s Lamentation.”
LORD GALWAY'S
LAMENTATION.
AKA - “Lord Galloway’s Lamentation,” “Lord Gallaway’s Lamentation.” Irish,
Lament (3/4 time). D Dorian. Standard tuning. AB. The tune is attributed to
blind Irish harper Turlough O'Carolan (1670-1738), thought Donal O’Sullivan, in
his definitive work on the bard could find no incontrovertable evidence of its
origin. Complete Collection of Carolan's
Irish Tunes, 1984; No. 208, pg. 143. Neale, c. 1724, A Collection of the Most Celebrated Irish Tunes. Oswald, Caledonian Pocket Companion, book 8
(appears as “Gallaway’s Lament”).
X:1
T:Lord Galloway's Lamentation
M:3/4
L:1/8
Z:Jack Campin
K:D Dor
Ac|d2 d2 (3cde|d4 cd|e2 g2 e>d|c4
Bc|A2 d2 d>e|d4 cB|A2 GE D>C|D4:|
EG|A>B AG EG|A2 D2 EG|A>B AG
EG|D4 GA|c>d cA GA|c2 E2 GA|
c>d cA GA|c3c Bc|d2 d2 fe|d4
cA|GA cA GE|"D.C."D4|]
LORD GARLIE. Scottish. John Glen (1891) finds the earliest appearance of the tune in
print in John Riddell's 1782 collection
(pg. 18).
LORD
GEORGE GORDON LENNOX. Scottish, Reel. G Minor. Standard
tuning. AAB. Composed by Alexander Walker, probably for Lord Henry Charles George Gordon-Lennox
(1821-1886), a politician who was the 3rd son of the 5th Duke of Richmond. Walker (A Collection of Strathspeys, Reels, Marches, &c.), 1866; No.
188, pg. 65.
X:1
T:Lord George Gordon Lennox
B:Alexander Walker Collection, 1866
C:Alexander Walker
Z:Nigel Gatherer
M:4/4
L:1/8
K:Gm
G2 BF GABc|dfcf AFFA|G2 BF GABc|dfcA
G/G/G G:|]
d|g2 dg Bgdg|Afcf AFF^f|g2 dg
Bgdg|bga^f g2 ga|
bga^f ge=fd|cfcB AFFA|G2 BF
GABc|dfcA G/G/G G|]
LORD GEORGE GORDON'S
REEL. AKA and see "Miss L. Stewart
of the Island of Java." Scottish, Reel. C Major. Standard tuning. AAB.
Composed by William Marshall (1748-1833), first
appearing in print in his 1781 collection (pg. 1). Lord George was the brother
of Marshall’s patron and employer, Alexander, the 4th Duke of
Gordon, for whom he worked as Steward of the Household. Moyra Cowie (1999)
records that George was a fervent anti-Catholic who once was arrested in London
for his leadership in the Gordon riots. He was imprisoned for a time in the
famous Tower of London but was acquitted after a trial. No slave to popular
fashion, George was instantly recognizable in his time for his habit of wearing
tartan trews and never wearing a wig.
He reportledly learned to speak Gaelic and to play the pipes while
living in Skye. It is not either of the Irish "Lord Gordon's." Marshall,
Fiddlecase Edition, 1978; 1781
Collection, pg. 1.
X:1
T:Lord George Gordon’s Reel
M:C|
L:1/8
R:Reel
S:Marshall – 1781 Collection
Z:AK/Fiddler’s Companion
K:C
c2 (ec) (Ac)(ec)|Fd Ec DG,B,G,|c2 (ec) (Gc)(ec)|fage c/c/c c2|:|
(3ege ce (3faf df|(3ege (ce) fddf|(3ege ce (3faf df|gefd c/c/c (cf)|
(3ege
ce (3faf df|(3ege (ce) fddF|ECFD GEcG|FAGE C/C/C C2||
LORD GLENORCHY. Scottish, Strathspey. F Major. Standard tuning. AABB'. The melody
appears in the 4th collection of Malcolm MacDonald of Dunkeld, a volume
dedicated to the Countess of Breadalbane. MacDonald (A Fourth Collection of Strathspey Reels), 1797; pg. 12. Stewart-Robertson
(The Athole Collection), 1884; pg.
208.
X:1
T:Lord Glenorchy
M:C
L:1/8
R:Strathspey
B:Stewart-Robertson – The
Athole Collection (1884)
Z:AK/Fiddler’s Companion
K:F
c | ~f>ga>g f<d d>f | c<A f>A G>F G<A | ~f>ga>g f<d d>f | c<A f>A F2F :|
A/B/ |: c<F c>A c<F A<f | f>c d/c/B/A/ d<G G>f|1 c<F c>A c<FA<f |
F<d c>A F2F:|2 c<F c>A f<ag<a | f<b a>g ~f2f ||
X:2
T:Lord Glenorchy’s Strathspey
M:C
L:1/8
R:Strathspey
S:MacDonald – 4th Collection of Strathspey Reels (1797)
Z:AK/Fiddler’s Companion
K:F
c | f>g{f/g/}a>g f<d d>f
| c<AfA “tr”G>F G<A | f>g{f/g/}a>g fddf | c<A f>A F2F :|
A/B/ | c<F c>A c<FA<g |
f>c d/c/B/A/ d<GGf |1 c<F “tr”c>A c>FA<g | f<d c>A F2F
:|2
c<F “tr”c>A f<ag<a |
f<b a>g f2f ||
LORD
GORDON'S REEL ("An Tiarna
Gordon" or "Cor an Tigearna Gorduin"). AKA and see "The Duke of Gordon's Rant,"
"Duke Gordon," "The Duke of Gordon's Favourite,"
"My Heart with Love is
Breaking," "The
Pride of Kildare [3]," "The
Rakes of Drumlish," "The
Rocks of Antiluce," "The Scotch Rose,"
"The Scotch Patriot's Reel,"
“(A) Taste of Gaelic,” "The Waterloo Reel [5]." Irish,
Reel. D Major. Standard tuning. AB (Breathnach vol. II, O'Neill/1850 &
1001, Roche): AABB (Allan's): ABCDE (Breathnach, vol. 1): ABBCCDDEE (Flaherty):
AABBCCDDEE (Cranitch): AA'BB'CC'DD'E (Miller): AA'BBCC'DEE' (O'Neill
{Krassen}): AABBCCDD'EEAA (Brody). Breathnach (1963) states this reel was
composed by the Scots composer and musician William
Marshall (1748-1833). However,
Breathnach did not cite the source for this information and the tune and title
apparently are not in Marshall’s published works. The melody is called “The
Duke of Gordon’s Rant” in McGlashan’s
Collection of Strathspey Reels, c.
1780, which Breathnach (1976), writing later, admitted was the first printing
of the melody. “Lord Gordon” was popularized by fiddler Michael Coleman
(1891-1945), originally from Killavil, near Ballymote, County Sligo, who
recorded it in New York in 1934, although the tune was “never part of the local
…repertoire,” according to Blooming
Meadows (1998) authors Charlie Piggott and Fintan Vallely. Despite this,
Coleman’s virtuoso performance the reel is one to which is widely admired and
aspired to by many fiddlers. “The Pride of Kildare” is a related tune. The
melody has numerous other variants, some distanced enough to be considered
separate tunes. Cape Breton fiddlers play it as “The Scotch Patriot’s Reel”
(adopted from the Ryan/Cole’s collection), or, as Buddy MacMaster called it, “A
Taste of Gaelic.” Alan Jabbour
finds a version printed in America by George P. Knauff as "Scott's Favorite" in Virginia Reels, volume III (Baltimore,
1839). Sources for notated versions: fiddler Jean Carignan (Montreal, Canada)
[Brody]; fiddler Tommy Potts, based on Michael Coleman’s version (Ireland)
[Breathnach, CRE I]; piper Seamus Ennis, (Dublin, Ireland) [Breathnach, CRE
II]; a ms. by Kerry fiddler Pádraig O’Keefe [Breathnach, CRE V], fiddler Andrew
Davey (b. 1928, Cloonagh, Mullaghroe, Keash) [Flaherty]; Michael Coleman
[Miller & Perron]. Allan's Irish
Fiddler, No. 70, pg. 18. Breathnach (CRÉ
I), 1963; No. 203, pg. 79 (appears as “Tiarna Gordon”). Breathnach (CRÉ II), 1976; No. 213, pgs. 110‑111.
Breathnach (CRÉ V), 1999; No. 191.
Brody (Fiddler’s Fakebook), 1983; pg.
174‑175. Cole (1000 Fiddle Tunes),
1940; pg. 5. Cranitch (Irish Fiddle Book),
1996; No. 82, pg. 157. Flaherty (Trip to
Sligo), 1990; pgs. 115-116. P.J. Giblin (Collection of Traditional Irish Dance Music), 1928; 40. Lyth (Bowing Styles in Irish Fiddle Playing,
vol. 1), 1981; 19. Miller & Perron (Irish
Traditional Fiddle Music), 1977; vol. 2, No. 50. Miller & Perron (Irish Traditional Fiddle Music), 2nd
Edition, 2006; pgs. 83-85 (two versions, including all the Coleman variations).
O'Neill (Krassen), 1976; pg. 138. O'Neill (Music
of Ireland: 1850 Melodies), 1903/1979; No. 1433, pg. 266. O'Neill (Dance
Music of Ireland: 1001 Gems),
1907/1986; No. 670, pg. 119. Roche Collection,
1983, vol. 1; No. 162, pg. 64. Ryan’s
Mammoth Collection, 1883; pg. 29. Ace of Hearts AH
95, "Irish Dance Party." Cló Iar-Chonnachta CICD 173, Brian Conway – “Consider
the Source” (2008. Learned from Martin Wynne). Compass Records 7 4407 2, Ciaran
Tourish – “Down the Line” (2005. Tourish says it was one of the “first big
reels” he learned from his teacher, Dinny McLaughlin). Gael‑Linn 069,
Paddy Glackin‑ "An Fhidil Straith II" (1980). Globestyle
Records, Michael Hanafin – “I’m Leaving Tipperary” (reissue of 78 RPM. Hanafin
plays the tune in two parts). Green Linnett 1022, Eileen Ivers and Mick Moloney‑
"Irish Music: The Living Tradition, vol. 2." Green Linnet SIF‑1052,
Kevin Burke ‑ "Kevin Burke: Up Close" (1984). Green Linnet SIF‑1101,
Kevin Burke ‑ "Playing wiht Fire: the Celtic Fiddle Collection"
(1989). Philo 2018, Jean Carignan‑ "Plays Coleman, Morrison, and
Skinner" (learned from a Michael Coleman record). Legacy 120, Jean
Carignan‑ "French Canadian Fiddle Songs." Shanachie 33002,
Michael Coleman‑ "The Legacy of Michael Coleman."
See also listings at: Jane Keefer’s Folk Music Index: An
Index to Recorded Sources Alan
Ng’s Irishtune.info |
X:1
T:Lord
Gordon’s Reel
M:C|
L:1/8
R:Reel
S:O’Neill –
Dance Music of Ireland: 1001 Gems (1907),
No. 670
Z:AK/Fiddler’s Companion
K:D
dB|AD (3FED
AD (3FED|ADFD A2 GF|EFGA BE {F}(3EDE|defd B2 AB|
defd
efdB|AFDF A2 Bc|dBcA BGAF|EFGA B2||de|d>f {e}(3dcd|fgag|fddf a2 gf|
efga
beef|defd B2 AB|defd efdB|AFDF A2 Bc|dBcA BGAF|EFGA B2||
X:2
T:Lord Gordon
M:C|
L:1/8
R:Reel
S:Brian
Conway
Z:AK/Fiddler’s Companion
K:D
dB||:
A(D{F}E)D A,DFA | A(D{F}E)D FAdc | B~E3 d~E3 | B(~E3 {c}B)AFA |
(dc)df
e(cd)B | A(Fd)(F [F2A2)] Bc | (3dcB ({c}B)A BAGF |1 EFGA BedB :|2
EFGA Bcd(e
|: f2) df afd(e | f)Adf a2 gf | efga bgec | dcBA ^GABc | d~f3 e~B3 |
A(Fd)(F
[F2A2)] Bc | (3dcB ({c}B)A BAGF | EFGA Bcde :: f)a (3aaa f(da)d |
fa (3aaa
f(da)d | gb (3bbb (ge)be | gb (3bbb (ge)be | fgfe dcdB | A(Fd)(F [F2A2)] Bc |
(3dcB
({c}B)A BAGF |1 EFGA Bcd(e :|2 EFGA BcdB ||:A(dc)(d f)(dc)d|
A(dc)(d
f)(dc)d|e(gf)(g b)(gf)g|e(gf)(g b)(ge)g|fgfe dcdB|(3ABA ^GB ABdf|
afec
dBAF|EFGA BcdB::A~d3 f~d3|A~d3 f~d3|e~g3 b~g3|e~g3 bge(g|
fg)fe
dcdB|(3ABA ^GB ABdf|afec dBAF|1 EFGA BcdB:|2 EFGA Bcde||:
f(a{b}a)^g
afde|f(a{b}a)^g a2 =gf|gbe(f g)be(f|g)beg bge(f|g2) bg f(a{b}a)g|
fedB
ABdf|afec dBAF|1 EFGA Bcde:|2 EFGA BedB||
LORD HADDO'S FAVORITE. AKA and see “Coming
Through the Broom My Jo.” Scottish, March (4/4 time). B Minor (Lerwick): A
Dorian (Johnson). Standard tuning. AAB (Johnson): AABB (Lerwick). Composition
credited to Niel Gow, although it appears to be his own re-titling of Allan
Ramsay’s song “The young laird and Edinburgh Katy,” printed in the latter’s Tea Table Miscellany. Johnson (The Kitchen Musician No. 5: Mostly Irish
Airs), 1985 (revised 2000); pg. 10. Lerwick (Kilted Fiddler), 1985; pg. 64. Flying Fish
FF‑299, The Battlefield Band ‑ "There's a Buzz" (1982).
Seamus McGuire and John Lee – “The Missing Reel.” Dave Swarbrick – “Live at
Jackson’s Lane” (1996).
LORD
HARDWICKE'S/HARDWICKIS MARCH. English, Irish; March (4/4 time).
England, Shropshire. D Major. Standard tuning. AABBCCDD. Composed by Tom Cooke
(1782‑1848) in 1802, it became known as a military march. O’Neill records
it was played in an 1884 Melbourne, Australia, concert given by Irish Uilleann
piper John Coughlan. Source for notated version: a c. 1837-1840 MS by
Shropshire musician John Moore [Ashman]. Ashman (The Ironbridge Hornpipe), 1991; No. 56, pg. 22.
LORD HAY. Scottish, Strathspey. D Mixolydian. Standard tuning. AA'BB'. Stewart-Robertson
(The Athole Collection), 1884; pg.
183.
X:1
T:Lord Hay
M:C
L:1/8
R:Strathspey
B:Stewart-Robertson – The
Athole Collection (1884)
Z:AK/Fiddler’s Companion
K:G
F/G/|A>d B/A/G/F/ E<C C>E|A>d B/A/G/F/ A>dA>F|1 GB/G/ Fd/F/ E<C C>E|
A>D B/A/G/F/ A<DD:|2 GB/G/ Fd/F/ E<C C>g|f>d f/e/d/c/ d>DD||
e|f>dA>d e<c c>e|f>dA>d f>dA>F|1 GB/G/ Fd/F/ e<C C>E|A>D B/A/G/F/ A<DD:|2
GB/G/ Fd/F/ E<C C>g|f>d f/e/d/c/ d<DD||
LORD HOBARD’S MINUET. English, Minuet (3/4 time). G Major. Standard
tuning. AABB. Kate Van Winkler Keller (1992) suggests the tune was named for
Robert, Baron Hobart, the eldest son of the 3rd Earl of
Buckinghamshire, who served in the American War. Source for notated version:
the music manuscript of Captain George Bush (1753?-1797), a fiddler and officer
in the Continental Army during the American Revolution [Keller]. Keller (Fiddle
Tunes from the American Revolution), 1992; pg. 12.
LORD HOLDERNESS' RANT. AKA and see "York Rant."
English, Reel. England Northumberland. Standard tuning. AABBCCDD. Offord (John of the Greeny Cheshire Way), 1985;
pg. 98. Seattle (William Vickers),
1987, Part 3; No. 429.
LORD HOWE’S HORNPIPE. AKA and see “Fisher’s Hornpipe.”
LORD HOW'S JIG. English, Country Dance Tune (6/8 time). A Major. Standard tuning. AABB.
The tune dates to 1777. Barnes (English
Country Dance Tunes), 1986. Raven (English
Country Dance Tunes), 1984; pg. 31.
LORD HUNTLY'S CAVE. Scottish, Marching Air
(4/4 time). D Major. Standard tuning. AABB. Lord Huntly succeeded his mother,
Jane Maxwell the Duchess of Gordon, to presiding over the Northern Meeting
balls and dances after her death in 1812. Composed by J.
Scott Skinner, the melody first appears in his Harp and Claymore collection of 1904. Skinner (The Scottish Violinist, with variations), pg. 34. Skinner (Harp and Claymore Collection), 1904; pg.
25 (includes variation sets). Beltona 78 RPM 2313, Jimmy Shand. Front
Hall Records FHR‑08, Alistair Anderson ‑ "Traditional
Tunes" (1976).
See also listing at: Jane Keefer’s Folk Music Index: An
Index to Recorded Sources |
X:1
T:Lord Huntly’s Cave
M:C
L:1/8
R:Quickstep
C:J. Scott Skinner
S:Skinner – Harp and Claymore (1904)
Z:AK/Fiddler’s Companion
K:D
d/e/|“tr”fA g/f/e/d/ “tr”fA dc/d/|eA
a/g/f/e/ d/c/d/f/ e/A/d/e/ |“tr”fA g/f/e/d/ “tr”fA d”tr”f|e/a/c/a/ A/a/c/a/
({a}d2) d:|
|:f/g/|afda (f/A/a) dc/d/|eA
a/g/f/e/ d/c/d/f/ e/A/f/g/|afdf (f/A/a) dc/d/|e/a/c/a/ A/a/c/a/ d2 d:|
LORD INCHIQUIN. Irish, Slow Air or Planxty (3/4 time). D Major. Standard tuning. AABB.
Composed by blind Irish harper Turlough O'Carolan (1670-1738) in honor of the
young 4th Earl of Inchiquin, William O’Brien (1694-1777), who became
Grandmaster of the Freemasons of England in 1726. The family seat was in
Dromoland Castle, Newmarket-on-Fergus, County Clare, which remained until 1962
in the hands of the Lords Inchiquin (it is now a high-end resort). Donal
O’Sullivan (1958) says that O’Caroland was visiting the Rev. Charles Massey of
Doonass, nearby to Dromoland, and suspects the piece was composed on that
occasion. Brody (Fiddler’s Fakebook),
1983; pg. 175. Complete Collection of
Carolan's Irish Tunes, 1984; No. 58, pg. 55. S. Johnson (The Kitchen Musician No. 3: Carolan),
1983 (revised 1991, 2001); pg. 7. Miller & Perron (Irish Traditional Fiddle Music), 1977; vol. 1, No. 16. Miller &
Perron (Irish Traditional Fiddle Music),
2nd Edition, 2006; pg. 143. Ó Canainn (Traditional Slow Airs of Ireland), 1995; No. 44, pgs. 40-41.
O’Sullivan (Carolan: The Life, Times and
Music of an Irish Harper), 1958; No. 58. Sullivan (Session Tunes), vol. 2; No. 51, pg. 22. Tubridy (Irish Traditional Music, vol. 1), 1999;
pg. 39. Williamson (English, Welsh,
Scottish and Irish Fiddle Tunes), 1976; pg. 92. Island
9379, "Chieftains 3." Transatlantic 341, Dave Swarbrick‑
"Swarbrick 2." Rounder 0216, John McCutcheon ‑ "Step by
Step" (1986). Shanachie 79023, "Chieftains 3" (1971/1982).
See also listings at: Jane Keefer’s Folk
Music Index: An Index to Recorded Sources Alan Ng’s Irishtune.info |
X:1
T:Lord Inchiquin
M:3/4
L:1/8
R:Air
K:D
A2|d2 de fe|d2 ed cB|A2F2A2|f4 e2|d2
ed cB|A2G2F2|G2 BA GF|E4 ag|
f3e d2|d2c2B2|A2F2A2|f4 e2|d2 ed
cB|A d3 F2|E4 D2|D4:|
|:A2|AB cd e2|e2d2e2|f2d2f2|e4d2|de
fg a2|a2b2g2|f2d2f2|e4 fe|
de fg a2|a2b2g2|f3g e2|d4f2|gf
e2e2|e2f2d2|c3d B2|A4 ag|
f3e d2|d3cB2|A2F2A2|g4 fe|d2 ed cB|A
d3 F2|E4 D2|D4:|
LORD JAMES MURRAY('S). Scottish, Reel. D Major. Standard tuning. AB (Cole): AAB (Athole, Gow).
Composed by Perthshire fiddler-composer Niel Gow (1727-1807). Lord James Murray
was born in 1782 in Dunkeld, Perthshire, Niel Gow’s home township. He was the
son of John Murray, 4th Duke of Atholl, and Jane Cathcart. Murray
was a military man, rising to the rank of Major General by 1819, and a
politician, serving as MP for Perthshire from 1807-1812. He was created Baron
Glenlyon in 1821, after serving as the Prince Regents aide-de-camp and intimate,
at whose house at Datchet old Queen Charlotte “did never counsel take, but
sometimes tea.” Just before he died in 1837, was promoted to Lieutenant
General. Not for nothing, there is a classic fishing fly called Lord James
Murray that dates from the mid-18th century. It was a success in its
time on the river Tay, where salmon fishing was often done from a boat,
although the fly is all but forgotten today. Carlin (The Gow Collection), 1986; No. 270. Cole (1000 Fiddle Tunes), 1940; pg. 47. Gow (Fifth Collection of
Strathspey Reels), 1809; pg. 3. Ryan’s
Mammoth Collection, 1883; pg. 75. Stewart-Robertson
(The Athole Collection), 1884; pg.
121.
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:Lord James Murray
M:C|
L:1/8
R:Reel
C:Niel Gow (1727-1807)
B:Gow – Fifth Collection of Strathspey Reels (1809)
Z:AK/Fiddler’s Companion
K:D
F | ~d2 AB/c/ dAFD | E(ee>)d cABc | dABd AdAF | GBAF D/D/D D :|
f/g/ | adfd fadf | bege gbeg | adfd fadf | geaf d/d/d f/g/|
adfd fadf |bege gbeg | faef deBd | AdAF D/D/D D ||
LORD JOHN CAMPBELL [1]. Scottish, Slow Strathspey. D Major.
Standard tuning. AABB (Skinner): AABBCD (Honeyman). AABBCCDD (Athole,
Cranford/Holland, Gow, Kerr). The original of the tune was Duncan MacIntyre's
"Miss Cumming's
Strathspey,” according to John Glen (1895), with six turns. The melody
(under the “Lord John” title) is attributed to MacIntyre in Skinner’s Harp and Claymore (1904, see
ms. entry), although it appears un-attributed in Gow’s Fourth Collection.
The Gow’s title references John Douglas Edward Henry Campbell (1777-1845) of
Ardincaple, 7th Duke of Argyll. He was known as Lord John Campbell
until 1839, when his older brother died, and Lord John succeeded as Duke. He
was married three times (notably to the celebrated beauty Lady Charlotte
Campbell) and was a Scottish peer and Whig politician, representing Argyll
for decades. The Duke must have enjoyed music, for the Gows note in their Fourth
Collection (1800) that they were “indebted to Col. & Lady Charlotte
Campbell for the beautiful Tune” of “Maid of
Isla.” Scott Skinner composed a variation set for the tune. In his notes on
his manuscript copy of the strathspey (for the Harp and Claymore
collection) Skinner adds a footnote saying that his version is the one played
by Archie Menzies in an 1856 Edinburgh competition among twenty-two players,
when Menzies won first prize. Skinner further says the tune was also played by
his friend Peter Milne at another competition (in Aberdeen), where Milne also
won first prize. Carlin (The Gow
Collection), 1986; No. 122. Cranford (Jerry Holland: The Second
Collection), 2000; No. 121, pg. 46. Gow (Fourth Collection of Niel Gow’s
Reels), 2nd ed., originally 1800; pg. 10. Honeyman (Strathspey, Reel and Hornpipe), 1898;
pg. 37. Kerr (Merry Melodies), vol.
2; No. 165, pg. 19. Ryan’s Mammoth
Collection, 1883; pg. 168. Skinner (Harp
and Claymore), 1904; pg. 82. Stewart-Robertson
(The Athole Collection), 1884; pg.
115.
See also listing at: Alan Snyder’s Cape Breton Fiddle
Recording Index |
X:1
T:Lord John Campbell
M:C
L:1/8
R:Strathspey
B:Stewart-Robertson – The
Athole Collection (1884)
Z:AK/Fiddler’s Companion
K:D
A,|D/D/D F>D C<E E>F|D/D/D F>D A>DF>D|GB/G/ FA/G/ G/F/E/D/ C>E|D/D/D f>e d<DD:|
|:f/g/|a/g/f/e/ d>f g<bef/g/|a>fg>e f>d ec|d/c/B/A/ d>D C<E E>F|D/D/D f>e d<DD:|
|:B/c/|d/c/B/A/ d>D C>EE B/c/|d/c/B/A/ B/A/G/F/ G/A/B/c/ d/A/F/A/|
e/f/g/e/ f/g/a/f/ e<E E>F|D/D/D f>e d<DD:|
|:f/g/|a/g/f/e/ d/e/f/d/ g/a/b/g/ e/f/g/b/|a/f/g/e/ f/d/e/c/ d/B/c/A/ B/G/A/G/|
F/D/A/F/
d/A/F/D/ C<E E>F|D/D/D f>e d<DD:|
LORD JOHN CAMPBELL [2]. Scottish, Reel. F Major. Standard tuning. AAB. Composed by Duncan
MacIntyre. Glen (The Glen Collection of
Scottish Dance Music), vol. 2, 1895; pg. 23.
X:1
T:Lord John Campbell [2]
M:C|
L:1/8
R:Reel
S:Glen Collection, vol. 2 (1895)
Z:AK/Fiddler’s Companion
K:F
F2 Ac f2 fa|gfga gGGA|F/F/F Ac f2
fa|gfga f/f/f f2:|
FGAB cAfc|dBcF EGGA|F/F/F Fc
dBGF|ECGA F/F/F F2|
FGAB cAfc|dBcF EFGA|FfcA dBGF|ECga
f/f/f f2||
LORD JOHN RUSSELL. Scottish, Reel. B Flat Major. Standard tuning. AAB. Composed by William Marshall (1748-1833). Moyra Cowie (The Life and Times of William Marshall,
1999) finds that Lord John Russell was the youngest stepson of Georgianna
Gordon, the Duchess of Bedford. He was an avid supported of Earl Grey’s Reform
Bill (see note for “Earl Grey”). John’s
stepmother, Georgiana was the daughter of the Alexander, the 4th
Duke of Gordon, for whom Marshall was employed as Steward of the Household.
Marshall, Fiddlecase Edition, 1978;
1845 Collection, pg. 21.
X:1
T:Lord John Russell
M:C
L:1/8
R:Reel
S:Marshall - 1845
Collection
Z:AK/Fiddler’s
Companion
K:Bb
f|edcA BFBd|GBFD C2 Cf|edcA BFBd|GBFD B,2 B,:|
E|(DE/F/)
B,F DFB,F|BFdB ~c2 (cd)|(D/E/F) (B,F) DFEG|
FBAc
~B2 (Bd)|(DE/F/) (B,F) DFB,F|BFdB ~c2 (ce)|dfeg fBdB|AFGA B2B||
LORD JOHN SCOTT. Scottish, Reel. A Major. Standard tuning. AB. Composed by William Marshall (1748-1833). Lord John Scott was the 4th
Duke of Buccleuch’s third son. Marshall also wrote a tune for his wife, “Lady John Scott.” Marshall, Fiddlecase Edition, 1978; 1845
Collection, pg. 28.
X:1
T:Lord John Scott
M:C|
L:1/8
R:Reel
S:Marshall – 1845 Collection
Z:AK/Fiddler’s Companion
K:A
A2 (ce) dcBA|fgae (dc)(BA)|dfBd ceAc|dBcA (AG)(FE)|A2 (ce) (dc)(BA)|
Fgae (dc)(BA)|fdec dBcA|cBAG A2A2||(^de)(de) fgaf|gbag agfe|^dBfB gBfB|
Bgaf
(e^d)(cB)|(^de)(de) fgaf|gbag agfe|bgaf gef^d|Be^df e2e2||
LORD JOHN SCOTT’S MARCH. Scottish, March. An adaptation of “Nathaniel Gow’s Lament
for the Death of his Brother.”
LORD KELLY('S
RANT/REEL). AKA and see “The Buckeen,” “Cameron House,” “George Gubbin’s Delight,” “Humors of Schull,” “Lord
Kelly--Strathspey,” "Mo
Ceoil Sibh a Laochra" “The
Musical Priest,” "The New Bridge
of Erin," “The Old Grey
Gander,” “Wedding Ring [2].”
Scottish, Irish, Canadian, English; Strathspey, Rant or Reel. Canada, Cape
Breton. England, Northumberland. G Minor (most versions): G Dorian (Bremner): A
Minor (O’Farrell). Standard. AB (Surenne): AAB (Athole, Bremner, Gow,
O’Farrell): AABB' (Kerr). The tune is supposed to have been an early
composition of Thomas Alexander Erskine (1732-1781), 6th Earl of
Kelly, Scotland’s chief composer in the mid‑18th century, the early
Classical period. Kelly was a dilettante who lived in Edinburgh all of his life.
On his European tour, de rigueur for a young people of class at the time, he
studied composition and violin with Stamitz; he almost certainly received
training in the Mannheim court orchestra in his early 20’s (according to David
Johnson). He became a leading light of British music composition during his
lifetime, and was a skilled violinist who owned an instrument by the famous
German maker Jakob Stainer. Unfortunately, much of his work has been lost, and
his surviving output has not been well-regarded in modern times owing to a
perceived weakness in composition. His Quartet in C Minor was composed c. 1767
and published for the first time in 2006. John Glen (1891) finds the earliest
appearance of the tune in print in Robert
Bremner's 1757 collection, although it also appears in the 1768 Gillespie Manuscript of Perth. O’Farrell
lists the tune as “Scotch.” Paul Cranford remarks the tune is among the
favorite strathspeys in Inverness County, Cape Breton. Bremner (Scots Reels), 1757; pg. 57 (appears as
“Lord Kelly’s Reel”). Gow (Complete Repository), Part 1, 1799; pg.
8 (appears as “Lord Kelly’s Strathspey”). O’Farrell (Pocket Companion), c. 1805; pg. 14. Kerr (Merry Melodies), vol. 3; No. 185, pg. 22. Stewart-Robertson (The Athole Collection), 1884; pg. 187.
Seattle (William Vickers), 1987, Part
3; No. 477. Surenne (Dance Music of
Scotland), 1852; pg. 146. Rounder CD 11661-7033-2, Natalie MacMaster – “My
Roots are Showing” (2000). WMT002, Wendy MacIsaac – “That’s What You Get”
(1998?).
See also listings at: Alan Snyder’s Cape Breton Fiddle
Recording Index |
S:Northern
Fiddler (appears as an untitled tune)
R:Reel
AG|EAAB {d}‑c2
BA|GBdc BAGD|EAAB cdef|gedB eA{B}‑AG|!
EAAB {d}‑c2
BA|GBdc BGGD|EAAB cdef|{a}‑gedB eAAg:||!
ea{b}‑ag
edBd|g2 bg edBd|(3ggg bg efge|dBgB {c}‑BAAg|!
ea{b}‑ag
edBd|(3ggg bg edBd|fabf efge|dBgB {d}‑cBAG:||
B:Stewart-Robertson
– The Athole Collection
(1884)
B|D>GB>G
d>GB>G|C>FA>f F>G AG/F/|D<G G>B A>cB>d|c>f cB/A/ B<GG:|
g/a/|b>gd>g
G>dg>b|a>fc>f F>cf>a|b>gd>g f<d c>B|A>f
d/c/B/A/ B<G Gg/a/|
b>gd>g
G>dg>b|a>fc>f F>cf>a|b>ga>^f g>d=f>c|A>f
d/c/B/A/ B<GG||
LORD KILMAUR(S). Scottish, Reel. E Minor. Standard tuning. AABBCCDD. John Glen (1891) finds the earliest appearance of the tune in print in John Riddell's 1782 publication A Collection of Scots Reels, Minuets, etc. (pg. 12, No. 14), Glasgow. Gow (Complete Repository), Part 1, 1799; pg. 17. Stewart-Robertson (The Athole Collection), 1884; pg. 256.
X:1
T:Lord Kilmaurs
M:C|
L:1/8
R:Reel
B:Stewart-Robertson – The
Athole Collection (1884)
Z:AK/Fiddler’s Companion
K:Emin
~E2 EF DEFD|E/E/E EF GAB^c|dedF DEFD|eBdG F2E2:|
|:e3f defd|e/e/e eb agfe|g/a/b fa defd|eBdG F2E2:|
|:EeGe DEFD|EeGe EeGe|faef DEFD|eBdG F2E2:|
|:geef
defd|geeb agfe|gbfa defd|eBdG F2E2:|
LORD KINAIRD. See "Lord Kinneard."
LORD KING. Irish, Slow Air (3/4 time). G Mixolydian. Standard tuning. AB. Source
for notated version: Mr. Flattely of Mayo, via Forde (Joyce). Joyce (Old Irish Folk Music and Songs), 1909;
No. 497, pgs. 272‑273.
LORD KINGARTH. Scottish, Reel. A Minor. Standard tuning. AABB. Kerr (Merry Melodies), vol. 4; No. 138, pg.
17.
X:1
T:Lord Kingarth
M:C|
L:1/8
R:Reel
S:Kerr – Merry Melodies, vol. 4, No. 138
(c. 1880’s)
Z:AK/Fiddler’s Companion
K:Amin
B|eA A/A/A (ed)Bd|eA A/A/A (GA)Bd|eA
A/A/A (ed)Bd|edgB (A2A):|
|:d|edge abag|dedB degd|edge
abag|edgB (B2A):|
LORD KINNAIRD. See "Lord Kinneard."
LORD KINNEARD. AKA – “Lord Kanrey;s Reel,” "Lord Kinnaird." Scottish, Reel. D Mixolydian. Standard tuning. AAB (Gow): AABB' (Athole, Skye). John Glen (1891) finds the earliest appearance of the tune in print in Robert Bremner's 1757 collection, although it also appears in the 1768 Gillespie Manuscript of Perth. Bremner (Scots Reels), 1757; pg. 81. Carlin (The Gow Collection), 1986; No. 438 (appears as "Lord Kinnaird"). Gow (Complete Repository), Part 3, 1806; pg. 34. MacDonald (The Skye Collection), 1887; pg. 47. Stewart-Robertson (The Athole Collection), 1884; pg. 101.
X:1
T:Lord Kinnaird
M:C|
L:1/8
R:Reel
B:Stewart-Robertson – The
Athole Collection (1884)
Z:AK/Fiddler’s Companion
K:D
A|d2d2 dAFD|d2 Ad B2AB|dABF AfdF|E/E/E FA B2A:|
|:g|fdad feeg|fdad f2eg|1 fdad ecdF|E/E/E FA B2A:|2
aefd ecdF|EFGA BdAd||
X:2
T:Lord Kinaird’s Reel
M:C
L:1/8
R:Reel
S:Bremner – Scots Reels (1757)
Z:AK/Fiddler’s Companion
K:D
|: (g | f)dad “tr”feeg | fdad “tr”f2 e(g | f)dad eBdF | E/E/E FA “tr”B2A :|
X:3
T:Lord Kanrey’s Reel
M:C|
L:1/8
R:Reel
S:William Vickers’ music manuscript book (Northumberland, 1770)
K:D
(A/B/4c/4)|d2d2 dFED|d2 Ac B2 (AB/c/)|dABG AFdF|E/E/E FA B2A:|
|:fdad geeg|fdad “tr”f2 (ef/g/)|fdad ecdF|E/E/E FA B2A:|
LORD KIRKCUDBRIGHT.
Scottish, Air (3/4 time). D Major. Standard tuning. AAB. Sholto Henry MacLellan (1771-1827) was eighth Baron
Kirkcudbright during Nathaniel Gow’s time, having succeeded to the title in
1801. He married in 1820 to Mary Cantes, although they had no children. Sholto
served for a time in the foot guards, but seems to have spent most of his time
in England (he died at Southampton). His obituary reads, in part: “He was short
in stature and somewhat deformed in person. With some eccentricities, he
possessed many good qualities. He is succeeded by his only brother” (also an
officer in the foot guards). Gow (Sixth Collection of Strathspey Reels),
1822; pg. 23.
X:1
T:Lord Kirkcudbright
M:3/4
L:1/8
N:”Slow”
B:Gow – Sixth Collection of
Strathspey Reels (1822)
Z:AK/Fiddler’s Companion
K:D
(FA) B>A A2|d>B AF E2|(F<A)
B>A A2|(A<f) ~e3d|d6:||
aefc d2|BA dF E2|aefc d2|Af
“tr”e3d|d6|
aefc d2|BA dF E2|FA “tr”B>A
A2|A2g2 f/e/(d/c/)| d6||
LORD KITCHENER’S PIPES. Irish, Jig. D Mixolydian (‘A’ part) & D Major (‘B’ part). Standard
tuning. AABB. Lord Kitchener was chief of the British army before and during
World War I, and was responsible for its transition from a Victorian to a
modern army.
***
Lord Horatio Herbert Kitchener, 1st
Earl of Kitchener of Khartoum.
***
Source for notated version: fiddler
Martin Mulvihill (Co. Limerick/the Bronx) [Black]. Black (Music’s the Very Best Thing), 1996; No. 323, pg. 173.
X:1
T: Lord Kitchener's Pipes
S: M. Mulvihill
Q: 325
R: jig
Z:Transcribed by Bill Black
M: 6/8
L: 1/8
K: Dmix
D | DED DEG | AGE c2 D | DED DEG | cGE D2 D |
DED DEG | AGE c2 e | dcA AGE | GED D2 :|
A | d^cd edB | cBc EFG | d^cd edB | edB c2 A |
d^cd
edB | cBc EFG | DED cGE | DED D2 :|
LORD LENNOX'S MARCH. Scottish, March. The melody appears
in the 1768 Gillespie Manuscript of Perth.
It is mentioned by Robert Burns is his poem Halloween:
***
To keep his spirits up.
***
Mooney, Choicest Bagpipe Music from the Scottish Borders and Lowlands.
LORD LEWIS GORDON(‘S
REEL). Scottish, Strathspey. G Major.
Standard tuning. AABBCDEEFF. John Glen (1891) finds the earliest appearance of
this tune in print in Alexander
McGlashan's 1780 Collection. Lord
Lewis Gordon was one of Bonnie Prince Charlie’s supporters, appointed a member
of his council in Edinburgh as a result of his victories on the Prince’s behalf
in the rising of 1745. McGlashan (Collection
of Strathspey Reels), Vol. 3, 1786; pg. 1.
X:1
T:Lord Lewis Gordon’s Reel
M:C|
L:1/8
R:Strathspey
S:McGlashan – Strathspey Reels (1786)
Z:AK/Fiddler’s Companion
K:G
g|B<GB<G B>A
A<g|B<GB<G A>G B<G|1 B/c/d B<G B>A A>g|B<G B>A
B>G G:|2
B/c/d B<G B>A A>b|e<g
g>B B<d d||g|e<g d>g B>A A<b|e<g g>B d>eg>a|1
b/a/g/e/ gB B>A A<b|e<g
g>B B<(d d:|2 b/a/g/e/
gB B>A A<g|B<G B>A BGG||
g|g>Bd>B g>B
a2|g>Bd>B g>Bd>e|g>Bd>B gB a2|g>Bd>B G3e|g>Bd>B
g>B a2|
g>Bd>B g>g g<b|a<e
g>d d>g a<b|e<g d>B G3||B>(g g2) A>(a a2)|b(g g2) g>g
g<b|a<e gd e<g a<b|e<g dB G3:|
|:A|G/G/G B>G E>E
EA|G>GB>G A>GB>G|B/c/d A>G E>E E>A|G>cG>A G3:|
|:g>gg>a g>e
e<a|g<gb<g a<gb<g|a>b a<g a>g e<a|g>ab>a g2
d2:|
|:e/f/g
B>g A>GE>e|g>dd>e d>eg>d|e/f/g B>g
A>GE>g|d>ed>B G3:|
LORD LINDSAY’S MARCH. AKA and see “Captain Hillman’s March.” Irish, March (4/4 time). D Major. Standard tuning. AB. O’Neill (1922) notes the tune is almost identical to “Capt. Hillman’s March” also published by James Aird in his same volume. Source for notated version: copied from Aird’s Selections of Scotch, English, Irish and Foreign Airs (1782-97) [O’Neill]. O’Neill (Waifs and Strays of Gaelic Melody), 1922; No. 54.
X1
T:Lord Lindsay's March (#54)
M:4/4
L:1/8
S:Aird's Selections, 1782-97
Z:Paul Kinder
R:March
K:D
(3ABc|d2 dd d2 fd|e2 ee e2 ge|f2 ff fagf|edcB AGFE|
dAFA dfed|ecAc egfe|fadf gece|d2 dd d2||
fg|afdf aa b/2a/2g/2f/2|gece gg a/2g/2f/2e/2|
fdBd fa b/2a/2g/2f/2|edcB AGFE|DFAd fdAF|
EGBd gecA|fadf gece|d2 dd d2||
LORD LOUDEANS MARCH. Scottish, March. The melody appears in the 1768 Gillespie Manuscript of Perth.
LORD LOUTH. Irish, Planxty (6/8 time). C Major. Standard tuning. AB. Composed by
blind Irish harper Turlough O'Carolan (1670-1738). Complete Collection of Carolan's Irish Tunes, 1984; No. 77, pg. 65.
LORD LOVATE. AKA – “Lord Lovate” Scottish, Strathspey. G Major. Standard tuning.
AAB. “Very Old” remarks Nathaniel Gow in the Sixth Collection
(Edinburgh, 1822). John Glen (1891) finds the earliest appearance of this tune
in print in Angus Cumming's 1780
collection (pg. 5). The melody also appears in the 1840 music manuscript of
Cumbrian musician John Rook. Gow (Sixth Collection of Strathspey Reels),
1822; pg. 13.
X:1
T:Lord Lovat
M:C
L:1/8
R:Strathspey
N:”Slow”
N:”Very Old”
B:Gow – Sixth Collection of
Strathspey Reels (1822)
Z:AK/Fiddler’s Companion
K:G
c|{c}B2G>B {B}A2 Ac|B2 Bd
(efg).d|B2 G>B {B}A2 A>c|”tr”B>A Bd (efg):||
d|(efg)e agfd|(efg)e af g2|(efg).e
a>g fd|ed Bd|(e>fg{ab}d|
{c}B2 G>B (BA) Ac|B2 Bd
(efg).d|{c}B2 ~G>B {B}A2 Ac|”tr”B>A Bd efg||
LORD LOVAT BEHEADED (Mac Shimi mor a basachadh). Scottish, Slow Air (4/4 time). A
Dorian. Standard tuning. AAB. Captain Simon Fraser notes: "The name of
this melody bespeaks what gave occasion to it. It is the production of the
famous poet, Alexander MacDonell, who is never at a loss in addressing the
feelings, and who says he would for ever regard Lord Lovat's death as murder,
having been tried merely by his enemies.” Fraser refers to his namesake Simon
Fraser, 11th Lord Lovat (1667-1747), described as ‘the Fox’ and ‘the
most devious man in Scotland’ during his time. His lifelong home was at Castle
Downie, where he kept a number of retainers who shared their Laird’s table, but
in a strict pecking order with the head of the table drinking the better
clarets, with whisky relegated to those ‘below the salt.’ Lovat’s life was long and eventful, characterized
by his ambition, some say obsession, of gaining the title of Lord Lovat for
himself. To this end he employed any means possible, including dishonest and
criminal acts, notably as his scheme of kidnapping and marrying the widowed
Amelia, Lady Lovat, in order to gain the title. Fraser’s henchmen succeeded in
getting her to church where a marriage service was performed—under duress, as
Simon’s retainers slit the Lady’s stays with their dirks while his pipers
played to drown out her screams. The
Lady, however, was by birth a member of the powerful clansmen at Atholl, who
soon drove Fraser out of the country. Amelia had the marriage annulled and
quickly remarried in 1702, but Simon kept legal battles raging for decades.
***
Simon
Lord Lovat by William Hogarth (1697-1764)
***
In France Lovat converted to
Catholicism and ingratiated himself with the Jacobite cause, returning to
Scotland in 1703, to resume his scheming and maneuvering. During the rising of
1715 Lovat managed to avoid taking sides, trying to placate both, eventually
turning against the Jacobites when the tide turned (and helping himself in the
process to the lands of defeated sympathizers). In 1733 Simon finally prevailed
in his legal wrangling and, having
ingratiated himself with the ruling Hanovers in London, he won the title of
Lord Lovat. Despite this he still
flirted with the Jacobite cause, aiding John Roy Stewart to escape the country
in 1736. When Bonnie Prince Charlie
rose in 1745 Lovat again tried to hedge his bets, but this time he was forced
to more demonstrably support the Jacobites, although when he heard of their
defeat at Culloden he said ‘none but a mad fool would have fought that day.’
Lovat and the Prince met the night after the battle at Lovat’s house of
Gorthlech on Loch Mhor, both fleeing the next day; Charlie eventually to
France, and Lovat to an island on Lake Morar. He was captured there by Captain
Ferguson, trying to hide in a hollow tree but given away by his uncovered bare
legs.
***
Lovat, old and infirm, was taken to
London in a litter and was imprisoned in the tower until March, 1747, when he
was tried at Westminster Hall. Undoubtedly knowing the end result, he managed
to keep his dignity, sitting for a portrait by Hogarth and uttering famous bon mots during the proceedings. He was soon convicted and a month later was
beheaded, on Tower Hill, the last person to be so in Britain. In a final irony,
one of the wooden grandstands erected for the mob to witness the execution
collapsed, and several Londoners preceded Lovat to death.
***
Fraser (The Airs and Melodies Peculiar to the Highlands of Scotland and the
Isles), 1874; No. 59, pg. 21.
X:1
T:Lord Lovat Beheaded
T:Mac Shimi mor a basachadh
M:C
L:1/8
S:Fraser Collection
(1874)
Z:AK/Fiddler’s Companion
K:G
c|B>cB>A G>FE>^G|E>AA>^G B3c|B>cB>A G>FE>^G}E<A B>^G A2A:|
B|c>de>f g>fe>g|d>cc>B B2 B/A/B/d/|e>AB>A G>FE>^G|E<A B>^G A2 AB|
c>de>f g>fe>g|d>cc>B B2 B/A/B/d/|e>AB>A G>FE>^G|E<A B>G A2A||
LORD LOVAT'S LAMENT (Cumha Mhic Shimidh). AKA and see "Lament for the Highland
Clearances." Scottish (originally), Canadian; Slow March (4/4 time).
Canada; Cape Breton, Prince Edward Island. A Major (Johnson, Perlman): G Major
(Martin, Sweet). Standard tuning. AB (Johnson, Sweet): AABB (Martin, Perlman).
A well‑known bagpipe march which entered fiddle repertory, perhaps
through fife and drum sources. The piece is said to have been composed by
either Ewen MacGregor or his pupil David Fraser, both pipers to Simon Lord
Lovat. Lovat was famous for his role in the unsuccessful Jacobite rebellion of
1745 (see note for “Lord Lovat Beheaded”). Source for notated version: Allan
MacDonald (b. c. 1950, Bangor, North-East Kings County, Prince Edward Island)
[Perlman]. Johnson (The Kitchen
Musician's No. 10: Airs & Melodies of Scotland's Past), 1992 (revised
2001); pg 10. Martin (Ceol na Fidhle),
vol. 1, 1991; pg. 7. Perlman (The Fiddle
Music of Prince Edward Island), 1996; pg. 184. Queen's Own Highlanders (Standard Settings of Pipe Music); No.
78, pg. 54. Sweet (Fifer’s Delight),
1965; pg. 74. Rounder 7011, "The Beatons of
Mabou: Scottish Violin Music from Cape Breton" (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:Lord Lovat’s Lament
M:C
L:1/8
R:Slow March
Z:AK/Fiddler’s Companion
K:G
GA | B2 B>d cB AG | B<d d>e
d2 e>f | g2 dg ed BG | B<A A>B A2 G>A | B2 B>d cB AG |
B<d d>e d2 BG | c>d ed/c/
B<d c>A | G2 G>A G2 || ef | g2 dg ed BG | B<d d>e d2 ef |
g2 dg ed BG | b<A A>B A2
G>A | B2 Bd cB AG | B<d d>e d2 BG | c>d ed/c/ B<d c>A | G2
G>A G2 ||
LORD LOVAT'S WELCOME. AKA and see "Moirear Sheim" or "Morair Sim."
Scottish, (Slow) Strathspey. G Major (Skye): F Major (Athole, Fraser). Standard
tuning. AABB' (Skye): AAB (Athole, Fraser). "This is the composition of
Lord Lovat's minstrel, already mentioned, and celebrates his lordship's return
from a proscription, which the Culloden papers narrate. This was taken down
from the singing of Thomas Fraser of Achnacloich, father of the resent Mr.
Fraser of Eskadale, who remembered the event and sung it with enthusiasm. It is
the only instance wherein the editor obtained one of these melodies better sung
elsewhere than at home" (Fraser). See note for “Lord Lovat Beheaded” for more on Simon Fraser,
Lord Lovat. Fraser (The Airs and Melodies
Peculiar to the Highlands of Scotland and the Isles), 1874; No. 131, pg.
53. MacDonald (The Skye Collection),
1887; pg. 91. Stewart-Robertson
(The Athole Collection), 1884; pg.
221.
X:1
T:Lord Lovat’s Welcome
M:C
L:1/8
R:Slow Strathspey
B:Stewart-Robertson – The
Athole Collection (1884)
Z:AK/Fiddler’s Companion
K:F
c|:A<F ~F>A G>F ~F<D|C<F ~F>A c>A ~f2|A<F ~F>A G>F G<A| d>c A<c d<e ~f2:|
c>d f<a g<a ~f>d|~c>d f>g a/g/f/e/ ~f2|~c>d f<a g<a ~f>e|d>c A<c de ~f2|
~c>d
f<a g<a ~f>d|~c>df>g a/g/f/e/ ~f2|c<aa<g
g<ff<e|d<c c>B A<cf<a||
LORD LOVELL’S REEL. AKA and see “Ale Wife and Her Barrel.”
LORD LYNDOCH. Scottish; Strathspey or Highland Schottische. D Major. Standard tuning.
AAB (most versions): AABB (Cranford/Fitzgerald). Composed by P. Agnew. A county
Donegal, Ireland, variant goes by the title “Cailini Ard a’ Ratha.” Thomas
Graham, Lord Lyndoch (1748-1843) was a
hero in the Peninsular War, the “Hero of Barossa,” fought near Cadiz, 1811,
when Graham managed to attack the rear of the French army. Later he fought in
the Netherlands, less successfully. He was created Baron Lynedoch of Balgowan
in 1814. Graham remained in good health into old age; at 74 he rode 24 miles to
the Pytchley meet, and that same year acted as second to the Duke of Bedfor in
his duel with the Duke of Buckingham. Sources for notated versions: Liam
Donnelly (Lisburn, County Antrim) [Mulvihill]; Winston Fitzgerald (1914-1987,
Cape Breton) [Cranford]. Cranford (Winston
Fitzgerald), 1997; No. 122, pg. 50. Gatherer (Gatherer’s Musical Museum), 1987; pg. 37. Honeyman (Strathspey, Reel and Hornpipe Tutor),
1898; pg. 12. Hunter (Fiddle Music of
Scotland), 1977; No. 107. Kerr (Merry
Melodies), vol. 1; No. 10, pg. 19. MacDonald (The Skye Collection), 1887; pg. 66. Mulvihill (1st Collection), 1986; No. 9,
pg. 120 (listed as a schottische). Stewart-Robertson
(The Athole Collection), 1884; pg.
113. Beltona 2103 (78 RPM), Edinburgh Highland Reel
and Strathspey Society (1936).
X:1
T:Lord Lyndoch
M:C
L:1/8
R:Strathspey
B:Stewart-Robertson – The
Athole Collection (1884)
Z:AK/Fiddler’s Companion
K:D
A|d>e d<B A>F D<F|E<B B>A G<B B>c|d>e d<B A>FD>F|
E>D E<F D/D/D D:|
g|f>da>d f>da>d|c>Ae>A c>de>g|f>da>d f>da>d|g<b a>g f<d d>g|
f>da>d
f>da>d|c<Ae<A c>d e<A| B<dc<e d<fe<g|f<b a>g
f<dd||
LORD LYNDOCH'S WELCOME. Scottish, Strathspey. A Major. Standard tuning. AABB. Stewart-Robertson
(The Athole Collection), 1884; pg.
154.
X:1
T:Lord
Lyndoch’s Welcome
M:C
L:1/8
R:Strathspey
B:Stewart-Robertson
– The Athole Collection
(1884)
Z:AK/Fiddler’s Companion
K:A
E|A<A
c>B c>EC>E|A<A A>B c<e e2|f<ae<a
d<ac<a|B>AB>c A<FF:|
|:f|e<c c>e
f>ed>c|e>ca>c f2 f>g|a/g/f/e/ f>g a>fe>c|B>AB>c
A<FF:|
LORD MACDONALD [1]. AKA and see “The Braes of Mar
[1],” “Johnny
Will/Won’t You Marry Me” “Sir
Alex MacDonald’s Reel.” Scottish, Strathspey or Reel. D Major. Standard
tuning. AB (Surenne): AABBCCDD (Athole, Gow, Skye). “Old Reel,” notes Gow
(1806). Surenne (1852) gives the alternate title (?), “O Mither, Ont
Bodie but the Duddy Blacksmith,” and says the version is an “old set.” Carlin (The Gow Collection), 1986; No. 442. Gow (Complete Repository), Part 3, 1806; pg. 35 (appears as “Loard
McDonald.” Kerr (Merry Melodies),
vol. 4 (appear as “Lord MacDonald ‘Old’ Strathspey”). MacDonald (The Skye Collection), 1887; pg. 33. Stewart-Robertson
(The Athole Collection), 1884; pg.
105. Surenne (Dance Music of Scotland),
1999; pg. 116. SA93130, Donny LeBlanc - “Rosining Up
the Bow” (1993).
See also listings at: Alan Snyder’s Cape Breton Fiddle
Recording Index |
X:1
T:Lord MacDonald [1]
M:C
L:1/8
R:Strathspey
B:Stewart-Robertson – The
Athole Collection (1884)
Z:AK/Fiddler’s Companion
K:D
A<G|F<A Af/g/ a>fe>d|g>fe>d B>dB>A|F<A Af/g/ a>fe>d|e/f/g f/g/a e2d:|
|:A|F<A A>B A>B A<F|G/G/G G2 G>AB>G|F<A A>B A>BA>F|G>BA>F D2D:|
|:A/G/|F<A Af/g/ a>fe>d|g>fe>d B<d B>A|F<A Af/g/ a>fe>d|e/f/g e/g/a e2d:|
|:g|f<a
a>b a>ba>f|g/g/g g2 g>ab>g|f<a a>b a>ba>f|g<a
f>g e2d:|
LORD MACDONALD [2]. Scottish, Strathspey. D Major. Standard tuning. AABB. Attributed to Sir
Alexander Macdonald by MacDonald in The
Skye Collection. John Glen (1891) finds the earliest appearance of this
tune in print in Alexander
McGlashan's 1780 collection (pg. 19). MacDonald (The Skye Collection), 1887; pg. 180. McGlashan (Collection of Strathspey Reels), c.
1780/81; pg. 19.
X:1
T:Lord MacDonald’s Reel [2]
M:C|
L:1/8
R:Strathspey
S:McGlashan
– Strathspey Reels (c. 1780)
Z:AK/Fiddler’s Companion
K:D
d>ef>e
d>BA>d|B>Abd e/e/e e>g|f>efb a>fef|d>BA>F D/D/D D2:|
|:B|A>DF>D
A>Dd>A|B>EG>E Bee>B|daa>g f>efd|egf>e d/d/d d2:|
LORD MACDONALD [3]. See "Lord McDonald [1]."
LORD MACDONALD('S
REEL) [4] (“Cor an Tigearna Mic
Domnaill” or “An Tiarna Mac Dónaill). AKA and see “Lady McDonald’s Reel,” "Le Petit Bucheux," "Little Peggy [1]," “Little Peggy’s Love,” “Lord McDonald,” "MacDonald's Reel," “McDonald’s Reel,” "John MacDonald's Reel,"
"Miss Jackson's,"
"Morag Nighean Domhnuill Duinn (Marion, Brown Donald's Daughter)," “Slanty Gart," "Virginia Reel [1]" (Ford). Scottish,
Canadian; Reel. Canada; Prince Edward Island, Cape Breton, Nova Scotia. G Major
(most versions): A Mixolydian (Cranford). Standard tuning. AB (O'Neill/1001,
Surenne): AAB (Breathnach, Honeyman, Hunter, Kerr): ABB (Cranford): ABC (Miller
& Perron/1977): ABCB (O’Malley): ABCD (Miller & Perron/2006, Taylor):
AABB (Brody, Huntington): AABC (Martin & Hughes, Skinner): AABBCC (S.
Johnson): AABCCD (Athole, Skye, Gow): ABB'CC' (O'Neill): AA’BB’CC’D (Perlman).
One of the most famous folk fiddle melodies, composed by Sir Alexander
Macdonald (1744-1795), 1st Lord MacDonald (according to some, a few
days before his death), and first published around the year 1790; it appears in
the Gow’s 3rd Collection of
Niel Gow’s Reels (1792). “Lord Macdonald’s Reel” was printed in John and
Andrew Gow’s A Collection of Slow Airs,
Strathspeys and Reels (London, c. 1795). Andrew (1760-1803) and younger
brother John (1764-1826) established a publishing business in London in 1788
and were the English distributors for the Gow family musical publications. From
that beginning the tune was quickly assimilated throughout Scottish tradition
and disseminated wherever the Scots emigrated.
***
Sir Alexander was an amateur fiddler
who composed several tunes extent in 18th century collections. See
also his “The London Highland Society” (Gow, 3rd Collection, 1792). He was a friend and dinner
partner of Samuel Johnson in London, to whom he had been introduced by James
Boswell (Laird of Auchenleck and Johnson’s anamnesis) while on their famous
journey to Scotland and the Isles in 1772 (Macdonald presented Johnson with verses
written in Latin during the visit to Armidale, Skye). Macdonald, who was the 9th
Baronet of Sleat, was created in 1776 Baron Macdonald of Slate in the County of
Antrim in the Peerage of Ireland; a pretence, as the territorial designation
was Sleat on the Isle of Skye, County Inverness. Lord Macdonald married
Elizabeth Diana Bosville, the daughter of Godfrey Bosville, with whom he had
seven sons and three daughters. Despite being a Highland laird, Macdonald was
educated at Eton and served with the Grenadier Guards. He was also a Deputy
Lieutenant of Inverness-shre and a Brigadier General in the Royal Company of
Archers.
***
“Lord Macdonald’s Reel” can be found
in many North American traditions; for example, see the closely related tunes
and notes for the American "Leather
Breeches/Britches" and the French Canadian "Reel de l'Enfant," “(Le) Reel à
quatre,” and Louis Boudreault’s “Reel
McDonnell.” Ken Perlman, who
researched the fiddle music of Prince Edward Island, Canada, notes that it was
in the old days the most requested tune of fiddlers by stepdancers throughout
much of the island, attesting to its popularity there. He calls it “the most
played ‘good old tune’ on PEI and states that it was at one time the benchmark
by which fiddlers were measured. Cape Breton fiddler Jerry Holland’s version,
in A Mixolydian, is a pipe setting learned from his father. An American variant
is “Leather Britches/Breeches,” especially the 2nd and 4th
parts of the Scottish versions printed
by Gow and others. One of the oddest appearances of the tune is on the barrel
organ from the polar expedition of Admiral Parry of 1810. In place of a ship’s
fiddler (common in those days), Parry introduced a mechanical barrel organ on
board ship to provide entertainment and a vehicle to which the men could
exercise (i.e. by dancing). “Lord MacDonald’s Reel” was one of eight tunes on
barrel no. 5. Sources for notated versions: Boys of the Lough
(Ireland/Scotland) [Brody]; Jerry Holland Sr. (Mass.) via his son Jerry Holland
(Inverness, Cape Breton) [Cranford]; Peter Chaisson, Sr. (B. 1929, Bear River,
Prince Edward Island) [Perlman]; the mid-20th century collection of Jack Wade
(County Monaghan) [Breathnach]; a 1927 recording by Sligo fiddler Michael
Coleman [Miller & Perron]. Breathnach (CRÉ
IV), 1996; No. 184, pg. 85. Brody (Fiddler’s
Fakebook), 1983; pg. 176. Carlin (The
Gow Collection), 1986; No. 271. Cranford (Jerry Holland’s), 1995; No. 6, pg. 2. Gow (Third Collection of Niel Gow’s
Reels), 1792; pg. 9. Gow (Beauties
of Niel Gow), vol. 1, pg. 29. Honeyman (Strathspey,
Reel and Hornpipe Tutor), 1898; pg. 14. Howe (Diamond School for the Violin), 1861; pg. 41. Howe (School for the Violin), 1851; pg. 29.
Hunter (The Fiddle Music of Scotland),
1988; No. 200. Huntingdon (William
Litten's), 1977; pg. 16 (two settings). Jarman (The Cornhuskers Book of Square Dance Tunes), 1944; pg. 15 (appears
as "MacDonald's Reel"). S. Johnson (A Twenty Year Anniversary Collection),
2003; pg. 26. Kennedy (Fiddlers Tune Book), vol. 2, 1954; pg.
13. Kerr (Merry Melodies), vol. 1;
Set 15, No. 4, pg. 10. MacDonald (The
Skye Collection), 1887; pg. 86. Martin & Hughes (Ho-ro-gheallaidh), 1990; pg. 23. Miller & Perron (Irish Traditional Fiddle Music), 1977;
vol. 2, No. 47. Miller & Perron (Irish
Traditional Fiddle Music), 2nd Edition, 2006; pg. 86. O’Malley (Luke O’Malley’s Collection of Irish Music,
vol.1), 1976; No. 27, pg. 14 (appears as “Lord McDonnell’s”). O'Neill
(Krassen), 1976; pg. 133. O'Neill (Music
of Ireland: 1850 Melodies), 1979; Nos. 1289 & 1408. O'Neill (Dance Music of Ireland: 1001 Gems),
1986; No. 649, pg. 116. Perlman (The
Fiddle Music of Prince Edward Island), 1996; pg. 45. Riley's Flute Melodies, vol. 1, No. 123. Ryan’s Mammoth Collection, 1883; pg. 46. Smith (Scottish Minstrel), 1820‑24, vol.
4, pg. 16. Skinner (Harp and Claymore),
1904; pg. 58. Stewart-Robertson
(The Athole Collection), 1884; pg.
164. Surenne (Dance Music of Scotland),
1852; pg. 84. Sweet (Fifer's Delight),
1964; No. or pg. 69. Taylor (Through the
Half-door), 1992; No. 33, pg. 24. Taylor (Music for the Sets: Yellow Book), 1995; pg. 2. Wilson (Companion to the Ballroom), 1840; pg.
61. County 725, The Riendeau Family‑ "Old‑Time
Fiddling." Cranford Publications CP-R2, “Jerry Holland Solo” (1988).
Folkways FG 3531, Jean Carignan (Monteal, Canada) ‑ "Old Time Fiddle
Tunes" (1968). Folkways FG 3532, Alan Mills and Jean Carignan ‑
"Songs, Fiddle Tunes and a Folk‑Tale from Canada" (learned from
a fiddler on Québec's Gaspé Peninsula). Green Linnet SIF‑1110, "My
Love is in America: The Boston College Irish Fiddle Festival" (1991).
Intrepid Records, Michael Colemen - "Heyday of Michael Coleman"
(1973). Olympic 6151, The Shetland Fiddlers' Society‑ "Scottish
Traditional Fiddle Music" (appears as "MacDonald's Reel").
Rounder 7004, Joe Cormier‑ "The Dances Down Home." Saydisc SDL
234, Parry’s Barrel Organ (vol. 11 in the Golden Age of Mechanical Music).
Shanachie 33006, Michael Coleman‑ "The Classic Recordings of Michael
Coleman." Shaskeen - "Atlantic Breeze" & "Shaskeen
Live." Trailer 2086, "Boys of the Lough" (appears as
"Slanty Gart").
See also listings at: Alan Snyder’s Cape Breton Fiddle
Recording Index Jane Keefer’s Folk Music Index: An
Index to Recorded Sources Alan Ng’s Irishtune.info |
X:1
T:Lord MacDonald [4]
M:C|
L:1/8
R:Reel
B:Stewart-Robertson – The
Athole Collection (1884)
Z:AK/Fiddler’s Companion
K:G
B/c/|d3e dBg2|dBg2 aAAB|d^cde dBgB|A/B/c BA BGG:|
B|DGBG AGBG|DGBG AGEA|DGBG AGBG|DEDC B,G,G,G|
DGBG AGBG|DGBG AGEB|cBAG GFED|EFGA BGG||
|:B/c/|d3e dBg2|g2fg aAAB|d^cde dBgB|A/B/c BA BGG:|
g|dgbg agbg|dgbg aeeg|dgbg agbg|dedc BGGg|
dgbg agbg|dgbg aeea|bagf gfed|efga bgg||
X:2
T:Lord Macdonald’s Reel [4]
M:C|
L:1/8
R:Reel
B:Gow – 3rd Collection of Niel Gow’s Reels, 3rd ed., pg. 9 (orig. 1792)
Z:AK/Fiddler’s Companion
K:G
B|”tr”d3e d>Bg>B\dBgB aAAB|”tr”d^cde dBgB|(A/B/)c “tr”BA BG G:||
B|DGBG “tr”AGBG|DGBG “tr”AGAB|DGBG “tr”AGBG|DEDC B,G,G,G|
DGBG “tr”AGBG|DGBG “tr”A>GEc|BAGF GFED|”tr”E>FGA BGG||
|:B|”tr”d>e d>Bg>B|dBgB aAAB|”tr”d^cde dBgB|(A/B/c) “tr”BA BG G:||
g|(dg)bg “tr”(ag)bg|(dg)bg “tr”(ag)bg|(dg)bg “tr”(ag)bg|”tr”d>edc BGGg|
(dg)bg “tr”(ag)bg|(dg)bg “tr”(ag)ea|(ba).g.f (gf).e.d|efga bggb||
LORD MACDONALD’S
HIGHLANDERS.
AKA – “March for the 76th Regiment Lord Macdonald’s
Highlanders.” Scottish, March (4/4 time). D Major. Standard tuning. AB. The
march appears in John Reid’s A Set of
Marches for two clarinets, hautboys, or German flutes, two horns & a
bassoon, published by Robert Bremner in 1778 in London. It later appeared
in Timothy Olmstead’s Martial Music
(Albany, 1807), without the horn parts. Source for notated version: General
John Reid’s Marches, A Collection
(London, 1795) [Miller]. Miller (Fiddler’s
Throne), 2004; No. 345, pg. 202. New World Records
80276-2, “Music of the American Revolution: The Birth of Liberty.”
X:1
T:March for the 76th
Regiment Lord MacDonald’s Highlanders
M:C
L:1/8
R:March
K:D
FE|D4d2e2|f4 G2F2|E4
e2f2|g4A2G2|F4a4|g2f2e2d2|
f4e2e2|e4F2E2|D4d2e2|f4G2F2|E4e2f2|g4f2e2|d2f2b2a2|
g2f2e2d2|B4d2d2|d4d2e2||f2d2e2B2|d2B2A2F2|A4d2d2|
d4d2e2|f2g2a2b2|a2f2e2d2|b4e2e2|e4d2e2|f2a2e2f2|
d2f2B2d2|A4f2e2|d4F4|G2A2B2G2|A2f2e2d2|B4d2d2|d4||
LORD MACDUFF. Scottish, Strathspey. A Major. Standard tuning. AAB. Composed by
Alexander Walker. Walker (A Collection of
Strathspeys, Reels, Marches, &c.), 1866; No. 13, pg. 5.
LORD MASSEREENE. Irish, Planxty. D
Minor. Standard tuning. AABB. Composed by Turlough O'Carolin. Complete Collection of Carolan's Irish Tunes,
1984; No. 100, pg. 76‑77.
LORD MAUCHLINE. Scottish, Reel. E Minor. Standard tuning. AABB'. “By Mr. MacLeod of Raasay” (Gow). Lord Mauchline is a courtesy title applied to the heir of the Earls of Loudon. Carlin (The Gow Collection), 1986; No. 272. Gow (Fifth Collection of Strathspey Reels), 1809; pg. 17.
X:1
T:Lord Mauchline
M:C
L:1/8
R:Reel
C:MacLeod of Raasay
B:Gow – Fifth Collection of Niel Gow’s Reels
Z:AK/Fiddler’s Companion
K:Emin
E|B(EE>)F GABd|FDAF dFAF|”tr”G>FEF GABe|dBAF E/E/E E2|
BEE>F GABd|FDAF dFAF|”tr”G>FEF GABg|fdaf e/e/e e||
|:f|”tr”gfef gabg|”tr”fede fgaf|gfef gabg|fdaf e/e/e ef|
“tr”gfef gabg|”tr”fede fgaf|gef^d egfe|dBAF E/E/E E||
LORD MAYO [1] (Tiarna Mhaigh Eo). Irish, Air or March (4/4 time). A Dorian (most versons): G Dorian (Heymann, O’Farrell). Standard tuning. AB (Heymann): AAB (Johnson): AA’B (Carlin): AABB (O’Farrell): AABB' (Brody, Tubridy). O’Farrell (c. 1806) directs “Slow”. The composition of words (and perhaps music, also) to this march is credited to David Murphy (Dáithi Ó Murchadha), a harper whose patron was Lord Mayo (Theobald Bourke, 1681-1741, of Castlebar, County Mayo), but who in the course of his career incurred the wrath of the greatest harper of the time, Turlough O'Carolan, who complained of his "lofty impudence." Murphy had the temerity to publicly disparage O'Carolan's music as "bones without beef," and when the blind harper found Murphy in an ale house in Castleblaney he soundly thrashed him, shouting "Put beef to that air, you puppy!" "Murphy had a great opinion of himself, because he once played before King Louis XIV of France. This made him conceited, and his behaviour to his colleagues was such that they heartily disliked him. One day, Murphy came into the inn where Carolan was, and said that Carolan's tunes were like bones without beef. 'Damn me' says Carolan, 'But I'll compose a tune before I quit you, and you may put what beef you please on the bones ot it'. With that he seized Murphy by the hair of the head, dragged and kicked him through the room unmercifully, during which time Murphy's screeches could be heard at a great distance: Carolan saying to him while he was roaring 'put beef to that air, you puppy'. And it's likely according to the account, that if it were not through some interference he would not leave a drop (of blood) in Murphy'" (Grainne Yeats, Complete Collection..., pg. 5). “Lord Mayo” is found in both air and march versions, derived from Murphy’s song.
***
Francis O’Neill (1913) relates this story concerning the origins of “Lord Mayo”:
***
David Murphy undoubtedly a man of genius,
who had been taken
under the protection of Lord Mayo through
benevolent motives,
incurred his patron’s displeasure by some
misconduct. Anxious
to propitiate his Lordship, Murphy consulted
a friend, Capt. Finn,
of Boyle, Roscommon. The latter suggested
that an ode expressive
of his patron’s praise, and his own
penitence, would be the most
likely to bring about the desired
reconciliation. The result was in
the words of the learned Charles O’Conor,
“the birth of one of the
finest productions for sentiment and
harmony, that ever did honor
to any county.”
***
Apprehensive that the most humble advances
would not soften his
Lordship’s resentment, Murphy concealed
himself after nightfall in
Lord Mayo’s hall on Christmas Eve, and at an
auspicious moment
poured forth his very soul in words and
music, conjuring him by the
birth of the Prince of Peace, to grant him
forgiveness in a strain of
the finest and most natural pathos that ever
distilled from the pen of man.
***
Versions of the melody appear in print by J. & W. Neal (1726), O’Farrell (1808), and Bunting (1809). Bunting and a few others attribute the air itself to harper Thady Keenan, though by what authority is unknown. The great Irish collector included the tune twice in his manuscripts, taken down from the blind harper Arthur O’Neill; his first published version of the tune was in his second collection of 1809 where it appears as the song “Inspiring fount of cheering wine.” The first appearance of “Lord Mayo” in print, however, appears to be in Walker’s Historical Memoirs of the Irish Bards, published in 1786, republished in 1818. It is similar to the Bunting version.
***
Philippe Varlet finds the earliest recorded version to be on an Edison cylinder from c. 1901-4 by James Early and John McFadden (reissued mistakenly as by Patsy Tuohey on a Skylark cassette). Early and McFadden were members of the Chicago Irish Club and important contributors to Francis O’Neill’s Music of Ireland.
***
See
also the Scottish variant printed by the Gows (1817) called “Mrs. Gordon’s Favorite.” There is an
interesting musical connection with the line of Bourke. Theobald, 6th
Viscount Mayo, had a daughter, the Hon. Bridget Bourke who married an
impecunious country squire named John Barnaby Gunning. Two of their children,
Maria and Elizabeth, were great beauties who advanced to the London stage and
married English noblemen—see notes for the tune “Miss Gunning’s Fancy (Reel)”
for more. Brody (Fiddler’s Fakebook),
1983; pg. 176. Carlin (Master Collection),
1987; No. 297, pg. 166. Heymann (Secrets of the Gaelic Harp),
1988; pgs. 104-105, 106-107. Johnson (The
Kitchen Musician No. 5: Mostly Irish Airs), 2000; pg. 2. O’Farrell (Pocket Companion, vol. II), c. 1806; pg.
101 (appears as “Tiernna Mayo”). O’Farrell (Pocket Companion, vol. III),
c. 1808; pg. 68 (appears as “Lord Mayo”). Tubridy (Irish Traditional Music, Book Two), 1999; pg. 44. Claddagh CC14, "Chieftains 4" (1973). HOS 11060,
Joanie Madden – “Song of the Irish Whistle.” Shanachie 79024, Chieftains
4" (1973/1983). Lúnasa (1st album).
See also listings at: Jane Keefer’s Folk
Music Index: An Index to Recorded Sources Alan Ng’s Irishtune.info |
X:1
T:Lord Mayo [1]
T:Tiarna Mhaigh Eo
C:David Murphy
R:march
Z:id:hn-march-8
Z:transcribed by henrik.norbeck@mailbox.swipnet.se
M:2/4
L:1/8
K:Ador
AG AB|e2 e/d/B/d/|eA AB/A/|G/A/G/F/ ED|
AG AB|e2 g>f|ee dB/G/|1 A2 AE:|2 A2 A2||
|:a2 g/e/g/a/|b2 b/a/g|ed d/e/g|G>A GE|
[1 a2 g/e/g/a/|b2 d'/b/a/g/|ed d/e/g|a2 ae:|
[2 A/G/A/B/ dB|AG g>e|dd B/d/B/G/|A2 AE||
X:2
T:Lord Mayo [1]
M:C
L:1/8
N:”Slow”
S:O’Farrell – Pocket Companion, vol. III (c. 1808)
Z:AK/Fiddler’s Companion
K:Amin
E | A>GA>B e2 dB | e>dB>A GA/G/ E2 | A>GA>B “tr”e2 d>B | e>dB>A A3 :|
g>eg>a b2 ag | egd(B/A/) GA/G/ E2 | g>eg>a b2 ag | e>d e2 (ab) a2 | gega b2 ag |
egd(B/A/)
GA/G/ E2 | A>GA>B “tr”e2 dB | e>dBA A3 ||
LORD MAYO [2] (“An Tigearna Mageo/Mhaigheo” or “Tiarna Mhuigheo”). Irish, Air (3/4 or 4/4 time). G Major/Mixolydian. Standard tuning. One part (Feldman & O’Doherty): AB (Roche): AA’B (Ó Canainn). Source for notated version: fiddler John Doherty (1895-1980, County Donegal) [Feldman & O’Doherty]. Feldman & O’Doherty (The Northern Fiddler), 1979; pg. 96. Ó Canainn (Traditional Slow Airs of Ireland), 1995; No. 82, pg. 72. Roche Collection, 1983, vol. 1; no. 72, pg. 34.
X:1
T:Lord Mayo [2]
M:3/4
L:1/8
R:Air
N:”Rather slow”
S:Roche – vol. 1, No. 72 (1927)
Z:AK/Fiddler’s Companion
K:G
D|G>FG>AB>c|d>B G2 (=fd)|c>AF>GA>B|(G2F2) D2|
{D}G>FG>AB>c|d>B G2 {e}(=fd)|c>AF>GA>B|G3 z||(f>g)|a>gf>ga>b|
(g>f) (d3e)|=f>ed>ef>A|G>F D3 (f/g/)|a>gf>ga>b|(g>f) (d3c)|
d2 g>b a>f|g2 z2 (f>g)|a>gf>ga>b|(g>f) (d3e)|=f>ed>ef>A|
G>F D3 (3D/E/F/|G>FG>AB>c|d>BG2 {e}(=fd)|c>AF>GA>B|G4||
LORD MAYO [3] (An Tigearna Mag-eo).
Irish, Slow Air (4/4 time). G Dorian. Standard tuning. AB. This song/tune was composed by Thady Keenan
the harper, according to Flood (1906), who flourished early in the 17th
century. Theobald, the sixth Viscount Mayo, who married an unrequited love of
O'Carolan's, Peggy Brown, but who none‑the‑less became a great
patron of that harper's (See also "Margrett Brown's Favorite"
and "Maggie Brown's
Favorite"). Ó Canainn (1978) finds an early version of the air in
Neale’s Collection of the Most Celebrated
Irish Tunes (Dublin, 1726), the first real collection of exclusively Irish
music. In modern times this ancient harp tune has entered current playing
tradition and is a popular air in County Donegal, Ireland. Caoimhin Mac Aoidh
(1994) calls it "a strong favourite amongst older Donegal fiddlers."
Bulmer & Sharpley (Music from Ireland),
1974, vol. 2, No. 78. O'Neill
(Music of Ireland: 1850 Melodies), 1979; No. 209, pg. 36. O’Neill, 1913;
pg. 60. Green Linnet SIF‑1084, Eugene O'Donnell ‑
"The Foggy Dew" (1988). Island 9379, "Chieftains 3."
Shanachie 79023, "Chieftains 3" (1971/1982).
X:1
T:Lord Mayo [3]
M:C
L:1/8
R:Air
N:”Slow”
S:O’Neill – Music of Ireland (1903), No. 209
Z:AK/Fiddler’s Companion
K:Gdor
GF | D>G G/A/c d2 cA | d2 G>A GF D2 | DG G/A/c d2 fd | d>c A>G G2 || d2 |
fdfg a2 gf | d>c d/=e/f F>G FD | fdfg a2 gf | d2 ga g2 ag | fdfg a2 gf |
d>c (3d=ef F>G FD | D>G cA GF fd | d>c A>G G2 ||
LORD MAYOR’S DELIGHT. English, Country Dance Tune (3/4 time). F Major. Standard tuning. AABB. “Lord Mayor’s Delight” appears in Henry Playford’s Second Part of the Dancing Master (London, 1698), a second-edition supplement to the 9th edition of the Dancing Master. It appeared in all subsequent editions of the Dancing Master until the end of the long running series in 1728, with the 18th edition (then published by John Young). It also appears in the Walsh’s Compleat Country Dancing Master (London, 1718, reprinted in 1731). Barnes (English Country Dance Tunes, vol. 2), 2005; pg. 77.
X:1
T:Lord Mayor’s Delight
M:3/4
L:1/8
S:Playford – Dancing Master (9th edition, 1698)
K:F
a2g2f2|c2f2e2|f2b2a2|gfga g2|a2g2f2|
cd e2c2|fedg e2|f6::c2B2A2|c2B2A2|
c2g2a2|b4 g2|ag fag f|gf ed ec|d2g2e2|f6:|
LORD McDONALD [1] (“An Tigearna Mac Domnall” or “An Tiarna Mac
Dónaill). AKA
and see "”Lord MacDonald('s Reel)
[4],” "McDonald's Reel,"
"Leather Breeches/Britches,"
"Lady McDonald's Reel,"
"Miss Jackson's,"
"Litte Peggy [1]," "Little Peggy's Love," "Lord Finlater." Scottish (originally),
Strathspey; Irish, Reel. G Major. Standard tuning. AB (Moylan, O'Neill): AA'B
(Gow): ABCBA (Breathnach). Composed by Lord McDonald a few days before his
death (see note for “Lord MacDonald”). Breathnach (1985) remarks it is said
that McDonald lived in Gort Rí, four miles from Pomeroy in County Tyrone, and
that it was from the birds that the lord or his shepherd learned this reel.
Printed by the Scots’ Campbell, 1790, but reprinted about that time in Ireland,
says Breathnach. Malcolm MacDonald
of Dunkeld, a one-time cello player for Niel Gow, published the tune in his 3rd
collection, dedicated to Miss Drummond of Perth. Sources for notated versions:
fiddler Michael Coleman (Co. Sligo/New York) [Breathnach]; accordion player
Johnny O’Leary (Sliabh Luachra region of the Cork-Kerry border) [Moylan].
Breathnach (CRÉ III), 1985; No. 200,
pg. 89. Carlin (The Gow Collection),
1986; No. 123. Giblin (Collection of
Traditional Irish Dance Music), 1928; 51. Huntingdon (William Litten's), 1977; pg. 16 (two settings). Lyth (Bowing Styles in Irish Fiddle Playing,
vol. 1), 1981; 19. MacDonald (A Third
Collection of Strathspey Reels), c. 1792; pg. 2. Moylan (Johnny O’Leary), 1994; No. 203, pg. 117.
O'Neill (Music of Ireland: 1850 Melodies),
1903/1979; No. 1408, pg. 262. O’Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 649, pg. 116.
Shanachie Records, "The Classic Recordings of
Michael Coleman."
X:1
T:Lord McDonald [1]
T:Lord MacDonald’s [4]
M:C|
L:1/8
R:Reel
S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 647
Z:AK/Fiddler’s Companion
K:G
B|d3e dBgB|dBgB aAAB|d3e dBgB|AcBA
BGGB|Bdde dBgB|
dBgB aAAc|Bdde dBgB|AcBA BGG||B|dgbg
agbg|dgbg ageg|
dgbg agbg|dedc BGGE|DGBG AGBG|DGBG
AGEG|BAGF GFED| EFGA BGG||
X:2
T:Lord McDonald’s Reell [1]
M:C|
L:1/8
R:Reel
S:Malcolm MacDonald – A Third Collection of Strathspey Reels
(c. 1792)
Z:AK/Fiddler’s Companion
K:G
d3e dBgB | dBgB aAAB | d3e dBgB | (A/B/c)
BA BGGB :|
|: DGBG AGBG | AGBG “tr”A>GEG |
DGBG AGBG | (DED)C B,G,G,G |
DGBG AGBG | DGBG AGEB | (dcBA)
(GFE)D | EFGA BGGB :|
LORD McDONNELL’S. See “Lord MacDonald(’s Reel)
[4].”
LORD MELVILLE’S FANCY. English, Reel or Highland. D
Major. Standard tuning. AABB. Kennedy (Traditional
Dance Music of Britain and Ireland: Reels and Rants), 1997; No. 110, pg.
27.
LORD MELVILLE’S WELCOME TO STRATHEARN. Scottish. Composed by Peter
Bowie (1763-1846), brother of Perth musician, composer and music seller John
Bowie.
LORD MOIRA('S WELCOME TO SCOTLAND). AKA and see "The Marquis of Hastings' Strathspey," "Louden's/Louden’s Bonnie Woods (and Braes)." Scottish; Strathspey or Hornpipe. G Major (Colclough, Kennedy, O’Farrell, Raven, White): F Major (Athole, Cole, Howe, Hunter, Kerr, Plain Brown, Skye). Standard tuning. One part (Howe, Kerr): AB (White): ABC (Cole): AABB (Plain Brown): AABB' (Raven, Kennedy): AABC (Hunter, Skye): AA'BCCD (Athole): AABBCC (O’Farrell): AABCDDE (Kerr, vol. 3). Ascribed to Duncan MacIntyre by MacDonald in the Skye Collection (1887). MacIntyre (c. 1765-1807) was a Scottish dancing master, musician and composer. Lord Moira became the Marquis of Hastings in 1816, and Louden (see the alternate title) was his family seat. A note in the Plain Brown Tune Book (1997), based on the Ellis Knowles manuscripts, says the tune is a “Scottish tune popular in Lancashire.” Attesting to its popularity, the tune can also be found in other 19th century English tune books as well. For example, it appears (in a truncated version) in the Joseph Kershaw manuscript from the North West of England. Kershaw was a fiddler who lived in Slackcote, Saddleworth, in the 19th century, and his manuscript dates from around 1820 onwards. See note for “The Marquis of Hastings’ Strathspey,” the Irish variants “Boys of Knock” and “Little Ark,” and Scan Tester’s related “Indian Polka.” Source for notated version: a c. 1847 music manuscript by Ellis Knowles, a musician from Radcliffe, Lancashire, England [Plain Brown]. Colclough (Tutor for the Irish Union Pipes), c. 1830; pg. 13. Cole (1000 Fiddle Tunes), 1940; pg. 93. Howe (1000 Jigs and Reels), c. 1867; pg. 136. Graham, pg. 319. Kennedy (Fiddlers Tune Book), vol. 2, 1954; pg. 18. Kerr (Merry Melodies), vol. 2; No. 181, pg. 21 and vol. 3, No. 161, pg. 19. The Joseph Kershaw Manuscript, 1993; No. 7 (appears as “Lord Moris…Whelcom to Scotland”). MacDonald (The Skye Collection), 1887; pg. 166. O’Farrell (Pocket Companion, vol. IV), c. 1810; pgs. 96-97. Plain Brown Tune Book, 1997; pg. 42. Raven (English Country Dance Tunes), 1984; pg. 178 (appears as "Loudon's Bonny Woods"). Roche Collection, vol. 2, Nos. 287 & 289. Ryan’s Mammoth Collection, 1883; pgs. 127 & 171. Stewart-Robertson (The Athole Collection), 1884; pg. 210. White’s Unique Collection, 1896; No. 163, pg. 20 (appears as “Lord Moira’s Highland Fling”).
See also listings at: Alan Snyder’s Cape Breton Fiddle
Recording Index Jane Keefer’s Folk Music Index: An
Index to Recorded Sources Alan
Ng’s Irishtune.info |
X:1
T:Lord Moira
M:C
L:1/8
R:Slow Strathspey
B:Stewart-Robertson – The
Athole Collection (1884)
Z:AK/Fiddler’s Companion
K:F
C|F<F ~F2 A<c ~c2|~B>GA>F G>F E<C|F<F ~F2 A<c ~c2|1 d>f e/f/g/e/ ~f2 f>a:|2 d>f e/f/g/e/ f/g/a/g/ f<a||
f<f a>f g>f e<c|d<d ~f>d c>B A<F|f<f a>f g>f e<c|d>f e/f/g/e/ ~f2 f<a|
b>ga>f g>fd>f|d/c/B/A/ fA B/A/G/F/ G>A|F<F ~F2 B<d ~d2| c>f e/f/g/e/ ~f2 f>a||
|:A>Fc>F d/c/B/A/ c>f|A<F c>F G>AB>d|A>Fc>F d/c/B/A/ c>f| d>f e/f/g/e/ ~f2 f>a:|
f<af<a e<g ~c2|d>ef>d c>BA>F|(3fga (3fga (3efg ~c2|d>f e/f/g/e/ ~f2 f>c|
d<bc<a B<gA<f|c>BA>F G>FE>C|(3FGA
(3GAB (3ABc (3Bcd| c>f a/g/f/e/ g/f/e/d/ c/B/A/G/||
LORD MONTGOMERIE. Scottish, Slow Strathspey. G Minor. Standard tuning. AAB. Composed by
John Gow (1764-1826), youngest son of Scots fiddler-composer Niel Gow
(1727-1807). John and his brother Andrew established the London branch of the
family publishing concern in 1788. They were distributors for the music
publications of Nathaniel’s Edinburgh music publishing business, as well as
publishing their own material. The title references Hugh Montgomerie
(1739-1819), 12th Earl of Eglinton, a Scottish peer, politician and
composer (who played the cello). He was a member of Parliament for Ayrshire for 16 years, after which, in
1796, he became Lord-Lieutenant for Ayrshire. Mongomerie was one of the backers
of the partially built Glasgow, Paisley and Ardrossan Canal, which facilitated
shipping to the Scottish interior. Montgomerie fought in the American wars of
the latter 18th century and was had a reputation for being a fine cellist and
fiddler, and an exponent of the national music (Emmerson, 1971). The Gows’ Fourth
Collection (1800) is dedicated to him. See his “Ayrshire Lasses [2]” Carlin (The
Gow Collection), 1986; No. 124. Gow (Fourth Collection of Niel Gow’s
Reels), 2nd ed., originally 1800; pg. 31.
X:1
T:Lord Montgomerie’s Strathspe
M:C
L:1/8
R:Strathspey
N:”Slow”
B:Gow – Fourth Collection of Niel
Gow’s Reels (1800)
Z:AK/Fiddler’s Companion
K:G Minor
B|G<G “tr”G>^F GG, G,C/B,/|A,C
{=E}F>D (C/D/)(B,/C/) A,>B|G<G G>B, G,/(A,/B,/)C/ d>B|(A/c/e/)d/
(c/B/A/)B/ {A}G2G:||
G/A/|BG “tr”GA (B/c/d/)B/ GG/A/|BG
“tr”G>F (D/F/).B/.G/ F/G/A/|BG ~d>e ~c>d Bb/a/|g>a “tr”f{=e/f/}g
gG/A/|
BG “tr”G>A (B/c/d/).B/ GG/A/|BG
“tr”G>F D/(F/B/G/) FG/A/|B>G (3,Eec (3.DdB (3.CcA|(3.B,BG (3.A,A^F
{F}G2G||
LORD MOUNTEAGLE’S (Ríl Thiarna Dhroim an Fhiolair). Irish, Reel. D Major. Standard
tuning. AB. Source for notated version:
the 20th century collection of Bernard Bogue (County Monaghan and County
Tyrone) [Breathnach] [Breathnach]. Breathnach (CRÉ IV), 1996; No. 131, pg. 65.
LORD MURRAY’S
STRATHSPEY. AKA and see “Antony Murray(‘s Reel),” “Hills of Cape Mabou” (Cnuic Rudha
Mhabou), “Port ‘ic Artair.”
LORD NELSON. Scottish, Reel. B Flat Major. Standard
tuning. AAB. The tune
was published in 1799 by Thomas Calvert, a musician from Kelso, Scotland. A
note with his collection states that Calvert supplied “a variety of music and
instruments, instruments lent out, tun’d and repaired.” The title predates the
hero’s death at Trafalgar in 1805.
X:
1
T:Lord Nelson
M:4/4
L:1/8
B:The Calvert Collection (1799)- Page
11
Z:Nigel Gatherer
K:Bb
d|B2 FB, DFFB|GBFD Cccd|B2 FB, DFFB|ABce dBB:||
f|dB (3dcB [dB][ec][fd][ge]|fd e/d/c/B/ Accee|dBFB GBFB|
ABce dBBf|dB (3dcB FBdf|egdf Acc d/e/|dBcA BGFB|ABCe dB [BFD]|]
LORD NELSON'S HORNPIPE. AKA and see "The Bridge
of Lodi," “Down Back o’
Shoddy,” "Huntsman's Hornpipe,"
"The Lochmaben Hornpipe,"
"Nelson's (Hornpipe) [2],"
"Saxon's Hornpipe," “Worcestershire Hornpipe.” English,
Hornpipe. England, Dorset. D Major. Standard tuning. AABB. A popular and
widespread tune under a variety of titles. The tune appears as “Lord Nelson’s
Hornpipe” in the music manuscripts of the Hardy family (Dorset), John Moore
(1841, Tyneside), James Winder (1835, Wyresdale, Lancashire) and the G.
Huddeswell manuscript (Leeds, west Yorkshire). Trim (Thomas Hardy), 1990; No. 63.
X:1
T:Lord Nelson’s Hornpipe [1]
M:4/4
L:1/8
R:Hornpipe
K:D
A>F|D2d2d2 c>d|e>c A>c
e2 d>e|f>d f>d g>e g>e|a>f d>f e2 A>F|
D2d2d2 c>d|e>c A>c e2
c>d|e>c e>c d>B ^G>B|A2A2A2:|
|:f>g|a>g f>e d>c
B>A|B2G2G2g>a|b>a g>f e>d c>B|c2A2A2 f>g|
a>f a>f g>b g>b|a>f
a>f g>b g>b|a>f b>g f>e d>c|d2d2d2:|
LORD NELSON’S HORNPIPE
[2].
AKA and see “Admiral Lord Nelson’s Hornpipe,” “Nelson’s Hornpipe.”
English, Hornpipe. England, Lincolnshire. G Major. Standard tuning. AABB. No
relation to the “Lord Nelson’s Hornpipe” in the Hardy mss. 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. 13.
X:1
T:Lord Nelson’s Hornpipe [2]
M:C|
L:1/8
R:Hornpipe
S:Joshua Gibbons mss (1823-26)
Z:AK/Fiddler’s Companion
K:G
Bc|dBec BGcA|GFAF G2 Bd|edge
edcB|BAcA GFED|dBec BAcA|
GFAF Ggec|BAcA GFAF|G2G2G2::Bc|dfge
edcB|edef g2 gf|edcB AGFE|
D2D2D2 GF|EGAF GBdB|cege dBec|BGcA
GFAF|G2G2G2:|
LORD OF CARNARVON'S
JIG. AKA and see "Jack A Lent." English, Country Dance
Tune (2/2 time). G Major. Standard tuning. AABB. Lord of Carnarvon's Jig is a
dance figure. The music of “Lord of Carnavon’s Jig” was printed John Playford’s
English Country Dancing Master (1651)
and appears in version [2]. The tune given in our version [1] is Playford’s
“Jack a Lent,” substituted for the original melody by Cecil Sharp in his 1909
work. It is in duple time, for despite our modern associations with the jig as
a 6/8 time tune, in Playford’s time a jig simply meant a spirited or lively
dance. Barnes (English Country Dance
Tunes), 1986. Karpeles & Schofield (A
Selection of 100 English Folk Dance Airs), 1951; pg. 8. Raven (English Country Dance Tunes), 1984; pg.
33 & 41 (the latter is a facsimile copy of Playford’s original). Sharp (Country Dance Tunes), 1909; pg. 35.
X:1
T:Lord of
Carnavon’s Jig [1]
T:Jack a
Lent
M:2/2
L:1/8
S:Sharp – Country Dance Tunes
(1909)
Z:AK/Fiddler’s Companion
K:G
|: (d4 d2
cB | AGAB c2) (BA | G2) .G2 .G2 g2 | (f4 e4) |
(d4 d2 cB |
AGAB c2) BA | G2 .G2 .G2 .g2 | (f4 e4) ||
(B3c d2 cB
| AGAB ABcd | BcBA G2) (ga | fefg e4) |
(B3c d2 cB
| AGAB ABcd | BcBA G2) (ga | fefg e4) :|
LORD OF CARNARVAN’S JIG [2].
English, Country Dance Tune (cut time). G Major. Standard tuning.
AA’BB’. “Lord of Carnarvan’s Jegg,” a spirited dance for four couples, appears
in the first edition of John Playford’s English
Country Dancing Master (London, 1651), and in the third edition of the same
work (1657, and, expanded in 1665). More than seventy years later John Walsh
printed a set similar to Playford’s in his Compleat
Country Dancing-Master (London, 1731, No. 148). Samuel Bayard finds an
earlier version of the melody in the Scottish Skene Manuscipt (c. 1615) as “Blew Ribbon at the Bound Rod,”
and says a much later version is printed in Gow’s Complete Repository (II, 1802, 4,5) under the title “Blue Ribbon, Scotish Measure.”
Bayard thought the style of the air sounded Scottish. Graham Christian (writing
in CDSS News, issue #191, July/August 2006) explains that the title refers to
Robert Dormer (1610-1643), 1st Earl of Carnavon, who married into
the wealthy and influential family of the Earl of Pembroke. A lover of “the
looser exercises of pleasure” (as the Earl of Clarendon wrote in his history of
the Civil War), and of hunting, hawking and travel, Dormer proved an excellent
soldier when he declared for King Charles, proving himself an able and
effective Royalist commander. He was with the King’s forces at their success in
the Battle of Newbury, where he acquitted himself admirably. However, after the
battle, with the forces disengaging and dissipating, Dormer had the misfortune
to encounter a group of Parliamentary soldiers. He was recognized and
dispatched with a sword. Christian notes that a likeness of Dormer was painted
by Anthony van Dyck in his group portrait of the Pembroke family. Barlow (Complete Country Dance Tunes from Playford’s
Dancing Master), 1985; No. 55, pg. 28. Barnes (English Country Dance Tunes, vol. 2), 2005; pg. 78.
X:1
T:Lord of Carnarvan’s Jegg [2]
M:C|
L:1/8
S:John Playford – English Country Dancing Master, 1st
edition (London, 1651)
K:G
B2G2 Bc d2|c2A2 ABcd|B2G2 d2 ef|1 g4
d4:|2 g4 d2 ef||
|:gfed g3B|A2A2 c2 dc|B2G2b2a2|1 g4
d2 ef:|2 g4 d4||
X:2
T:Lord of Carnarvon’s Jig
M:C
L:1/8
B:Walsh – Compleat Country Dancing Master (1731)
K:C
E2C2 EF G2|F2D2 DEFG|E2 C2 C2 C2|c4
G2||AB|
cBAG c3E|D2
D2 F2 GF|E2 C2 e2 d2|c4 G||
LORD OF COCKPEN'S
SCOTCH-MEASURE, THE. Scottish. Appears in Henry
Playford's 1700 collection of Scottish dance music.
LORD OF LYME. English, ‘Old’ Hornpipe (3/2
time). B Minor. Standard tuning. Lyme Park is a manor house in Stockport,
Manchester, Cheshire.
LORD OF MAYO, THE. Irish, Air. See “Lord
Mayo.” Nimbus NI 5320, Kevin Glackin - “Fiddle
Sticks: Irish Traditional Music from Donegal” (1991).
LORD OF THE DANCE. See “Simple Gifts.”
LORD OF THE ISLES. Scottish, Strathspey. G Major. Standard tuning. AABB.
The Lords of the Isles, refers to the succession of rulers of the islands off
the west coast of Scotland. They initially derived their power from their
Norse-Gael ancestors, Gofraidh and Somerled, who first established themselves
over Argyll and then went on to absorb the Norse-held Hebrides. Their
descendants became Clan Dugall, Clan Donald and Clan Ruari (the latter of which
were absorbed by the growing power of the Donalds). The MacDonalds developed
into the dominant clan and their leader, the MacDonald, was known by the title
Lord of the Isles. The clan’s power peaked around the year 1400 after which the
MacDonalds came into increasing conflict with the Scottish crown. By 1545 the
power of the MacDonalds had been broken, and though they never completely lost
all their status or land, other clans had by then filled the vacuum. Kerr (Merry Melodies), vol. 4; No. 109, pg.
14.
X:1
T:Lord of the Isles
M:C
L:1/8
R:Strathspey
S:Kerr – Merry Melodies, vol. 4, No. 109
(c. 1880’s)
Z:AK/Fiddler’s Companion
K:G
d|g<g d>B G2 (G>F)|E<A
A>G F<D D>d|g<g d>B G2 (G>F)|E>A G/F/E/D/ (G2G):|
|:B|d<B g>f
e>dc>B|c<A a>g f<d d>f|g<g d>B c>dB>G|E>A
G/F/E/D/ (G2G):|
LORD OF THE NORTHERN
SEA. American, Contra Dance Tune (6/8
time). A Major. Standard tuning. One part. Laufman (Okay, Let's Try a Contra, Men on the Right, Ladies on the Left, Up and
Down the Hall), 1973; pg. 25.
LORD PAGET’S (WALTZ). English, Waltz. A Major.
Standard tuning. AABBCCDDAABB. Lord Henry Paget, the Marchioness of Anglesey,
won a Napoleonic-era victory over French cavalry at Sahagun, Spain, in
December, 1808, during the Peninsular War.
Paget has been called the most gifted British cavalry commander of the
war. However, he soon afterwards returned home to England, not being allowed to
serve in the same theatre as Wellesley (later Lord Wellington), as Paget had an
affair with the British commander’s sister-in-law (then the wife of Henry
Wellesley), and thus was not a welcome comrade-in-arms. Paget did serve with
Lord Wellington at Waterloo, and again commanded cavalry with distinction,
leading a charge of heavy cavalry against d’Erlon’s column (although he
sacrificed a leg at the end of the great battle).
***
Paget comforted by Lord Wellington
after the loss of his leg.
***
Kennedy (Fiddler’s Tune-Book: Slip Jigs and Waltzes), 1999; No. 146, pg. 37.
LORD PLYMOUTH’S FROLICK.
English, Country Dance Tune (2/4 time). G Major. Standard tuning. AABB.
The melody is unique to London publisher Charles and Samuel Thompson’s 1765
country dance collection. Thompson (Compleat Collection of 200
Favourite Country Dances, vol. 2), 1765; No. 89.
X:1
T:Lord Plymouth’s Frolick
M:2/4
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:G
GBdB|G2g2|BcdB|A2D2|GBdB|G2g2|fae^c|d2D2:|
|:BcdB|b2d2|ABcA|a2A2|Bdgd|e2c2|BdDF|G2 [G,2G2]:||
LORD PRESIDENT FORBES (Tighearna Chuil Fhodair). Scottish, Slow Strathspey. F Sharp
Minor. Standard tuning. AAB (Fraser): AABB' (Kerr). "This relates to an
occurance in the Culloden papers, of Lord Lovat having employed a banditti from
the editor's native district, to seize the Lord President Forbes person"
(Fraser). Fraser (The Airs and Melodies
Peculiar to the Highlands of Scotland and the Isles), 1874; No. 222, pg.
91. Kerr (Merry Melodies), vol. 3;
No. 103, pg. 13.
X:1
T:Lord President Forbes
T:Tighearna Chuil Fhodair
M:C
L:1/8
R:Slow Strathspey
S:Fraser Collection (1874)
Z:AK/Fiddler’s Companion
K:A
E|C>FA>F E>C A,<B,|C>FA>B ~c2 c<f|C>FA>F E>C A,<d|c>B A>G F2F:|
~c|f>ga>g fcc^e|f>ga>f g2 f^e|f>ga>g fcc>a|g>ab>g f2 f>c|f>ga>g fcc^e|
f>ga>f
g3 f^e|a>cd>B c>A ^E<C|c>BA>G F2F||
LORD RAMSAY [1]. Scottish, Strathspey. G Major. Standard tuning. AAB (Skye): AABB
(Kerr). Composed by G. Robertson. Kerr (Merry
Melodies), vol. 3; No. 41, pg. 7. MacDonald (The Skye Collection), 1887; pg. 84.
X:1
T:Lord Ramsay [1]
M:C
L:1/8
R:Strathspey
S:MacDonald – Skye Collection (1887)
Z:AK/Fiddler’s Companion
K:G
g|d<B ~B>A G2 (D<G)|E>A
c/B/A/G/ F<A A>g|d<B ~B>A G2 D>G|E>G F/G/A (B<GG:|
D|(B,/C/D) DG E>GD>G|D>d
c/B/A/G/ FAA>A,|(B,/C/D) G>D E>G c>e|
d>Bc>A B<G G>D|(B,/C/D)
D>G E>GD>G|D>d c/B/A/G/ F<A A>A,|
B,/C/D G>D (E/F/G)
c>e|d>Bc>A B<GG||
LORD RAMSAY [2]. Scottish, Reel. G Major. Standard tuning. AAB. Composed by G.
Robertson. MacDonald (The Skye Collection),
1887; pg. 84.
X:1
T:Lord Ramsay [2]
M:C
L:1/8
R:Reel
S:MacDonald – Skye Collection (1887)
Z:AK/Fiddler’s Companion
K:G
d|BG (B/c/d) g2 dc|BG (B/c/d)
cAAc|BG (B/c/d) gdec|BGAF G2G:|
D|(B,/A,/G,) DG, GG,D,G,|B,/A,/G,
DB, CA,A,C|(B,/A,/G,) DB, (GD)Ec|BGAF G2 GD|
(B,/A,/G,) DG, GG,DG,|(B,/A,/G,) DB,
CA,A,C|B,/C/D GD (E/F/G) ce|dBcA G2G||
LORD RAMSAY [3]. Scottish, Strathspey. B Flat Major. Standard tuning. AB (Surenne): AAB
(Gow, Honeyman, Kerr, Stewart-Robertson). Composed by Nathaniel Gow
(1763-1831) in honor of George Ramsay, 9th Earl of Dalhousie (see
note for “The Earl of
Dalhousie(‘s Reel) [2]”). The Gows’ Fifth Collection (1809) was
dedicated to the Countess of Dalhousie, his wife Christina. Carlin (The Gow Collection), 1986; No. 125. Gow
(Fifth Collection of Strathspey Reels), 3rd ed., originally
1809; pg. 1. Honeyman (Strathspey, Reel
and Hornpipe Tutor), 1898; pg. 27. Kerr (Merry Melodies), vol. 1; Set 21, No. 3, pg. 13. Stewart-Robertson
(The Athole Collection), 1884; pg.
286. Surenne (Dance Music of Scotland),
1852; pgs. 56-57.
X:1
T:Lord Ramsay [3]
L:1/8
M:C
R:Strathspey
B:Stewart-Robertson – The Athole Collection (1884)
Z:AK/Fiddler’s Companion
K:Bb
e|d>ef>g f<d f2|d>fb>g f<d c2|d>ef>g f>g d<b|f<d d>B c2B:|
B|F>B D<B F<B D2|dc/B/ fd c>B G<B|F>B D<B F<B D>e|dc/B/ f>d ~c2 B>d|
F>Bd>B F<B D2|dc/B/ f>d c>B G<B|F>BD>F E>GF>e|d>b g/f/e/d/ c2B||
LORD RAMSAY’S FAVORITE. Scottish, Slow Reel. B Flat Major.
Standard tuning. AB. Composed by Niel Gow, Jr. (c. 1795-1823), the son of
fiddler-composer Nathaniel Gow (1763-1831) and the grandson of family scion
Niel Gow (1727-1807). While it looks like a reel on paper, Gow directed it be
played ‘Slowly’. The younger Niel briefly joined his father’s music publishing
firm, and was showing great promise as a talented performer and composer before
his untimely death. His father collected and published his son’s compositions
in a Collection of Slow Airs, Strathspeys
and Reels, being the Posthumous Compositions of the late Niel Gow, Junior,
dedicated to the Right Honourable, the Earl of Dalhousie, by his much obliged
servant, Nathaniel Gow (Edinburgh, 1849). Johnson
(A Twenty Year Anniversary Collection),
2003; pg. 9.
LORD RAMSAY’S REEL [4]. Irish, Reel. A Major. Standard tuning. AA’BB’. Quite similar to the
Scots tune “John McNeil(‘s Reel),”
“Big John MacNeil(l)/McNeal.”
Kells Music 9504, Seamus Begley & Steve Cooney -
"Meitheal". Shanachie 79005, De Danann – “Mist Covered Mountain.”
X:1
T:Lord Ramsey's Reel
R:reel
H:A version of this is also called "Big John MacNeill"
D:De Dannan: Mist Covered Mountain
D:Begley & Cooney: Meitheal
Z:id:hn-reel-510
Z:transcribed by henrik.norbeck@mailbox.swipnet.se
M:C|
L:1/8
K:A
A,2CE FECE | AECE FECE | A,2CE FECE | FCEC B,DCB, | A,2CE FECE |
AECE FECE | D2FD CDEC |1 B,A,G,A, B,CDB, :|2 B,A,G,A, B,2cd ||
|: eA~A2 eAfA | eA~A2 efga | eA~A2 agfe | dB=GB dGBd | eA~A2 eAfA |
eA~A2 efga | agfe fedc |1 BAGA B2cd :|2 BAGF EDCB, ||
LORD RANDALL’S BRIDE. Scottish, Polka (?). G Major.
Standard tuning. AABB.
X:1
T:Lord Randall's Bride
S:As played by Adam Rennie on a 78rpm
Z:Nigel Gatherer
M:2/4
L:1/8
K:G
D | G>A Be | dB B>e | dB c/B/A/G/ | FA Ad |
G>A Be | de/f/ g>e | d/e/d/B/ Ad/c/ | BG G :|
d | g>f a/g/f/e/ | dB B>d | g>f e/f/g/e/ | Be e2 |
de/f/ g>a | b/a/g/f/ g>e | d/e/d/B/ Bd/c/ | BG G :|
LORD REAY (Mac Aoidh). Scottish, Slow Air (4/4 time). D Minor.
Standard tuning. AB. "The air of Lord Reay, the editor apprehends to be
one of Robert Donn Mackay, the Sutherland poet's composition, on some memorable
and melancholy event in that family" (Fraser). Fraser (The Airs and Melodies Peculiar to the
Highlands of Scotland and the Isles), 1874; No. 23, pg. 8.
X:1
T:Lord Reay
T:Mac Aoidh
M:C
L:1/8
R:Slow Air
S:Fraser Collection
(1874)
Z:AK/Fiddler’s Companion
K:Dmin
A | f2 e>d d>A a2 | c>gg>f ec c>e | f2 e>d dA a2 | eba^c (d2 d)>A | f2 e>d d>A a2 |
c>gg>f ecc>e | f>ed>c B/A/d/c/ B/A/G/F/ | EBA>^C D2 D || E | F>GA>G F>G A<f |
B>AG>F EA/D/ ^CB,/A,/ | F>GA>=B c>_BAf | eba>^c d3 z/E/ | F>GA>G F>GA>a |
b>ag>f
ea/d/ ^cB/A/ | f>ed>c B/A/d/c/ B/A/G/F/ | G/F/E/D/ A^C D2 D ||
LORD REDHAVEN. Scottish, Reel. A Major. Standard tuning. AAB. Composed by Alexander
Walker. Walker (A Collection of
Strathspeys, Reels, Marches, &c.), 1866; No. 18, pg. 7.
LORD ROBERT MURRAY’S. Scottish, Strathspey. B Flat
Major. Standard tuning. AAB. The tune appears in the 2nd Collection
of Malcolm MacDonald of Dunkeld,
who dedicated the volume to the Earl of Breadalbane. MacDonald (A Second Collection of Strathspey Reels),
1789; pg. 13.
X:1
T:Lord Robert Murray’s
M:C
L:1/8
R:Strathspey
S:MacDonald – 2nd Collection of Strathspey Reels (1789)
Z:AK/Fiddler’s Companion
K:B_
B,>BB>c {B/c/}d>Bcd |
B,>BB>d cCCB | B,BBc (d/c/)d/f/ (g/a/)b/f/ | (e/d/)c/B/ (F/e/)d/c/ dBB :|
Bfdf BfdB | eg/e/ df/d/ (e/d/).c/.B/
Gg/a/ | bfdf BfdB | FB A/B/c/A/ dBBg/a/ |
bfdf BfdB | eg/e/ df/d/ (e/d/)c/B/
GB | B,DCE DFEG | Fb (f/g/)f/e/ dB B2 ||
LORD ROCKINGHAM’S REEL. See “Love in a Village [3].”
LORD
ROSSMORE'S TALLYHO IN THE MORNING. Irish, Air (6/8 time). G Dorian.
Standard tuning. AB. Joyce (Old Irish
Folk Music and Songs), 1909; No. 794, pgs. 386‑387.
LORD SALTOUN. AKA – “Lord Saltoun’s Reel.” Scottish, Reel. A Major. Standard tuning.
AB. The Lords of Saltoun were the Frasers of Philorth, members of the large
Fraser clan whose family seat is in Fraserburgh, Aberdeenshire at Cairnbulg Castle.
Interestingly, the castle, which dates from the 15th century, sold
by the 10th Lord of Saltoun in 1666 and by the 19th
century it was in ruins. Restored in 1896, it was bought back by the 19th
Lord Saltoun in 1915.
***
***
The Saltouns took no part in the Jacobite risings. The 16th Lord Saltoun commanded the Light Companies of the First Guards in the Orchard at Hougoumont on the morning of the Battle of Waterloo in 1815.
***
It is a Lord Saltoun who is rejected by young Jeannie in the famous Scots ballad “Annachie Gordon.” She loves Annachie and adamently refuses to wed another, despite her father’s pressure:
***
Down came her father
and he's standing on the floor
Saying, Jeannie,
you're trying the tricks of a whore
You must marry with
Lord Saltoun and leave young Annachie
For Annachie Gordon,
he's only but a man
And although he may be
pretty, but where are all his lands
Saltoun's lands are
broad and his towers they stand high
You must marry with Lord Saltoun and forget young Annachie
***
The wedding
goes on as planned despite Jeannie’s wishes, and predictably ends with
Jeannie’s death:
***
The day that Jeannie
married was the day that Jeannie died
That's the day that
young Annachie came rolling home from the tide
And down came her
maidens and they're wringing of their hands
Saying, woe to you
Annachie, for staying from the sands
***
Kerr (Merry Melodies), vol. 1; Set 26, No. 6,
pg. 16. Stewart-Robertson
(The Athole Collection), 1884; pg.
28.
X:1
T:Lord Saltoun
M:C|
L:1/8
R:Reel
B:Stewart-Robertson – The
Athole Collection (1884)
Z:AK/Fiddler’s Companion
K:A
c|eaga bagf|eagf fedc|B2Bc dBBc|dBfB bBfB|eaga bagf|eagf fedc|
ABcd efed|cAAB cAA||e|cAEC A,CEA|ceag fedc|B2Bc dBBc|
dBfB
bBfB|cAEC A,CEA|ceag fedc|ABcd efed|cAAB cAA||
LORD SEAFORTH. AKA and see "Highland Plaid."
Scottish, Canadian; Strathspey. Canada; Prince Edward Island, Cape Breton. G
Major (most versions): A Major (Surenne). Standard tuning. AB (Surenne): AAB
(Gow, Kerr, MacDonald, Stewart-Robertson): AABB (Perlman). "Very old"
(Skye, Gow). John Glen (1891) finds the earliest appearance of this tune in
print in Angus Cumming's 1780
collection (pg. 8). “Highland Plaid” is a reel version of the melody, printed
in one of the McGlashan
collection also published in the 1780's. The MacKenzies of Seaforth were an old
Jacobite family whose lands were forfeited after the uprising of 1715, the then
5th Earl, William “Dubh”, escaping to the Western Isles, then to
France. William’s son Kenneth wisely stayed out of Bonnie Prince Charlies 1745
rebellion, in token of which Seaforth honors and holdings were partially
restored. However, the tune is probably dedicated (going by its date of first
publication) to Kenneth’s son, also Kenneth MacKenzie, who entered the army,
was raised to the peerage in 1766, and was created Earl of Seaforth over lands
in Ireland in 1771. Seaforth raised a Regiment in that year from among his own
clan, and was appointed their colonel. They carried the name of the 78th
or Ross-shire Regiment of Highlanders, but when time came for the unit to
debark for India a mutiny arose over grievances of pay and promises (not the
least of which was that they should not serve in the dangerous tropical
climate), and they encamped on Arthur’s Seat, refusing to budge. A settlement
was finally negotiated, and the Regiment descended from their encampment on the
height with Seaforth at their head. They did not go to India, at least at
first, but rather to the channel islands of Guernsey and Jersey, where they
stayed for some time. However, in 1781 the 78th, along with the
Earl, boarded ships for India and embarked on an ill-fated voyage to that
country. On the journey to the East a
quarter of them died from scurvy, with the Earl succumbing on the voyage, not
even reaching St. Helena. Sources for notated versions: Sterling Baker (b.
1940, Montague, North-East Kings County, Prince Edward Island) [Perlman]; Hector MacAndrew
[Martin]. Carlin (The Gow Collection),
1986; No. 381. Gow (Complete Repository),
Part 3, 1806; pg. 15. Kerr (Merry
Melodies), vol. 1; Set 11, No. 3, pg. 8. Lowe, 1844. MacDonald (The Skye Collection), 1887; pg. 78.
Martin (Traditional Scottish Fiddling),
2002; pg. 134. Perlman (Fiddle Music of
Prince Edward Island), 1996; pg. 61. Stewart-Robertson
(The Athole Collection), 1884; pg.
162. Surenne (Dance Music of Scotland),
1852; pgs. 80-81. Rounder RO 7012, Winnie Chafe -
“Highland Melodies of Cape Breton” (1979).
See also listings at: Alan Snyder’s Cape Breton Fiddle
Recording Index Jane Keefer’s Folk
Music Index: An Index to Recorded Sources Alan Ng’s Irishtune.info |
X:1
T:Lord Seaforth
M:C
L:1/8
R:Strathspey
B:Stewart-Robertson – The
Athole Collection (1884)
Z:AK/Fiddler’s Companion
K:G
B|G<D D>E G>AB>G|c>AB>G E2 E>A|G<D D>E G>A B<e|d>B A<B G2G:|
g|e/f/g d>g B>gd>B|c>AB>G E2 E>g|e/f/g d>g B>gd>B|c>Ad>B G2 G>g|
e<gd<b
c<aB<g|c>AB>G E2 E>A|G<D D>E G>A B<e|d<G A<B
G2G:|
X:2
T:Lord Seaforth
M:C
L:1/8
R:Strathspey
S:Surenne – Dance Music of
Z:AK/Fiddler’s Companion
K:A
c | (A<E)E>F A>Bc>A |
d>Bc>A F3B | (A<E)E>F A>Bc>f | (e<c)B>c A3c |
(E<A)E>F A>Bc>A |
d>Bc>A F3B | (E<A)E>F A>Bc>f | (e<c)B>c A3 || a |
(f/4g/2<a) e>a c>ae>c |
d>Bc>A F3a | (f/4g/2<a) e>a c>ae>c | d>Be>c A3a |
f>ae>c’ d>bc>a |
d>Bc>A F3B | (E<A)E>F A>Bc>f | (e<c)B>c A3 ||
LORD SEAFORTH REEL. AKA and see “Highland Plaid.”
LORD, SEND THE FRENCH
WITHOUT DELAY (Gan Maill A Tigearna
Cuir Na Francaide). Irish, Slow Air (4/4 time). D Major (O’Neill): E Flat Major
(Stanford/Petrie). Standard tuning. AB (O’Neill): AAB (Stanford/Petrie).
Identified by Stanford (1902) as a “‘98 song,” a reference to the rebellion of
1798 when Irish rebels sought the help of
X:1
T:Lord, Send the French without
Delay
M:C
L:1/8
R:Air
N:”Slow”
S:O’Neill – Music of
Z:AK/Fiddler’s Companion
K:D
AB/c/|d2 dc B2 AF|BAFD E2
FA|B>AFE FAB>^G|A6 AB/c/|d2 dc B2 AF|
BAFD E2 FG|A>BAF FDE>D|(D4
D2)||z2|D2 DF A2 Ad|B2 AF A2 FE|
D2 FA d>dcB|c6 AB/c/|d d2B c2
BA|BAFD E2 FG|A>BAF FDE>D|(D4D2)||
LORD SPENCER
CHICHESTER. AKA and see "Lady Spencer Chichester."
Scottish, Slow Strathspey. F Major (Athole, Gow): G Major (Johnson). Standard
tuning. AB. Composed by Nathaniel Gow
(1763-1831) in honor of Lord Spencer Stanley Chichester of Dunbrody
(1775-1819), who in 1795 married Lady (Anne) Harriet Stewart (c. 1770-1850),
the second daughter of the 7th Earl of Galloway. They lived in the
X:1
T:Lord Spencer Chichester
M:C
L:1/8
R:Strathspey
N:”Slow”
S: Gow – Fourth Collection of
Niel Gow’s Reels (1800)
Z:AK/Fiddler’s Companion
K:F
C|”tr”F>GFC D<F “tr”F2|”tr”F>G{F/G/}A>C
D<G “tr”G2|F>GAc (df)(cf)|”tr”c>AB>G AFFC|
“tr”F>GFC D<F
“tr”F2|”tr”F>G{F/G/}A>C D<G “tr”G2|~F>GAc (df)(cf)|”tr”c>AB>G
AF F||
c|”tr”f>gfc d<f
“tr”f2|(f/e/f/g/) f>c d<g “tr”g2|”tr”f>gfc (df)(cf)|”tr”c>AB>G
AFF>c|
(f/e/f/g/) f>c d<f “tr”f2|(f/e/f/g/)
{f/g/}a>c d<g “tr”g2|f>ad>f “tr”c>dA>f|”tr”c>AGc AF F||
LORD SPINDLE. English, Country Dance Tune
(whole time). G Major. Standard tuning. AABB. The melody is unique to Charles
and Samuel Thompson’s Compleat Collection, vol. 3 (London, 1773). Lord
Spindle was the name of a stock character in 18th century
literature, representative of the leisure class or aristocracy. He is
mentioned, for example, in Richard Sheridan’s play School for Scandal
(1777), along with Lady Frizzle, the Dowager Lady Dundizzy, and Captain Quinze;
and in Laurence Sterne and John Hall-Stevenson’s A Sentimental Journey
Through France and Italy (1774). Thompson (Compleat Collection of
200 Favourite Country Dances, vol. 3), 1773; No. 102.
X:1
T:Lord Spindle
M:C
L:1/8
B:Thompson’s Compleat Collection of 200 Favourite Country Dances, vol. 3 (London, 1773)
Z:Transcribed and edited by Flynn Titford-Mock, 2007
Z:abc’s:AK/Fiddler’s Companion
K:G
G/G/G
Bd gdcB|cBAG FAFD|G/G/G Bd ge^cg|fed^c d2D2:|
|:d/d/d df gdcB|cBAG FAFD|G/G/G Bd gdcB|cAGF G2 [G,2G2]:||
LORD ST. CLAIR'S REEL. AKA and see “After the
Sun Goes Down,” “Albany Beef,” “Buckley’s Fancy,” “Buckley’s Favorite.” Irish, Reel. G
Major. Standard tuning. AA'B. The hereditary title “Lord St. Clair” was
established in 1677 in the Peerage of Scotland. Fairly close in melodic contour
to O’Neill’s “After the Sun Goes Down,” although “Albany Beef” shares only one
part of the tune. Roche Collection,
1927/1983, vol. 3; No. 72, pg. 22.
X:1
T:Lord St. Clair’s Reel
M:C|
L:1/8
R:Reel
S:Roche Collection, vol. 3, No. 72
(1927)
Z:AK/Fiddler’s Companion
K:G
G2 (BG) dGBG|egfa gedB|G2 (BG)
dGBG|1 AcBA GEDE:|2
AcBA G2 z2||d|g2 (eg) fadf|gfga
bfef|gbeg fadc|Bdgd BGGd|
g2 (eg) fadf|gfga beef|(3bag (3agf
gedc|Bdgd BG Gz||
LORD ST. ORVILLE.
English, Jig. D Major. Standard tuning. AABB. Kennedy (Jigs
& Quicksteps, Trips & Humours), 1997; No. 107, pg. 27.
LORD STRANGE. AKA and see "Lon
Sclater Hornpipe," “Lonsdale
Hornpipe.” English, Double or ‘Old’ Hornpipe (3/2 time).
LORD STRATHAVEN. Scottish, Strathspey. F Major. Standard tuning. AAB. Stewart-Robertson
(The Athole Collection), 1884; pg.
222.
X:1
T:Lord Strathhaven
M:C
L:1/8
R:Strathspey
B:Stewart-Robertson – The
Athole Collection (1884)
Z:AK/Fiddler’s Companion
K:F
A|:F>cA>c d/c/B/A/ ~c2|F>cA>c d>G B<d|F>cA>c d/c/B/A/ ~c2|
B>c d/c/B/A/ G>AB>d:|
~f>c f/g/a/g/ f>cf>a|c>f b/a/g/f/ e<g ~g>a|~f>c f/g/a/g/ f>c~f>d|
d/c/B/A/ G>B A>FF>c|~f>c f/g/a/g/ f<c f>a|F>f b/a/g/f/ e<g ~g>a|
b>ga>e
f>c~f>d|d/c/B/A/ G>B A<F~F||
LORD STRATHMORE'S REEL. English, Reel.
LORD SUMMERS REEL. English, Reel. G Major. Standard tuning. AABB. Huntington (William Litten's), 1977; pg. 15.
LORD TORPHICHEN'S
FAVORITE. Scottish, Slow Quickstep (March). E
Major. Standard tuning. AAB. Composed by Miss Stirling. The ninth Lord
Torpichen was James (1759-1815), who as a young officer served under Gentleman
Johnny Burgoyne in the Americas. He surrendered with the army at Saratoga in
1777, but was exchanged some few years later and served again in the conflict.
By 1793 James had risen to the rank of Lieutenant-Colonel in the Coldstream
Foot Guards, and served the Duke of York in Flanders later in that year and
1794. He retired from the army in 1795. James was a Scottish representative
peer in 1790 and again in 1796, and died in 1815, without issue. Miss Stirling,
of Ardoch in Strathallen, Perthshire, was a composer of some merit in a time
when women seldom were publicly involved in music performance or composition
(see her “Perthshire Hunt”). She was
the eldest daughter of Sir William Stirling, Baronet. Carlin (The Gow Collection), 1986; No. 574. Gow
(Fourth Collection of Niel Gow’s Reels), 2nd ed., originally
1800; pg. 3.
X:1
T:Lord Torphichen’s Favorite
M:2/4
L:1/8
R:Slow March
B:Gow – Fourth Collection of Niel
Gow’s Reels (1800)
Z:AK/Fiddler’s Companion
K:E
B/A/|(GB) BA/G/|(Ac) cB/A/|Be
eB/G/|GF FB/A/|(GB) {c}BA/G/|A>c (A/B/).c/.d/|{d}e>Be>G|E2E:||
“tr”B>c “tr”ef|gb ba/g/|{b}a>f
{a}g>e|{e}c2 “tr”c>e|~B>c (e>f)|
gb ba/g/|{g}a>f {f}b>g|{d}e2
e>c|”tr”B>c”tr”e>f|gb ba/g/|({f/g/}a>)f {f}g>e|
c2 c{d}e|“tr”B>G BG|”tr”c>A
d(B/4c/4d/)|{d}e>B {d}eG|E2 E||
LORD TULLAMORE’S. English, Reel. D Major.
Standard tuning. AABB. Kennedy (Traditional
Dance Music of
LORD WELLINGTON [1] (Tiarna Wellington).
AKA and see "Galway Rambler," "Paddy Finlay's Favourite."
Irish, Reel. G Major. Standard tuning. AB (Breathnach): AABB (Allan's).
Breathnach (1963) finds the first part of this tune to be the same as O’Neill’s
“Fairy Hurlers” and “Walsh’s Favourite.” Source for notated
version: accordian player Sonny Brogan (County Sligo/Dublin,
LORD WELLINGTON [2]. AKA and see “Black-Eyed Sailor,”
“Joe O’Connell’s Dream,” “Sheehan’s Reel,” “Wellington’s Reel [1].” Irish,
Reel. Shanachie Records, James Morrison – “The Pure Genius
of James Morrison.”
LORD WELLINGTON [3]. AKA and see “Copperplate [1],” “Wellington’s Reel [3].”
LORD WELLINGTON’S
(WALTZ).
English, Waltz. A Major. Standard tuning. AABBCDEE. Kennedy (Fiddler’s Tune-Book: Slip Jigs and Waltzes),
1999; No. 147, pg. 37
LORD
LORD WILSON’S (Cornphíopa an Tiarna).
Irish, Hornpipe. Breathnach (CRÉ V),
1999; No. 213.
LORD YARBOROUGH’S
MARCH.
English, March (cut time). D Major. Standard tuning. AABB. 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 (
LORD ZOUCHE'S MASQUE. English, Country Dance Tune (2/2 time). C Major. Standard tuning. AABB.
The tune is quite old, first being published in Morley’s Consort Lessons (1599). It was known in the Netherlands as “Onder
de Linde Groene” (Under the Green Linden Tree), published in 1649 in a volume
called Der Fluyten Lust-Hof (The Flute’s
Garden of Delights) by Jacob van Eyck (c. 1590-1657), a recorder player,
carillonneur of the Utrecht Dom Catyherderal, and dirctor of all the bells and
clock-chimes of the city. It apparently was the vehicle for the dance the branle (brawl). Raven (English Country Dance Tunes), 1984; pg.
10.
X:1
T:Lord Zouche’s Masque
M:2/2
L:1/8
K:C
G4c4|E3F G4|c2G2A2G2|E3F G4|G3A Bc
d2|
F3G ABc2|E3E DC D2|C4c4::G3G
ABc2|BcdB c3c|
defd efg2|gfdf e2c2|G3A Bcd2|F3G
ABc2|E3E DC D2|C8:|
LORDAGS VALS. Scandinavian, Waltz. The tune is in the repertoire of Wisconsin Swedish
musician Fritz Swenson.
LORGADÁN, THE. Irish, Jig. D Major. Standard tuning. AABB. Composed by Junior Crehan (1908-1998), a fiddler, concertina player, composer, singer, and storyteller who lived in Mullagh, Co. Clare, originally from Ballynakea, near Quilty, Co. Clare..
X: 1
T:The Lorgadán (Looregadawn)
M:6/8
L:1/8
C:Junior Crehan
S:Siobhan Kelly, East Durham 2001
R:jig
N:2 settings. comes after Katie's Donkey.
N:Posted to the woodenflute mailing list November 2001
D:Mike and Mary Rafferty, Road from Ballinakill
Z:lesl
K:D
"Mike's setting:"
d|:BAF AFE|DFD EDB|ADF E~E2|FEE Ezd|
BAF AFE|DFD EDB|ADF E~E2|FDA DzA:||
|:DFA dz2|ede fdB|def edB|Adf ezf|
edB BAF|DFD EDB|ADF E~E2|FDA D2A:||
"Siobhan's setting:"
d|:BAF AFE|DFD EDB|ABD E~E2|FEE Ezd|
BAF AFE|DFD EDB|ABD E~E2|FDD DzA:||
|:DFA dz2|ede fdB|def edB|ABD ezf|
edB BAF|DFD EDB|ABD E~E2|FDD D2A:||
LORN STRATHSPEY, THE. Scottish, Strathspey. D Mixolydian. Standard
tuning. AAB. Composed by Neil Gow. MacDonald (Skye Collection), 1887; pg. 60.
X:1
T:Lorn Strathspey, The
M:C
L:1/8
R:Strathspey
S:Skye Collection
Z:AK/Fiddler’s Companion
K:D
(g|f>)de>c d>FD(F|E>)=C
C<E G2 G>(g|f>)de>c d>FDF|A>FDF A2 A>(=c|
B>)GA>F
d>FD>F|(G/F/)E/D/ =C<E G<cG<E|F>DG>E
A>FB>G|(d/c/)B/A/ d>F D2D:|
g|f2 d<a f<d
a>f|g>e=c>e g2 g>a|f2 d<a f>g a<f|a<fd<a f<d a>d|f2
d<a f>g a<f|
g>e =c<g e<cg<e|a>f
g<e f>de>c|(d/c/B/A/) d>F D2 D>g|f2 d<a f<d a>f|
g>e=c>e g2 g>a|f2 d<a
f>g a<f|a,fd<f ~a>b a<f|g<b g>e f>a f<d|e<ge<d
c>d e<g|
a>fg>e f>de>c|(d/c/B/A/)
d>F D2D||
L'ORPHELIN. See "Je Suis Orphelin."
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