The Fiddler’s
Companion
© 1996-2008 Andrew Kuntz
_______________________________
HOME ALPHABETICAL
FILES REFERENCES
|
MAC |
|
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] |
MAC... See also Mc...
MAC A' BHAILLIDH A
UIST. AKA and see "Darling of the Uist Lasses."
MAC-ALLA, AN. AKA and see "The Echo."
MAC AN PIOBAIRE. AKA and see "The Piper's Son."
MAC AOIDH. AKA and see "Lord Reay."
MAC ARDLE’S FAVOURITE. AKA and see “The Maidens of
Tir Eoghain.” The tune appears in O’Neill’s Music of Ireland as “McArdle’s
Favorite.”
MAC
DHOMHNUIL MOR
MAC MHIC AILEIN. AKA and see "Clanranald."
MAC MHIC ALASTAIR. AKA and see "Glengarry."
MAC MORIN’S JIG. Canadian, Jig.
MAC SHIMI MOR A
BASACHADH. AKA and see "Lord Lovat Beheaded."
MAC SUIBHNE'S REEL. Irish, Reel.
MACALISTER WEARS A
DIRK (Biodag Air Mac
Alasdair).
Scottish, Reel. E Dorian ('A' part) & A Mixolydian ('B' part). Standard
tuning. AAB. MacDonald (The Skye
Collecton), 1887; pg. 15.
X:1
T:Biodag Air Mac Alasdair
T:MacAlister Wears a Dirk
M:C|
L:1/8
R:Reel
S:MacDonald – Skye Collection (1887)
Z:AK/Fiddler’s Companion
K:A
B(ee)d cA B2|cA AB =GA B2|B(ee)=g
dgBd|cA A/A/A ^GEE:|
e|cA A/A/A d=GdB|cAAc dB=GB|cA A/A/A
d=GdB|cAAB =GEEe|
cA A/A/A d=GdB|cAAc dB=GB|cA A/A/A
(dB) B/B/B|[cf]A A/A/A =GEE||
MACALISDRUM'S MARCH (“Máirseáil Alasdroin” or “Máirseáil Alasdruim”). AKA and see “Allistrum’s March [1],” "Alasdruim's March," "The Church Hill [2]," "Kitty the Rag, I'm in
Love with You,” "MacDonnell's March,”
“Máirseáil Alasdruim [1],
[2], [3],” “Ollistrum Jig"
(O’Neill). Irish, Scottish; March (6/8 time).
***
Alaster or Alexander MacDonnell,
also known as Alasdair Mac Allisdrum/MacAllistrum or Colkittu (Colkitto), was a
commander who was killed at the battle of Knockinoss (Cnoc na nDos, or Shrub
Hill), near Mallow, County Cork, in the south of Ireland, in September, 1647.
The famous martial hero was a Scotsman, a brave and skilful warrior who
commanded Lord Antrim's Irish in
***
Why, it is harder, Sirs, than Gordon,
Colkittor, or MacDonnall, or Galasp.
***
Flood (1906) states: “We may form
some idea of the desperate courage which inspired these men from the impetuous
energy and wild shrilly fervour of this strain, which is undoubtedly the same
pibroach (pipe tune) that they marched to on the morning of their last
battle…This march was played at his funeral by war‑pipers when his
remains were interred in the ancestral tomb of the O'Callaghans at Clonmeen
(near Kanturk), County Cork, and ever since has been called "Máirseáil
Alasdroim." Breathnach (1966) believes that Flood’s statement that the
piece was a death-march especially composed by the Irish warpipers at the time
is almost certainly untrue, and notes Flood now has a reputation for repeating
some extremely questionable assertions.
***
In 1750 Dr. Charles Smith (in his History of Cork, volume II, pg. 159)
noted the tune was "well‑known in
***
Croker goes on to say: “The
estimation in which it is held in
***
…(It) contains in addition
to the March, the Gathering, the
the shouts on the fall of
Allisdrum, and the cries, first of the mother,
the Munsterwoman, then that of his nurse, a Leinsterwoman, with
the lament of his wife, the Ulsterwoman, and the piece concludes
with the old jig ‘Cnocán an Teampuill’ which she is said to have
struck up so soon as she ascertained that her husband was really dead.
***
A variant of the piece is called “Sarsfield’s Quickstep” and appears
in Haverty’s Three Hundred Irish Airs (1858-1859).
See also the Kerry variant “Micky
"Cumbaw" O’Sullivan’s.” Sources for notated versions: Bunting
noted the piece from "a piper at Westport (Co. Mayo), 1802"; Willie
Clancy (Miltown Malbay, County Clare), who had his version from an old piper,
Mickey McMahon, who lived at Kilcororan (County Clare) and called it
“Alexander’s March” [Breathnach]. O’Neill (1913), pg. 124 (appears as
“Allistrum’s March”). Breathnach (Ceol
II, 3), 1966. Breathnach (The Man and His
Music), 1997; pg. 18. Bunting (Ancient
Music of Ireland), 1840 (appears as “Allistrum’s March”). Heymann (Off
the Record), 1990; pgs. 10-11. Johnson (The
Kitchen Musician No. 5: Mostly Irish Airs), 1985 (revised 2000); pg. 17. O’Neill (Music of
|
See also listings at: Jane Keefer’s Folk Music Index: An
Index to Recorded Sources Alan Ng’s Irishtune.info |
X:1
T:MacAllistrum's March
R:march
D:Chieftain's - Celtic Harp
Z:Michael Hogan
M:6/8
L:1/8
K:D
|:Fdd fee|fdd dBA|Fdd fee|fdd B2A:|
|:~F2E FDD|Fdd dBA|~F2E FDD|Fdd
B2A:|
|:d2f e2f|ded dBA|d2f e2f|ded B2A:|
|~B2A B2E|~B2A BAF|(3Bcd B c2F|(3Bcd
B cAF|
~B2A
B2E|~B2A BAF|BdB c2F|Bdc BAG||
X:2
T:Máirseáil
Alasdruim
M:6/8
L:1/8
S:Breathnach
(Man and His Music, 1997)
K:G
c|ABG
AGF|G2g fdc|ABG AGF|Ggf d2c|
ABG AGF|Ggg
fdc|ABB cBc|dgf d2c:|
|:Aff
Agg|age fdc|Aff Agg|age (3dedc|
Aff Agg|bag fde|fef g3|age d2:|
MACALLAN. Scottish, Strathspey. A Major. Standard tuning. AAB. Composed
by J. Scott Skinner. Skinner (The Scottish Violinist), pg. 10.
X:1
T:MacAllan
M:C
L:1/8
R:Strathspey
Z:AK/Fiddler’s Companion
K:A
D | C<E {G}(A>B) (c/B/).A/.G/
({G}A>)c | d>ef>e (d/c/).B/.A/ G<B |
(C<E) [AA>]B (c/B/).A/.G/
A>a | f/g/a/f/ ea {c/d/}cA[EA] :|
|| g | ({g}a>)A .c/.d/.e
(f>a)(e>a) | (d>a)(c>a) ({B/c/}B>)A G<B |
({g}a>)A .c/.d/.e
(f>a)(e>a) | d>fB>e ({B/c/}c>)A[EA>]g |
({g}a>)A .c/.d/.e
(f>a)(e>a) | (d>a)(c>a) ({B/c/}B>)A G<B |
(3.A/.B/.c/ (3.d/.e/.f/ (3.c/d./e/
({g}a>)g | (f/g/a) (e>a) ({c/d/}c)A[EA] ||
MACALLISTRUM'S MARCH (Mairseail Alasdroim). See "Mac Alisdrum's March."
MACANIRISH. AKA and see “Innis Dhombs’
Ca’l Cadal.” Scottish, Strathspey.
X:1
T:
R:reel
D:Four Men and a Dog: Barking Mad
C:
Dave RIchardson
Z:id:hn-reel-497
Z:transcribed by henrik.norbeck@mailbox.swipnet.se
M:C|
L:1/8
K:E
B2GB Bcef|~g3e fece|~f3e fece|fage fece|
B2GB Bcef|~g3e fece|~f3g fece|[1 Beef ~e3c:|[2 Beef e2ga||
|:be~e2 bec'e|be~e2 fece|~f3g fece|fage fece|
|[1 be~e2 bec'e|be~e2 fece|~f3g fece|Beef efga:|
|[2 ~B3G Bcef|~g3e fece|~f3g fece|Beef e2ec||
MACARTHUR’S TUNE (Port ‘ic Artair). AKA and see “Arthur Murray’s Reel,” “Hills of Cape Mabou,” “Lord Murray’s Strathspey.”
MACBETH. English? Scottish?. Chappell (1859) says that, while the air is
sometimes claimed as Scottish, it is in fact of English composition. It appears
in the Leyden Manuscript of c. 1692.
MACBETH’S STRATHSPEY. AKA and see “Lady MacKenzie of Seaforth.” Scottish, Strathspey. A
Mixolydian. Standard tuning. AA’B. A traditional pipe tune known under the
above title by pipers. Source for notated version: learned by fiddler Jerry
Holland (
MACCALLUM’S. AKA and see “The Chapel Bell.”
Irish, Jig. Bulmer & Sharpley (Music
from Ireland), 1974, vol. 3, No. 66.
MACCRAE’S FANCY.
Scottish, Country Dance Tune (cut time). D Major. Standard tuning. AABB. Aird (Selections), vol. 2, c. 1786; Pg. 5, No. 12.
X:1
T:MacCrae’s
Fancy
M:C|
L:1/8
S:Aird,
vol. II (1786)
Z:AK/Fiddler’s Companion
K:D
A/G/ | FA dd d2 cB | cdec A2 AG | FG dg fedc | d2 AF D3 :|
|: G | GFED FAAF | GFGA B3A | dcde gfed | fgab a2A2 |
GFED
FAAF | GFGA B2d2 | AFdA BGFE | D2 DD D3 :|
MACCRIMMONS LAMENT [1] (Cumha MhicCriomain). AKA and see "Cha Till Mi Tuille"
(Never More Shall I Return), "Cha Till MacCruimen
(Macrimmon Will Never Return)." AKA and see "Cha Till
MacCruimen." Scottish, (very) Slow Air (4/4 time). Scotland, Isle of Skye.
A Dorian. Standard tuning. AA'BB'. A note in Keith MacDonald's Skye Collection notes the setting of
this tune is particular to the Island of Skye. Neil (1991) identifies the air
(which originally was in Gaelic, though has a rhyming English version also) as
a bagpipe lament and a pibroch (píobaireachd) theme which can be found in numerous
versions, originally composed to honor the head of the legendary Macrimmon
family. One story (related by Neil) goes that it was the work of a Macrimmon
sister, written on the eve of her brother’s departure for the camp of Bonnie
Prince Charlie in the mid‑18th century. Another story (from Pulver and
Collinson, 1975) is that the MacCrimmons did not support the Jacobite cause and
that “MacCrimmon’s Lament” was composed by Domhnall Bàn MacCrimmon when he left
Skye, the chorus of the song predicting that he would never return. The
luckless piper was the only person on either side killed at the rout of Moy in
1745, when he was travelling in the company of the MacLeods and Lord Loudon who
had hoped capture the Prince. The story goes that their plan, well executed up
to a point, was foiled by the bravery and cunning of five or six men who were
retainers of Lady MacKintosh of Moy Hall, with whom the Bonnie Prince Charlie
was staying. It came to the Lady’s
attention that a body of men were moving to waylay him, and she entrusted
Charlie’s defense to this nameless smith, who stationed his few comrades in
concealed stations along the line of advance. The men would in turn fire their
muskets and call upon the (non-existent) Camerons, Frasers, MacDonalds and
other clans to advance, sending Loudon’s forces into a panic. The luckless
MacCrimmon (sometimes spelled McCrummen) was the only casualty.
***
Donald Báin was one of the two sons
of Patrick Og MacCrimmon, the other being Malcolm MacCimmon, also a famous
piper. So great was Donald Bain’s reputation, however, that when he was
captured by the Jacobites at the Battle of Inverurie, two months before his
death, pipers in the Jacobite army (many of whom had been trained by Donald
himself) went on strike and refused to play until he was given his freedom.
***
The Macrimmon family, through
several generations, achieved the inherited position of pipers to the lairds of
MacLeod of Dunvegan in the Isle of Skye, from 1570 to 1825. They were famous as
composers and exponents of the art of pibroach playing, and some say the form
originated with them, though the origins of piobraireachd are obscure. They
were also associated with a school of piping whose founding has been credited
to Patrick Macrimmon (Padruig Mor) around 1664, and which existed until 1770.
It was situated in Boreraig in Skye (where the MacCimmons held land, just
across the water from Dunvegan castle) and attracted pipers from all over the
Highlands. The story is told that the course at one time lasted seven years (Collinson,
1975; Neil, 1991).
***
Source for notated version: Miss
Jessie Macleod Gesto (Isle of Skye) [Skye]. MacDonald (The Skye Collection), 1887; pg. 182. Neil (The Scots Fiddle), 1991; No. 160, pg. 207 (appears as "Cha
Till MacCruimen").
X:1
T:MacCrimmon’s Lament
M:4/4
L:1/8
R:Air
S:MacDonald – Skye Collection (1887)
Z:AK/Fiddler’s Companion
K:A Dorian
A>A e2 d2 {d}e2 | A2 {bag}f2
e>deA |1 G2 (3GBd {e}dB dA :|2
G2 (3GBd e2 dB | G>G B2 e2 d>A
|: g>feA g>feA | g>feA g>feA |1 g>edG g>edG |
g>edG d>B A2 :|2 G2 (3GBd e2
dB | G2 (3GBd e2 dA ||
MACCRIMMON'S LAMENT
[2] (“Cumha Mhic
Criomain” or “Cha tìl Mac Crimman”). Scottish, Slow Air (6/8 time). A Minor.
Standard. One part (Martin/1988): AB (Martin/2002): AABBCCDD (Morison). The
melody is a 6/8 setting of version #1. Martin (Ceol na Fidhle), vol. 2, 1988; pg. 37. Martin (Traditional Scottish Fiddling), 2002; pg. 62. Morison (Highland Airs and Quicksteps, vol. 1),
c. 1882; No. 31, pg. 16.
X:1
T:MacCrimmon’s Lament [2]
T:Cha tìl Mac Crimmnan
M:6/8
L:1/8
R:March
N:”Slowly”
S:Morison – Highland Airs and Quicksteps, vol. 1 (c. 1882)
Z:AK/Fiddler’s Companion
K:A Minor
A | e2d e2A | e2d e<AB | d2G d2G
| B2d BAA :: A{A}a2g a2A | a2g aAB |
d2G d2G | B2d BAA :: {A}eA (3f/e/d/
eA (3f/e/d/ | eA (3f/e/d/ eAB |
dG (3e/d/B/ dG (3e/d/B/ | dGB BAz ::
e2 d/B/ A2 ^f/d/ | e2 d/B/ eAB |
B2 e/A/ G2 e/d/ | B2 e/d/ BAz :|
MACDERMOT ROE. Irish, March (6/8 time). F Major. Standard. AB. Credited to Turlough O’Carolan (1670-1738) by O’Neill. The MacDermot Roes were a powerful family from County Roscommon. Donal O’Sullivan records that the MacDermott Roe family, were, "one of the two branches of the ancient Connacht clan, the MacDermotts, Princes of Moylurg. They were also Catholic. O’Neill (1922) remarks: “Among Carolan's many distinguished friends and patrons, no one was more generous and loyal than Mrs. McDermot Roe, of Alderford House, County Roscommon. At the outset of his professional career in 1693, it was she who equipped him with a horse and an attendant harper; and it was to her hospitable home he directed his feeble footsteps in his declining days. Exceptionally honored in death, Carolan's remains were interred near the family vault of his benefactress.” A later MacDermot Roe figures in a story related by the blind harper Arthur O’Neill (1734-1818). O’Neill related in his memoirs meeting many different itinerant harpers in his wanderings, one of whom was named Andrew Victory, a blind harper from County Longford. “He told me once in the County of Roscommon at the house of a Mr. MacDermot Roe, who said to him one day, ‘Th’anam ‘un deabhail’ [damn you], where were you the day the Battle of Culloden was fought?’ (an allusion the harper’s name, Victory, juxtaposed with the defeat of the Jacobite Bonnie Prince Charlie, an Irish and Scottish hope). ‘Och sir,’ says Andrew, ‘it was well for the Duke of Cumberland I was not, otherwise he would not have the honour of being called Billy the Butcher.” The Duke of Cumberland, William, son of George III, was indeed called Butcher Cumberland for his harsh repression of the Jacobite rebels, and Andrew boasts had he been there the outcome would have been different. Source for notated vesion: copied from the Hibernian Muse (1787) [O’Neill]. O’Neill (Waifs and Strays of Gaelic Melody), 1922; No. 72.
X:1
T:McDermot Roe
M:6/8
L:1/8
S:Carolan - Hibernian Muse 1787
Z:Paul Kinder
R:Air
K:F
c|AFF Acc|f2 F fed|e/2f/2gc dcB|Acc f2 g|
ab/2a/2g ab/2a/2g|fdd d2 e/2f/2|gcg ga/2g/2f|ec/2d/2e f2 c|
AFF cA/2B/2c/2A/2|FA/2B/2c/2A/2 F2 f|ecc dB/2c/2d/2B/2|
c/2B/2A/2B/2c/2A/2 G>AG|FAf fFf|gcg afa|agf ece|fFF F3||
GCC GCC|AF/2G/2A/2F/2 BGG|A/2B/2cc d/2e/2ff|e/2f/2gg ece|
fc'b a/2b/2c'/2b/2a/2g/2|fcf fcf|bg/2a/2b/2g/2 fd/2e/2f/2d/2|
Bc/2d/2g ece|f2 F fed|c2 A BAG|A/2B/2cc fg/2f/2e|f3-f2||
MACDONAHUE'S HORNPIPE. American, Hornpipe or Reel. D Major. Standard tuning. AB. Source for
notated version: Mrs. Sarah Armstrong, (near)
MACDONALD. Scottish, Strathspey (Slow when not danced). C Minor (Gow): E Minor
(Johnson). Standard tuning. AAB. Composed by Scottish fiddler-composer Niel Gow
(1727-1807). Carlin (The Gow Collection),
1986; No. 127. Johnson (Kitchen Musician No.
10: Airs and Melodies of Scotland’s Past), 1991 (revised 2001); pg. 11.
X:1
T:MacDonald
M:C
L:1/8
R:Strathspey
S:Gow
Z:AK/Fiddler’s Companion
K:C Minor
E/D/|CGEc GCEc|B<dF<B D>B,
D/E/F/D/|CGEc GCE>g|e>c (e/d/)c/B/ “tr”c2 c:||
e/f/|g<c e>c gceg|f>B (e/d/)c/B/
fBdf|g<c e>c gcf(a|g>ef>d ({=B}”tr”c2) (c/d/)e/f/|
g<c e>c gceg|f<B (e/d/)c/B/
fBd(f|g>ef>d e>cd>B|G>c =B/c/d/B/ “tr”c2 c||
MACDONALD MARCH, THE. Canadian, Scottish; March (2/4 time). A
Mixolydian. Standard tuning. AABBCC. Kerr (Merry
Melodies), vol. 3; pg. 47. Messer (Way
Down East), 1948; No. 98 (appears as "The MacDonalds"). Messer (Anthology of Favorite Fiddle Tunes),
1980; No. 180, pg. 124.
X:1
T:Macdonald's
March
M:2/4
L:1/16
Z:Transcribed
by Bruce Osborne
K:A
ed|c2Bc
A2A2|cAce a2ef|=g2ae =g2de|=gdBA =GAB=G|
c2Bc
A2A2|cAce a2ef|=gdBA =GABd|c2A2 A2:|
|:e2|AAa2
=g2ea|=gefe a2ef|=g2ae =g2de|=gdBA =GAB=G|
AAa2
=gea2|=gefe a2ef|=gdBA =GABd|c2A2 A2:|
|:E2|ABcd
eaec|ABcd ecA2|=GABc d=gdB|=GABc dB=G2|
ABcd eaea|=gefe a2ef|=gdBA
=GABd|c2A2 A2:|
MACDONALD, LORD OF THE
ISLES (Mac Dhomhnuill mòr
nan Eilean). Scottish, Slow
Air (3/4 time). B Minor. Standard tuning. AB. This tune "is, perhaps, the
most ancient air in this volume, and was communicated through the gentlemen
mentioned in the Prospectus. It is remarkable that the first measure of it is
the air sung in the North to the very ancient Scottish ballad of 'Sir James the
Rose'" (Fraser). Fraser (The Airs
and Melodies Peculiar to the Highlands of Scotland and the Isles), 1874;
No. 217, pg. 89.
X:1
T:MacDonald Lord of the Isles
T:Mac Dhomhnuill mòr nan Eilean
M:3/4
L:1/8
R:Slow Air
S:Fraser
Collection (1874)
Z:AK/Fiddler’s Companion
K:B Minor
F B>d|[^A2c2] F/z/ A B>d|c2 zf d>c|(B2 c/)z/ d c>B|A F>z A F>E|
(F B/)z/ c d>B|(c B>)z||c d>e|(f2 g/)z/ f e>d|c2 zf d>c|(B2 c/)z/ d c>B|
A F>z A F>E|(F2 A/)z/ B A>E|F2 zA F>E|F2 zA F>E|(F2 B/)z/ c d>c| (c B>)z||
MACDONALD
OF THE ISLES MARCH TO HARLAW. AKA and see “March of Donald Lord
of the Isles to the Battle of Harlaw (1411).” Scottish, March (6/8 time). A
Mixolydian. Standard tuning. AABBCCDD. The melody commemorates the Battle of
Harlaw, fought in 1411, and is popular as both a pipe and fiddle tune. Martin (Ceol na Fidhle), vol. 4, 1991; pg. 17.
Martin (Traditional Scottish Fiddling),
2002; pg. 70. WMT002, Wendy MacIsaac – “That’s What
You Get” (1998?).
MACDONALD OF THE
ISLES' SALUTATION. Scottish. From Daniel Dow's 18th century publication
"Ancient Scots Music". "MacDonald of the Isles is a poetic
title for the MacDonalds of Sleat, the
southerly part of the Isle of Skye" (Williamson). Flying
Fish FF 358, Robin Williamson ‑ "Legacy of the Scottish Harpers,
vol. 1."
MACDONALDS, THE. See "MacDonald
March."
MACDONALD'S MARCH, THE. Scottish, March (2/4 time) or Reel. A
Mixolydian. Standard tuning. AABB’ (Perlman): AABBCC (Kerr): AA’BBCC’ (Hart
& Sandall). The melody entered French-Canadian tradition through Cape
Breton sources, especially fiddler Joseph Cormier. Hart & Sandall call it
“a recent arrival.” Sources for notated versions: Johnny Morrissey (1913-1994,
Newtown Cross & Vernon River, Queens County, Prince Edward Island)
[Perlman]; accordion and piano player Denis Pépin {Breakeyville, near Québec
City} [Hart & Sandell]. Hart & Sandall (Danse ce Soir), 2000; No. 69, pg. 104 (appears as “MacDonald’s”).
Kerr (Merry Melodies), vol. 3; No.
423, pg. 47. Perlman (The
Fiddle Music of
X:1
T:MacDonald’s March, The
M:2/4
L:1/8
R:March
S:Kerr – Merry Melodies, vol. 3, No. 423
(c. 1880’s)
Z:AK/Fiddler’s Companion
K:A
(e/A/)|c(B/c/) AA|c/A/c/e/
a(e/f/)|=g(a/e/) g(d/e/)|=g/d/B/A/ =G/A/B/G/|c(B/c/) AA|
c/A/c/e/ a(e/f/)|=g/d/B/A/
=G/A/B/d/|cAA::e|A/A/a =ge/a/|=g/e/f/e/ a(e/f/)|
=g(a/e/) g(d/e/)|=g/d/B/A/
=G/A/B/G/|A/A/a =g/e/a|=g/e/f/e/ a(e/f/)|=g/d/B/A/ =G/A/B/d/|
cAA::E|A/B/c/d/ e/a/e/c/|A/B/c/d/
(e/c/)A|=G/A/B/c/ d/=g/d/B/|=G/A/B/c/ (d/B/G)|
A/B/c/d/ e/a/e/a/|=g/e/f/e/
a(e/f/)|=g/d/B/A/ =G/A/B/d/|cAA:|
MACDONALD'S MARCH TO
THE WAR. Scottish, March (6/8 time). A
Mixolydian. Standard tuning. AAB. Gatherer (Gatherer’s Musical Museum), 1987; pg.
45. Scottish Pipers' Society Book of
Tunes (1912).
MACDONALDS OF HAMILTON, THE. Canadian, Jig. Canada, Cape Breton. F Major. Standard tuning. AABB. Composed by fiddler Jerry Holland (Inverness,
Cape Breton). Cranford (Jerry Holland’s),
1995; No. 255, pg. 73.
MACDONALD’S OF CLANRANALD’S GATHERING TO SHERIFFMUIR. Scottish, Pipe Pibroch. The tune was composed
following the Jacobite rising of 1715.
MACDONALD’S QUICKSTEP. AKA and see "Charlie, If You Would Only
Come,“ “Charlie’s Welcome [2],”
“Flora MacDonald,” “MacDonald’s Reel [2],” “Miss Flora McDonald’s
Reel,” “Miss
Macdonald’s (Reel) [4],” “Thearlaich! Nan Tigeadh Tu
[1],"
MACDONALD'S RANT. Scottish, Country Dance Tune (4/4 time). This
melody appears in the Bodleian Manuscript
(in the Bodelian Library, Oxford), inscribed "A Collection of the Newest Country
Dances Performed in Scotland written at Edinburgh by D.A. Young, W.M.
1740."
MACDONALD'S REEL. See "Lord MacDonald('s Reel) [4]." Canadian, Shetland; Reel.
G Major. Standard tuning. AAB. This reel was
originally Scottish and imported to other areas, where the "Lord"
part of the title was often dropped. Jarman (The Cornhuskers Book of Square Dance Tunes), 1944; pg. 15. Olympic 6151, The Shetland Fiddlers' Society ‑
"Scottish Traditional Fiddle Music" (1978). Rounder 7004, Joe Cormier
‑ "The Dances Down Home" (1977).
MACDONALD’S REEL [2].
AKA and see "Charlie,
If You Would Only Come,“ “Charlie’s
Welcome [2],” “Flora MacDonald,”
“Miss Flora McDonald’s Reel,” “Miss Macdonald’s (Reel)
[4],” “Thearlaich! Nan Tigeadh Tu [1].” Scottish,
Reel. D Major. Standard tuning. AABB.
The melody appears under this title in the 1770 music manuscript of
Northumbrian musician William Vickers, about whom unfortunately nothing is
known.
X:1
T:MacDonald’s
Reel [2]
M:C|
L:1/8
R:Reel
S:William
Vickers’ music manuscripts (Northumberland, 1770)
K:D
D|E2 EF BEEF|E2 EF dFDF|E2 EF
EFGA|Bc/d/ AF dDD:|
|:F|Eeef eEEF|Eeef dDDF|Eeed
Bcde|fg/a/ ec dDD:|
MACDONNELL'S MARCH (Mairseail Alasdroin). AKA and see "MacAlisdrum's March."
MACDOUGALLS (POLKA), THE. Canadian, Polka. A Major ('A' part) & E
Major ('B' part). Standard tuning. AABB. Messer (Way Down East), 1948; No. 58. Fretless Records 132, "Ron West: Vermont Fiddler."
RCA Victor LCP 1001, Ned Landry and his New Brunswick Lumberjacks ‑
"Bowing the Strings with Ned Landry."
X:1
T:Macdougall's
Polka
R:Polka
M:4/4
L:1/8
Z:Transcribed
by Bruce Osborne
K:A
E2|AAEA
c2Ac|eece a3e|g2f2 fede|f2e2 edcB|
AAEA
c2Ac|eece a3e|g2f2 edcB|A2c2 A2:|
K:E
GA|B2g2
g3B|A2f2 f3e|e2d2 d2A2|c2B2 BAGA|
B2g2 g3B|A2f2 f3e|e2d2 a2d2|e4 e2:|
MACDOUGALL'S JIG. Scottish, Jig. A Mixolydian. Standard tuning.
AABB. Neil (The Scots Fiddle), 1991;
No. 140, pg. 179.
MAC
EOGHAN SHEAIN AGUS INION JOHN CHIT. Polka.
MACFARLANE'S RANT. See “MacFarlane’s Reel [1].”
MACFARLANE'S REEL [1]. AKA – “MacFarlane’s Rant.” Scottish, Reel. D Major. Standard tuning. AB (Surenne): AABB (Stewart-Robertson):
AABBCDE (McGlashan). The
melody appears in the 1734 Drummond
Castle Manuscript (in the possession of the Earl of Ancaster at
X:1
T:MacFarlane’s Reel
M:C|
L:1/8
R:Reel
S:McGlashan – Reels (c. 1786)
Z:AK/Fiddler’s Companion
K:D
e|fA AA/A/ e>dBe|fA A/A/A e2 de|fA A/A/A e>dBg|aefd e2d:|
|:e|fdfd e>dBe|fdfd e2 de|fdfd e>dBg|a>efd e2 d:|
g|b/a/g/f/ gd BGGB|c>AB>G A>GEg|b/a/g/f/ gd BGGB|c>Ad>B G/G/G Gg||
b/a/g/f/ gd B>GGB|c>aB>g A>GEg|b/a/g/f/ gd B>GGB|c>Ad>B G/G/G G||
g|dgg>e dgb>a|g>edB A>GEA|Ggge dgb>a|g>ed>B G/G/G Gg|Ggg>e dgb>a|
ge/g/ dB/d/ A>GEg/a/|b/a/g a/g/e dg/a/b>a|gedB G/G/G G2||
X:2
T:MacFarlane’s Rant
L:1/8
M:C|
R:Reel
B:Stewart-Robertson – The
Athole Collection (1884)
K:D
e|fA A/A/A edBe|fA A/A/A e2de|fA A/A/A edBg|aefd e2d:|
|:e|fdfd
edBe|eded e2de|fdfd edBg|aefd e2d:|
MACFARLANES (REEL) [2], THE. Scottish, Reel. Composed by Pipe Major Donald
MacLeod. Piper Major Donald MacLeod
Collection. Green Linnet GLCD1182, The Tannahill
Weavers - “Choice Cuts 1987-1996.”