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] |
MAIGDEAN AG RGANAD LE
NA GRAD (The Maiden’s lament
for her lover’s departure). Irish, Slow Air (4/4 time). D Dorian. Standard tuning. One part. Source
for notated version: “Skull. P. McDowell” [Petrie]. Stanford/Petrie (Complete Collection), 1905; No. 1075,
pg. 272.
MAIGDINE ALAINN, NA. AKA and see "The Fair Maidens."
MAIGHDEAN MHARA. Irish, Slow Air (3/4 time). D Major/Mixolydian. Standard tuning. One part.
Ó Canainn (Traditional Slow Airs),
1995; No. 107, pg. 91.
MAIGHDEAN MHARA AN
MHULLAIGH MHOIR. AKA and see "The Maid of
Mullaghmore."
MAIGHDEAN MHARA
MULLACH MHÓIR. AKA and see “The Maid of Mullaghmore.”
MAIGHDEAN MHUILE (The Maiden of
MAIGHDEAN NA h-AIRIGH. Scottish, Slow Air (3/4 time). G Major. Standard tuning. AB. Martin (Ceol na Fidhle), vol. 4, 1991; pg. 22.
MAIGHDEANNAN NA
HIBIRIDH (The Sheiling Song). AKA – “Maighdeanan na hÁiridh.” AKA
and see "Thug
mi'n oidhche raoir san airidh." Scottish, Air (3/4 time). G Major.
Standard tuning. AAB (Martin): AABB (Neil). The Gaelic title is pronounced
‘MY-juh-nun nuh HA-ree’. A sheiling was/is a rustic dwelling used by herders
(usually the sons and daughters of the family) while they tended livestock in
the high summer pastures. The air was composed by John MacGilvray, alias
'Alasdair Ruadh', the piper to Alexander Macdonald X of Glenaladale. He was
responsible, relates Neil (1991), for the building of the
MAIGHREAD DILIS
BREATHNACH. Irish, Air. G Dorian. Standard
tuning. AB. Roche Collection, 1982, vol.
3; No. 16, pg. 5.
MAIGHSTREAS AN TI (Lady of the House). AKA and see "Lady of the House." Irish.
See also "Woman of the House."
Breathnach (CRÉ II), 1971; No. 71.
MAIGISTIR-RINNCE, AN. AKA and see "The Dancing
Master."
MAIGISTREAS NI
DUNLAINGE. AKA and see "Mrs. Delaney [2]."
MAIGUE'S TIDE. AKA and see "Salamanca
{Reel} [1]," "The Wild
Salamanca," "The
Coronation Reel," "The
Salamander," "The Tartan Plaid."
MAILÍ BHÁN. AKA and see "Fair Molly."
MAILÍ MIC AILPÍN. AKA and see "Molly MacAlpin,"
"Poll Ha'penny."
MAILÍ NIG UIDHIR. AKA and see “Molly Maguire [3].”
MAILÍ ÓN LONGFORT. AKA and see “Molly from Longford.”
MAILIN GUIDEY UYAIN. Irish. This air was recorded by the Belfast
Northern Star of
MÁILLÉAD AN TUÍODÓRA. AKA and see “The Thatcher’s Mallet.”
MAILLI NI MAOLUAIN. AKA and see "Molly O'Malone."
MAINS OF GARTLY. Scottish, Reel. E Minor. Standard. AAB. Composed by J. Scott Skinner
(1843-1927) after a place he visited in
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:Mains of Gartly
M:C|
L:1/8
C:J. Scott Skinner (1843-1927)
R:Reel
S:Skinner – Logie Collection
Z:AK/Fiddler’s Companion
K:E Minor
B | (gf)e^d e2 Bd | efga fddf |
gfe^d e=dBg | fe^df e(EE) :|
F | G/G/G (BG) dG gG | D/D/D (FD) Ad
dD | E/E/E (GE) BE ge | fe^df e(EE).F |
G/G/G (BG) dG gG | D/D/D (FD) AD df
| .g.f .e.^d .e.=d B.g | .f.b .B.b
g(ee) ||
MAIR ROZIT. Scottish, Reel. E Minor.
Standard. AAB. Composed by J. Scott Skinner
(1843-1927). Skinner (Harp and Claymore),
1904; pg. 65.
X:1
T:Mair Rozit
M:2/4
L:1/8
R:Reel
C:J. Scott Skinner (1843-1927)
S:Skinner – Harp and Claymore (1904)
Z:AK/Fiddler’s Companion
K:E Minor
B,/ | E/4E/4E/ (G/E/) BA/G/ |
F/A/d/B/ A/F/D/F/ | G/B/d/f/ g/d/B/G/ | A/c/B/A/ G/E/E/ :|
f/ | g/e/f/^d/ e/g/f/e/ | d/f/A/d/
F/A/D/f/ | g/e/f/^d/ e/c’/b/a/ | g/e/f/b/ g/e/e/f/ |
g/e/f/^d/ e/b/g/e/ | d/a/f/d/
A/F/D/F/ | G/E/A/F/ B/G/c/A/ | B/c’/b/a/ g/e/e/ ||
MAIRE A STOR (Mary My Treasure). AKA and see "Molly Asthore."
MAIRE ALBANAC. AKA and see "Scotch Mary."
MAIRE AN BRISTE. AKA and see "Breeches
Mary."
MAIRE AN CUILFIONN. AKA and see "Fairhaired
Mary."
MAIRE AN LEAT-PINGEAN. AKA and see "Poll Ha'Penny."
MAIRE AN PHORTAIR. AKA and see "Cailleach
an Tuirne," "Wreathe the
Bowl," "The Wild Irishman
[4]", "The Maid at
the Spinning Wheel," "Kiss
Me Darling," "Norah with
the Purse," "The Road to
Lurgan," "Norickystie."
MAIRI BHAN OG. See “Mhairi Bhan Og.”
MAIRE BHAN’S WEDDING REEL. AKA and see “The Bonnie Bunch of Ferns,” “An Piobaire a’ Cheidigh,” “Piper of Keadue.” Irish, Reel.
MÁIRE
BHEAG O!
AKA and see "Little Molly O!"
MÁIRE BHEAL ATHA h-AMHNAIS. AKA and see “Mary from Ballyhaunis.”
MÁIRE BHÉICEACH (Roaring Mary). AKA and see “Roaring Mary.”
MÁIRE CAD TA ORT, A. AKA and see "Molly What Ails You?"
MÁIRE CUIR SIOS AN COIRE, A. AKA and see "Molly Put the Kettle On [3]."
MÁIRE
DHALL (Blind Mary). AKA and see "Blind Mary."
MÁIRE M MIC CARTAIG. AKA and see "Molly McCarthy."
MÁIRE MAISEAC NI NIALL. AKA and see "Charming Mary O'Neill."
MÁIRE NA BLAITCE. AKA and see "Buttermilk Mary."
MÁIRE
NA SOP (Maire of the wisp). AKA – “Mary of the Wisp.” Irish, Reel.
MÁIRE NÍ EIDHINN. AKA and see "Ruaig an Mí‑ádh" (Banish Misfortune [1]), "The (Little) Bag of Meal," "Humours of
Mullina(a)fauna [1]," "Judy Hynes,” "Nancy Hines," “Nancy Hynes,” “Parish Girl [2],” "Round the Carthouse." Irish, Jig. The tune was printed under this title by Petrie in
his 1905 Complete Collection (1542).
Petrie takes his title from the poem “Máire Ni Éidhin” by Raftery, the blind
poet of
MÁIRE NI GRASAIG. AKA and see "Mary Grace."
MÁIRE ÓG NA gCIABH("Young Mary of
the Tresses" or "Mary with the Fair Locks"). AKA and see "Mary with the Amber Locks." Irish, Air (3/4 time). D Major/Mixolydian.
Standard tuning. One part. O'Neill's (Music
of Ireland: 1850 Melodies) prints the identical tune under the title
"Mary with the Amber Locks." Source for notated version: the Irish
collector Edward Bunting noted the tune at Deel, Castle Ballina,
X:1
T:Máire Óg na gCiabh
T:Young Mary of the Tresses
M:3/4
L:1/8
R:Air
S:Bunting
K:D
B,C|D2 DEAE|D2 z2 DE|FG A2 AG|F2 z2 Bc|d2 d2 ec|A2 AG FG|A2 d2 de|
d2 z2 d2|=c2 B2 AG|F2 z2 B2|c2d2 ef|d2 z2 B/A/G|F2 E2D2|C2 DEFG|A2 GF
ED|D2 z2||
MÁIRE O’KEEFFE. Canadian, Reel.
See also listings
at: Alan Snyder’s Cape Breton Fiddle Recording Index Alan Ng’s Irishtune.info |
MÁIRE
RUAD. AKA and see "Moll Roe."
MÁIRE SAN t-SOP. AKA and see "Moll in
the Wad [2]."
MAIRÉAD NIC SHIACAIS. AKA and see “Margot Jackson.”
MAIREARAD NIGHEAN DOMHNUILL. AKA and see "Margaret
MacDonald."
MAIREDELIA. Irish, Reel. D Major. Standard tuning. AABB. Composed by County
Cavan/Philadelphia fiddle player and composer Ed Reavy (1898-1988), in honor of
his granddaughter, Maire, who also has taken up Irish fiddle to compete in
regional feises. Reavy (The Collected
Compositions of Ed Reavy), No. 8, pg. 8.
X:1
T:Mairedelia
M:2/2
L:1/8
C:Ed Reavy
S:The Collected Compositions of Ed Reavy
R:Reel
N:Mairedelia. Ed's granddaughter, who is carrying on the tradition
N:herself. Maire has won several first place fiddle medals in local
N:and
Z:Joseph Reavy
K:D
|FG|Addc dcAF|FDA,D FGAB|[D=c]Bcd cAGA|d2 fd ^cAGA|dcde (3fga ec|d
cAF GE=CE|DEFG =cBAF|GE=CE D2:||fe|defg abag|e=c (3cBc efge|defg adf
a|gece d2 fg|abag efge|BdcA GE=CE|DEFG
dcAF|GE=CE D2:||
MÁIRE'S
REEL. Irish, Reel. Composed by Irish
fiddler Máire Breathnach. Green Linnet SIF‑1094,
Capercaille ‑ "Sidewaulk" (1991).
MÁIRE’S WELCOME. Canadian, Reel.
MAIRGREAD NI LABAIN. AKA and see "Margaret Lavin."
MAIRGREADIN AR AN SUIDEACAN. AKA and see "Poggy on the Settle."
MAIRGREADIN CODALTAC. AKA and see "Sleepy Maggie."
MAIRGREADIN DEAS. AKA and see "Pretty Peggy."
MAIRGREADIN SUANTAC. AKA and see "Drowsy Maggie
[1]."
MAIRI
ALLAN. Scottish, Country Dance Tune (4/4
time). The melody appears in the Bodleian
Manuscript (in the Bodleian Library,
MAIRI AN CUILFHIN. AKA and see "Fair‑Haired Mary."
MAIRI BHAN OG. AKA and see "Mary,
Young and Fair."
MAIRI BHEADARACH. AKA and see "Dawted Mary."
MAÌRI BHÒIDHEACH [1]. Scottish, Strathspey. F Major. Standard tuning. AAB. Composed by James
Stewart-Robertson, editor of The Athole
Collection. Stewart-Robertson (The Athole Collection), 1884; pg. 207.
X:1
T:Maìri Bhòidheach [1]
M:C
L:1/8
R:Strathspey
C:James Stewart-Robertson
B:Stewart-Robertson – The Athole Collection (1884)
Z:AK/Fiddler’s Companion
K:F
B|A/B/c c>A B<G G>B|A>F A/B/c ~f2 f>g|a/g/f/e/ f>F A<G G>A| F<C D>E ~F2F:|
e|~f>cf>g a/g/f/e/ d>e|~f>cf>a g2 g>a|~f>cf>g a/g/f/e/ d>e| ~f>d c<A F2 F>e |
~f>cf>g a/g/f/e/ d>e|f>cf>a g2
f>g|a/g/f/e/ f>F A<G G>A| F>CD>
MAIRI BHOIDHEACH [2] (Beautiful
Mary). Scottish, Air (3/4 time). F Major. Standard tuning. One
part. Morison (
X:1
T:Mairi Bhoidheach [2]
T:Beautiful Mary
M:3/4
L:1/8
R:Air
N:”Rather slow”
S:Morison –
Z:AK/Fiddler’s Companion
K:F
{C}A>A (AG) AG | (FC) D2F2 | {C}F>G A2 A>A | c>A A/G/ z F2 |
{F}(Ac)f2 d>d | (cA) c2 d>c | (3AGF G2 Ac | A>G (GF) F2 :|
MAIRI DHONN (Brown Haired Mary). Scottish, Air (2/4 time). D Major.
Standard tuning. One part. Morison (
X:1
T:Mairi dhonn
T:Brown Haired Mary
M:2/4
L:1/8
R:Air
S:Morison –
Z:AK/Fiddler’s Companion
K:D
DD d2 | ef A2 | B>c d2 | c>B
BA | FA ff | ef d2 | B>A FA | B>F ED ||
MAIRI GHREANNAR. AKA and see "Cheerful Mary."
MAIRI MHIN MHEAL-SHUILEACH DHU. See “Mary – gentle
and dark eyed.”
MAIRI
NIGHEAN DEORSA [1] (Mary, George’s
Daughter). AKA
and see "Grant
of Sheuglie's Contest."
MAIRI NIGHEAN DEORSA
[2] (Mary, George’s
Daughter). Scottish,
Air. A different melody than “Mairi Nighean Deorsa [1]," appearing in Daniel Dow’s collection. The same melody
appears in a manuscript collected around 1810 by the Armagh-born collector
Edward Bunting, according to Colm Ó Baoill, without a bass line, with the note
that it was “Copie(s?) out of old printed Book.”
MÁIRIN BUGGERTY. AKA and see "Buachallin Og
[1]," "Big Bow Wow,"
"An Cailin Deas Donn [1],"
"Move up to me," "My/The
Pretty Fair Maid," "The
Pretty Brown Girl [2]," "Did you see my man
looking for me? [1]"
MÁIRIN DE BARRA. Irish, Slow Air (3/4 time). D Major. Standard tuning. One part. Ó
Canainn (Traditional Slow Airs of
MÁIRIN MAISEAC. AKA and see "Lovely Molly."
MÁIRIN NI CHULLENAIN. See “Little Mary Chullenain.”
MAIRI'S WEDDING. AKA – “Mari’s Wedding.”
AKA and see “Jack Sweeney’s [3],”
"Lewis Bridal Song."
Scottish, Scottish Measure (4/4 time).
***
Chorus:
Step it gaily, off we go
Heel for heel and toe for toe,
Arm in arm and off we go (or ‘row on row’)
All for Mairi's wedding.
***
Over hillways up and down
Myrtle green and bracken brown,
All for sake of Mairi.
***
Plenty herring, plenty meal
Plenty peat to fill her creel,
Plenty bonny bairns as weel
That's the toast for Mairi.
***
Cheeks as bright as rowans are
Brighter far than any star,
(or Red her cheeks as rowans are
Bright her eye as any star)
Fairest o' them all by far
Is my darlin' Mairi.
***
Miller
& Perron (New England Fiddler’s
Repertoire), 1983; No. 54. Silberberg
(Tunes I Learned at Tractor Tavern), 2002; pg. 96 (appears as “Mari’s
Wedding”). Kicking Mule KM216, Strathspey ‑ "
X:1
T:Mairi’s Wedding
M:C
L:1/8
R:Scottish Measure
K:G
|:D3E D2E2|G2A2B4|A2G2E2G2|B2A2Bd3|D3E D2E2|G2A2B3c/B/|A2G2E2C2|D8:|
|:d4
d3e|d2c2B4|A2G2E2G2|B2A2Bd3|d2Bd2e|d2c2B3c/B/|A2G2E2C2|D8:|
MAIRNEALAC MEISCEAMAIL. AKA and see "The Drunken
Sailor [3]."
MÁIRSEÁIL ALASDRUIM [1]. AKA and see “Ollistrum Jig.” Irish, Double Jig. D Mixolydian. Standard. AABB. See also the related
“Allistrum’s March [1],” and Breathnach’s “Máirseáil Alasdroim” tunes, below. See also notes
for “MacAllisdrum’s March” and “Micky ‘Cumbaw’ O’Sullivan’s” for more information on this marital tune. Source for notated version:
piper Willie Clancy (1918-1973, Miltown Malbay, west Clare) [Mitchell].
Mitchell (Dance Music of Willie
Clancy), 1993; No. 26, pg. 43.
MÁIRSEÁIL ALASDROIM [2]. Irish, March or Double Jig. E Minor. Standard. AABB. From an February,
1862, manuscript written by P. Enright (Áth Trasna,
MÁIRSEÁIL ALASDROIM –
AN LEAGAN NUA (Alexander’s March – the
MÁIRSEAL NA h-OGLAC. AKA and
see "March of the Volunteers."
MÁIRSEAL NA nIOMANAITHE. AKA and see "The Hurler's March [4]," "The
Humours of Ballyloughlin." Irish, Double Jig. D Mixolydian. Standard. AABBCCDD. Source for
notated version: piper Liam Mac Flannchadha (
MÁIRSEAL NI DHOMHNAILL. AKA and see "O'Donnell's March."
MÁIRSEAIL ALASDROIN. AKA and see "MacDonnell's March."
MÁIRSEAIL ALASDRUIM. AKA and see "MacAlisdrum's
March," "The Church Hill
[2]," "Kitty
the rag, I'm in love with you," "Cath Chnoc na nDos."
MÁIRSEAIL NA
mBUISTEIRI. AKA and see "The Butcher's March."
MAIS(E) AN TOABH
TUATH. AKA
and see "The Beauty of the North."
MAISON DE GLACE, LA (The Icehouse). Canadian, Jig. Canada, Québec. D Major. Standard tuning. AA’BB’.
X:1
T: la Maison de Glace
T: the Ice House
O: Qu\'ebec
R:Jig
Z: 2006 John Chambers <jc:trillian.mit.edu>
M:6/8
L: 1/8
F:http://trillian.mit.edu/~jc/music/abc/jig/MaisonDeGlace_D.abc
K: D
"A"\
|: "D"D3 DEF | "D"ABA AFA | "G"B3 Bcd | "A7"cBA GFE | "D"D3 DEF ||
"D"ABA AFA |1 "G"B3 BAG | "A7"F3 EFE :|2 "G"B3 Bcd | "A(F#)"c6 ||
“B1”\
|: "Bm"B3- Bcd | "G"B3- Bcd | "D"fed "A"edc |1 "Bm"dcA "F#m"dcA :|2 "A"Adc "F#m"d2c ||
"B2"\
|:
"Bm"B2B- Bcd | "G"B2B- Bcd | "D"fed
"A"edc |1 "Bm"dcA "F#m"dcA :|2
"A7"Adc "D"d3 |]
MÁISTREÁS AN TÍ (Mistress of the House). AKA and see “The Woman of the House [2].”
MAIZE. AKA and see “Road to Maysville.”
MAJIC FLUTE. See "Magic Flute."
MAJOR [1], THE. English, Scottish; Jig.
X:1
T:Major, The
M:6/8
L:1/8
R:Jig
S:Bruce & Stokoe – Northumbrian Minstrelsy (1882)
Z:AK/Fiddler’s Companion
K:G
dBG g3|dBG GBd|dBG g3|cAF ABc|
dBG g3|dBG g3|dBG g3|cAF ABc:|
|:dBG dBG|dBG ABc|cBG dBG|cAF ABc|
dBG
dBG|dBG dBG|edc fed|cAF ABc:|
MAJOR [2], THE. Irish,
Air (6/8 time). G Mixolydian. Standard tuning. AABB. Source for notated
version: unknown
X:1
T:Major, The [2]
M:6/8
L:1/8
R:Air
N:”Time well marked”
S:Joyce – Old Irish Folk Music and Songs
(1909)
Z:AK/Fiddler’s Companion
K:G Mix
dc|BBB BBB|c2A A2G|F2A A2f|g3
fdc|BBB BBB|c2A dcA/G/|F2G AFA|{F}G3 G2:|
|:G|A2g fde|f2d def|g2g agf|f g2
fdc|B2g fde|f2d def|g2g agf|f g2 fdc||
MAJOR [3], THE. AKA and see “Mooncoin Jig.” Irish, English; Jig. A Major (O’Farrell): G Major (Geoghegan). Standard tuning. AABBCCDD (Kennedy, O’Farrell): AABBCCDDEEFFGG (Geoghegan). The melody first appears under this title in Wright’s Compleat Collection of Celebrated Country Dances, vol. 2, published in London by Johnson in 1742. “The Major” appears in the 1762 music copybook of Cumbrian musician Joseph Barnes. Geoghegan (Compleat Tutor for the Pastoral or New Bagpipe), c. 1745-46; pg. 25. Kennedy (Jigs & Quicksteps, Trips & Humours), 1997; No. 111, pg. 28. O’Farrell (Pocket Companion), c. 1805; pg. 24.
See also listings at: Jane Keefer’s Folk
Music Index: An Index to Recorded Sources Alan Ng’s Irishtune.info |
X:1
T:Major, The [3]
M:6/8
L:1/8
R:Jig
S:O’Farrell – Pocket Companion (c. 1805)
Z:AK/Fiddler’s Companion
K:A
d | c2A AcA | AcA Bcd | c2A Ace | dBG Bcd :: cde ef=g | faf g2e | c2e efg |
dBG Bcd | cde efg | faf g2e | a/b/af g2e | dBG Bcd :: cBA a3 | ecA Bcd |
cBA g2e | dBG Bcd :: ecA AcA | AcA Bcd | ecA Ace | dBG Bcd :|
X:2
T:Mayjor, The [3]
M:6/8
L:1/8
R:Jig
S:Geoghegan – Compleat Tutor for the Pastoral or New Bagpipe (c. 1745-46)
Z:AK/Fiddler’s Companion
K:G
“tr”F2D D/F/A/D/ | DF/G/A/D/ EFG | F2D DF/G/A/D/ | GEC EFG :|
|: FDA ABc | (B/c/d)B (A/B/c)A | FDA Bdc | B2E EFG | FDA ABc |
(B/c/d)B (A/B/c)A | “tr”B2G F/G/AF | GEC EFG :: FED dcd | AFD EFG |
FED cBc | GEC EFG :: (B/c/e)B (A/B/c)A | G/A/BG F/G/AF | B/c/dB A/B/cA |
B2E EFG | B/c/dB A/B/cA | G/A/BG F/G/AF | dcB A/B/cF | GEC EFG :|
|: AFD DF/G/AD | AFD EFG | AFD A(F/G/A/F/) | GEC EFG :: A(F/G/A/F/) cBA |
dcB A/B/cB | F/GAF (B/c/d)c | {c}B2E EFG | A(F/G/A/F/) cBA | dcB A/B/cA |
F/G/AF cAF | GEC EFG :: D/D/Dd D/D/DF | D/D/DF EFG | D/D/DA D/D/DF |GEC EFG :|
MAJOR AND MINOR. Scottish, Reel. F Sharp Minor/A Major. Standard tuning. AB. Composed in
1932 by J. Murdoch Henderson, dedicated to
MAJOR CRICHTON'S
DELIGHT. AKA and see "Davy Knicknack,"
"Bonnell's Quickstep"
(Pa.), "Hoe Cake,” “Virginia Quickstep." Scottish. Aird (Selections),
1778, vol. 2, No. 59.
MAJOR DAVID MANSON. Scottish, Pipe Reel. A
Mixolydian. Standard tuning. AABBCCDD. Printed in the Edcath Collection of
MAJOR DUFF’S FAVOURITE QUICKSTEP. Scottish, March (2/4 time). B Flat Major.
Standard tuning. AABBCC. Nigel Gatherer believes this tune is the precursor for
“Davy Davy Knick
Knack,” with an added third part.
X:1
T:Major Duff's Favourite
Quickstep
B:Ms Music Book, C K Sharpe, c1835
Z:Nigel Gatherer
M:2/4
L:1/8
K:Bb
F|B/A/B/c/ dd|B/A/B/c/ d2|f/e/d/e/
cc|f/e/d/e/ cc|B/A/B/c/ dd|
B/A/B/c/ d2|e/g/f/e/
d/c/B/A/|BBB::d/e/|ffdd|bb f2|f/e/d/e/ cc|
f/e/d/e/ cc|ffdd|bb f>e|d/g/f/e/
d/c/B/A/|BBB::f/e/|d3 e|fgab|
g2 g>g|g2 g/f/e/d/|c3 d|ecfe|d2
d>d|d2 f>e|d3 e|
fgab|g2 g>g|g3 g|fbag|fedc|B2
B>B|B3:|]
MAJOR ERSKINE'S MINUET. Scottish, Minuet. The melody appears in the Gillespie Manuscript of Perth (1768).
MAJOR GENERAL
ROBERTSON OF LAWAR’S.
Scottish, Strathspey or March. C Major. Standard tuning. AABCCD.
Composed by John Bowie. Gow (2nd Collection of Niel Gow’s Reels), 1788; pgs. 2-3.
See also listing at: Alan Snyder’s Cape Breton Fiddle
Recording Index |
X:1
T:Major General Robertson of Lawar’s
M:C
L:1/8
R:Strathspey
C:John Bowie
S:Gow – 2nd Collection of Niel Gow’s Reels (1788)
Z:AK/Fiddler’s Companion
K:C
E/F/|”tr”G>A {A}G{F}
(A/G/).F/.E/ (G/F/).E/.D/
{D}C2C:||“tr”f>g {a}gf/e/ {e}d2 de/f/|gceg c>d {f}ed/c/|(f/e/).f/.a/
.g/.f/e/d/ {d}c2 “tr”ce/f/|
gceg “tr”c>d {f}ed/c/|”tr”f>g
{a}gf/e/ {e}d2 dg/f/|e>gd>e “tr”c>d Ac|{A}G.F/.E/ {G}F.E/.D/
{D}C2C||:E|
C>EG>E c>EG>E|c>GcE
{E}[B,2D2] [B,D>]E|C>EG>E .C.E.G.E|(A/G/)(F/E/)(G/F/)(E/D/)
{D}C2C:||”tr”e/>f/|
gceg c”tr”c/d/ {f}ed/c/|”tr”f>g
{a}gf/e/ {e}d2 d”tr”e/>f/|gceg ~c>d {f}ed/c/|”tr”f>a {g}fe/d/ {d}c2
c”tr”e/>f/|
gceg “tr”c>d {f}ed/c/|”tr”f>g
a/g/f/e/ {e}d2 dg/f/|egd>e “tr”c>d (A/4c/4B/4c/4
{d}c/B/4A/4)|(A/G/).F/.E/ (G/F/).E/.D/ {D}C2C||
MAJOR GRAHAM (OF
INCHBRAKIE). Scottish, Strathspey or Slow
Strathspey. D Major (most versions): G Major (O’Farrell). Standard tuning. AAB.
Composed by Niel Gow (1727-1807) and published in both editions of his First Collection (1784 & 1801),
although attributed to him only in the 2nd. The tune incorporates a similar
motif to the second part of William Marshall's "Miss Admiral
Gordon's Reel, a Strathspey" (pub. in
***
In1715 Kate M’Niven lived a little down the river Shappie from the
Manse, and was reputed a witch.
One of the principal things agains her appears to have been in
connection with Inchbrakie, where she
had been a nurse. The laird one day rode over to Dunning, and, according
to the usage of the times,
carried his knife and fork with him. While at dinner he was annoyed by a
bee buzzing about his ears,
and he laid down the kife and fork to put off the annoyer, which flew
out the window. On looking for
the knife and fork, he found that they were amissing, and could not be
found. On his return to Inchbrakie
the nurse produced the missing articles. Some time thereafter she was
lodged in ‘durance vile,’ tried and
condemned for witchcraft, and burnt in the spring of 1715.
***
The manor at Inchbrakie has since
been demolished. Alburger (Scottish
Fiddlers and Their Music), 1983; Ex. 63, pg. 104. Carlin (Gow Collection), 1986; No. 130. Gow (First Collection of Strathspey Reels),
1784 (revised 1801); pg. 5. Hunter (Fiddle
Music of
X:1
T:Major Graham
L:1/8
R:Strathspey
S:O’Farrell – Pocket Companion, vol. III
(c. 1808) “scotch” pg. 2
Z:AK/Fiddler’s Companion
K:G
G/E/ | D>EGG G2 g>e | d<BAG A3B | D>EGG G2 g>e | d<B ”tr”A>B G3 :|
d | g>agf edeg | d<BAG A2 (d/e/f/) | g>agf
g>agf
X:2
T:Major Graham of Inchbrakie
M:C
L:1/8
R:Strathspey
N:”Slow”
C:Niel Gow
S:Gow – First Collection of Strathspey Reels (1784)
Z:AK/Fiddler’s Companion
K:D
B,|”tr”A,>B,DD ~D2{D} d>B|AFED
[C2E2] [CE]F|”tr”A,>B,DD ~D2{D}d>B|AF”tr”E>F D2D:|
(A/4B/4c/2)|~d>edc
“tr”B>ABd|A>F”tr”ED [C2E2] [CE]B/c/|~d>edc “tr”B>ABd|AF”tr”E>F
D2 DB/c/|
~d>edc “tr”B>ABd|(AF)”tr”ED
[C2E2] [CE>]F|”tr”A,>B,DD ~D2{D}e>B|AF”tr”E>F D2D||
MAJOR HARRISON’S. Irish, Reel. E Dorian. Standard tuning. AABBCC. Source for notated
version: Brendan Mulvihill (
MAJOR HEN’S MARCH. AKA and see “Hen’s
March to/o'er the Midden.”
MAJOR JAMES MONRO. Scottish, Strathspey. D Minor. Standard tuning. AB. Composed by Robert Mackintosh. Glen (The Glen Collection of Scottish Music),
vol. 2, 1895; pg. 41.
X:1
T:Major James Monro
M:C
L:1/8
R:Strathspey
S:Glen Collection, vol. 2
(1895)
Z:AK/Fiddler’s Companion
K:D Minor
A|F<D A,>D FDAF|E>cG>c
E<C A>G|F<D A,>D B,<D G,>B|A>GF>E F(DDA)|
A<D A,>D FDAF|E>cG>c
E<C A>G|F>AD>d ^c>e A<a|bg (a/g/f/e/ f)dd||g|
(a/g/f/e/ f>)d
A>df>d|c>eg>e c’>g e<c|(a/g/f/e/ f>)d A>df>d|A>G
F<E F<D D>g|
(a/g/f/e/ f>)d
A>df>d|c>eg>e c’gec|a<fg<e f<de<^c|d<B A>G FDD||
MAJOR JOHN BRUCE’S QUICK STEP. AKA – “Major John Bruce’s Favourite.” Scottish, March (6/8 time). G Major. Standard tuning. AABB. James Aird dedicated his collection to “the Volunteer and Defensive Bands of Great Britain and Ireland,” a reference to the bands of the many home defense units that sprang up during the late 19th century wars with France. The melody appears in a few period musicians’ manuscripts: those of fiddler John Fife (Perthshire and at sea, begun in 1780 and continuing through 1804), H.S.J. Jackson (Wyresdale, Lancashire, 1823), and flute player Thomas Molyneau (Shelburne, Nova Scotia, 1788). Aird (Selection of Scotch, English, Irish and Foreign Airs), vol. II, 1785; No. 69, pg. 26. Kennedy (Jigs & Quicksteps, Trips & Humours), 1997; No. 112, pg. 28.
X:1
T:Major John Bruce’s Quick Step
M:6/8
L:1/8
S:Aird, vol. II (1782)
Z:AK/Fiddler’s Companion
K:G
D | G2G G2g | ege dBG | cde dBG | EAA A2B |
G2G G2g | ege dBG | ABc BAG | EGG G2 :|
|: B/c/ | d2g e2g | d2g dBG | c2e dBG | EAA A>Bc |
dgg
egg | dgg dBG | ABc BAG | EGG G2 :|
MAJOR L. STEWART'S REEL--OF THE
X:1
T:Major L. Stewart’s Reel—of the
M:C
L:1/8
R:Reel
S:
Z:AK/Fiddler’s Companion
K:G
G2g2 ag/f/ g2|dgBg dgBg|G2g2 a/g/f
g2|faAB cBcA|G2g2 a/g/f g2|
dgBg dgBg|G2 g2 a/g/f g2|fg/a/ AB
cdef||gbeg dg B2|gbeg fgaf|gbeg dg B2|
ABcd edef|gbeg dg B2|gbeg fgaf|gbfa
egdg|caBg ABcA||
MAJOR LOGAN’S FAVORITE.
Scottish, Strathspey. B Flat Major. Standard tuning. AABCCD. Composed by
Nathaniel Gow
(1763-1831), appearing in his Fourth Collection (1800). See note for “Major Logan’s Frolic,” below,
for information on Major Logan. Gow (Fourth Collection of Strathspey Dances),
2nd ed., originally 1800; pg. 32.
X:1
T:Major Logan’s Favorite
M:C
L:1/8
R:Strathspey
N:”Slowish”
C:Nathaniel Gow (1763-1831)
B:Gow – Fourth Collection of
Strathspey Dances (1800)
Z:AK/Fiddler’s Companion
K:Bb
D|B,2 B>F “tr”.B.F dB|B,2
{Bc}d>B cG~G>B|B,2 {B}d>B c>G BF|G>B(FB) DB,B,:||
f|(df)”tr”g>f
(Bf)g>”tr”a|b>Gg>B {Bc}dc”tr”c>f|(df)”tr”g>f
“tr”G>a”tr”b>c’|{c’/}d’>a {a}b>g {g}fdd>f|
(d<f)”tr”g>f
.B(fga)|b>Gg>B {Bc}dc cf/e/|d>BG>B (FB)(.D.B)|(Ac)f>e {e}dBB||
|:f|(dBFB DBFB) (d/B/f/B/
g/B/f/B/)|(d/B/)(F/B/) (D/B/)(F/B/) {Bc}dc ~cf/e/|(d/B/F/B/ D/B/F/B/)
(D/B/)(f/B/) “tr”g”tr”a|
b/>f/g/>B f/>B/(.A/.e/)
dBB:||f|(d/f/)”tr”(B/F/) (B/f/)”tr”g/f/ .b/f/”tr”(g/f/)
(d/f/)(B/f/)|(d/f/)”tr”g/a/ (b/G/)(g/B/) {Bc}dc”tr”c(f/e/)|
(d/f/)”tr”g/f/ .B/(f/g/a/)
(b/a/)”tr”(g/f/) .g/(a/b/c’/)|d’/>b/c’/>a/ {c’/}b/>ab/g/
fdd>f|(d/f/)”tr”(g/f/) (B/f/)”tr”g/f/ b/f/”tr”(g/f/) (d/f/)(B/f/)|
(d/f/)”tr”g/a/ (b/B/)(g/B/) {Bc}dc
“tr”c(f/e/)|(d/f/).e/.d/ (c/B/).A/.G/ (F/G/)(F/E/) .D/(f/b/f/)|(g/e/)d/c/
(B/A/)f/c/ {c}dBB||
MAJOR LOGAN'S FROLIC,
A STRATHSPEY. Scottish, Strathspey. This
strathspey was composed by John French (1753‑1803), although the first
part is similar to the second half of the well‑known "Mrs. Macleod's Reel."
Major William Logan, who lived at Camlarg, near
***
Hail, thairm-inspirin', rattlin' Willie!
Though fortune's road be rough an' hilly
To every fiddling, rhyming billie,
We never heed,
But tak' it like the unback'd filly,
Proud o' her speed.
Yirr, fancy barks, awa' we canter
Uphill, down brae, till some mishanter,
Some black bog-hole,
Arrests us, then the scathe an' banter
We're forced to thole.
Hale be your heart! Hale be your
fiddle!
Lang may your elbuck (elbow) jink
and diddle
To cheer you through the weary widdle
O' this wild warl',
Until you on a crummock driddle
A gray-hair'd carl.
***
Some anecdotes about Logan remain in
local lore. James T. Gray, writing in his book Maybole, Carrick's Capital Facts, Fiction
& Folks (1972) relates
that the Major on one occasion quarreled with a local dignitary over a bargain
that had been verbally agreed to, but not reduced to writing. The other party
had second thoughts, and protested that the agreement was not binding for it
had not been written on stamped paper, and therefore was null and void. A short
time later they found themselves together in a company of others at a local
establishment, the Kings Arms Hotel. At
one point the ‘dignitary’ complained to all assembled the he had trouble with
dysentery and did not know how to remedy it, to which Logan quickly prescribed
‘stamped paper’ reminding him that he himself knew there was nothing more
binding! Logan also commanded one of
the companies of the local militia, known as the West Lowland Fencibles, which
initials—W.L.F—were embroidered on his uniform. An acquaintance chagrined the
Major by asking if they stood for ‘William Logan, Fiddler’. Logan died, unmarried, in 1819. (Alburger, Scottish Fiddlers and Their Music, 1983).
MAJOR MACKEY'S JIG. See "Major Mackie's Jig."
MAJOR MACKIE. See “Major Mackie’s Jig.”
MAJOR MACKIE'S JIG. AKA – "Major Mackey's Jig." Scottish, English, Canadian,
American; Jig. D Major (Messer, Page, Sweet): A Major (Kerr): G Major (S.
Johnson). Standard tuning. AABB. A popular jig in many English speaking
regions, including England and Scotland, Canada (popularized by Don Messer and
played throughout the Maritime provinces), and New England. The earliest
publication appears in the Scottish Kerr collection (c. 1880). See also the
Sliabh Luachra slide variant called “The
Labyrinth [2]” or “Pádraig
O’Keeffe’s Slide [8].” S. Johnson (The
Kitchen Musician No. 6: Jigs), 1982 (revised 1989, 2001); pg. 3. Kerr (Merry Melodies), vol. 4; No. 266, pg. 28
(appears as “Major Mackie”). Messer (Way
Down East), 1948; No. 77. Messer (Anthology
of Favorite Fiddle Tunes), 1980; No. 135, pg. 88. Page, Northern Junket, vol. 9, No. 2, Feb.
1968; pg. 22. Sweet (Fifer’s Delight),
1965/1981; pg. 24. Veteran VT139CD, Mark Bazeley &
Jason Rice – “Moor Music.”
X: 1
T:Major
Mackie's Jig
R:jig
M:6/8
L:1/8
Z:Transcribed
by Bruce Osborne
K:D
A|ABc
dcd|B2e e2d|c2a a^ga|f2d d2d|
ABc dcd|B2e
e2d|c2a gec|d3 d2:|
|:A|f2f
def|g3-g2g/f/|e2e cde|f3-f2A|
d2d def|g2B e2d|c2a gec|d3 d2:|
MAJOR MALLEY'S REEL. AKA and see "Major Molle."
MAJOR
MANSON’S FAREWELL TO CLASHANTRUSHAL. Scottish, March (2/4 time). A
Major. Standard tuning. AABB’CCDD’. Martin (Ceol
na Fidhle), vol. 4, 1991; pg. 44.
MAJOR McBEAN. Scottish, Strathspey. A Major. Standard tuning. AA'BB'. Stewart-Robertson
(The Athole Collection), 1884; pg.
24.
X:1
T:Major McBean
M:C|
L:1/8
R:Strathspey
B:Stewart-Robertson – The Athole Collection (1884)
Z:AK/Fiddler’s Companion
K:A
c|A2 c>A e>Ac>e|f>ef>a b<B B>c|A2 c>A e>Ac>e|1 f>dB>G A2 A:|2f<a B>G A2A||
d|c>AE>A c<A e>A|c>AE>A
B>B,B,>d|c>AE>A c<A e>c|1 f>dB>G A2A:|2 f<A B>G
A2A||
MAJOR McLEAN. Scottish, "Very slow" Strathspey. E Minor. Standard tuning.
AAB. "Communicated by Lady Elphinstone” (Gow), referring to Clementina
Fleming [1749-1822], who may in fact have composed the melody. According to J.
Murdoch Henderson, alternate titles were “Lothian
Lasses” and “Lady
Loughborough’s Reel,” although the tunes actually differ enough to be
called separate melodies. Carlin (The Gow
Collection), 1986; No. 597. Gow (Fifth Collection of Strathspey Reels),
1809; pgs. 16-17.
X:1
T:Major McLean
M:2/4
L:1/8
R:Strathspey
N:”Slow”
N:”Communicated by Lady Elphinstone.”
B:Gow – Fifth Collection of
Strathspey Reels (1809)
Z:AK/Fiddler’s Companion
K:Emin
E/D/|B,E “tr”E>F|{EF}G>F
E>D|(A,<D) “tr”D>E|{E}D>B, A,E/D/|(B<E) “tr”E>F|{A}G>F
GA|~B>c (B/A/)(G/F/)|GE E:||
G>B d>B|BG {G}d>G|FA
{^c}d>B|(A/G/)(F/E/) D>^D|E>B, (EF/G/)|F>B, ~(FG/A/)|GB
(AB/c/)|(B/A/)(G/F/) E>F|
~G>B dB|BG d>G|FA {^c}d>B|(A/G/)(F/E/) D>^D|E>B, (EF/G/)|F>B,
(F/G/A)|GB (A/B/c)|(B/A/){A}(G/>F/) E||
MAJOR MOLE. AKA and see "Major Molle."
MAJOR MOLLE. AKA ‑ "Major Malley's Reel," “Major Malley’s March,”
"Major Moll's Reel," "Major Mole." Scottish (originally),
Canadian, English; Strathspey ('Slow' indicated in Gow's version) or Highland
Schottische, Reel.
***
George Molle (1773-1823), of Mains, Berwickshire, began his
military career with the 94th regiment of foot in 1793, rising to
Captain by 1795. He was stationed in India and Egypt where he was an
Aide-de-Camp to General Sir Douglas Baird. He was wounded at the Battle of
Seringapatam. In 1803 he returned to England with dispatches from Marques
Wellesley, and it was at that time he came into contact with the Gows, for he
was promoted to Major, and, in 1804, removed to the 9th Regiment of
Foot. He served with that regiment for four years before being promoted to
Lieutenant Colonel in 1808. He next served in Germany and in Portugal and was
severely wounded at the Battle of Roleia (1808). Again, he invalided to England
to recover, but was back with the Regiment in the Peninsular Campaign and was
in action near Oporto. By 1809 the 9th Foot had been reduced and was
pulled from action, although Molle suffered another tragedy. His wife gave
birth to a son in Sicily, and the infant died the next year at Molle’s service
station, Gibraltar. George soldiered on and in 1813 became Lieutenant Colonel
of the 46th Foot, and the next year was brevetted to Colonel of the
regiment. George next found himself stationed with the regiment in the colony
of New South Wales, Australia, where, in 1814 he took the oath of office of
Lieutenant Governor. He and his wife were active in the public life there,
patrons of the Female Orphan School and members of the committee for the
Civilization, Care and Education of Aborigines. A Mason, Molle undertook to
establish a Lodge in the country. However, Molle was one of those who resisted
the integration of emancipists (convicts who had received condition or absolute
pardons) into the free society of the community. A tract of 500 acres was
granted to the Molles in 1817, which he named “Catherine Field” and he set
about developing the estate. George served as Magistrate for the region, and
ran the court from his home. However, Molle also had trouble in New South
Wales: he and his officers complained of high prices and asked Governor
Macquarie (and old friend who had served with Molle on Baird’s staff) for
higher pay. Relations between Macqurie and Molle continued to sour, helped
along by a printed lampoon of Molle in 1816 and accusations back and forth.
Macquarie’s recourse was to finally ask for the 46th to be relieved,
although, fortunately for him, the 48th arrived in August, 1817, as
scheduled, and the 46th Foot removed to Madras. It was there that
Molle died in September of 1823 at Belgaum. George’s son William Macquarie took
over operations of the property after his father left. Molle is remembered in
the region by the Molle Islands, in the Whitsundays, a part of the Great
Barrier Reef off Queensland; originally the Molle name was actually attached to a nearby deepwater
passage between them and the mainland called Port Molle. Another
member of the family (and namesake), a Captain George Molle, entered service in
the old regiment, the 9th Foot, and was killed at the age of 26 in
1845 at the Ballte of Ferozshah.
***
In
his brief return to England in 1803-1805 he must have come into contact with
Andrew Gow and perhaps other members of the family. It is noted in one of their
publications that the melody “Miss
Welch/Welsh” was communicated by the Major. The English novelist Thomas Hardy (who,
beside his literary accomplishments was also an accordion player and fiddler),
from the English
***
However, the occurrence seemed to have become known to few,
for it had not interrupted a fiddler who had lately begun playing
by the door of the tent, nor the four bowed old men with grim
countenances and walking‑sticks in hand, who were dancing
'Major Malley's Reel' to the tune.
***
The melody was known to Hardy as a
reel or country dance tune, for it appears in his family manuscript collection
of melodies used for dancing in
***
Battlefield Band (Forward with
Scotland’s Past), 1988; pg. 45. Carlin (The
Gow Collection), 1986; No. 273.
See also listing at: Alan Snyder’s Cape Breton Fiddle Recording
Index |
X:1
T:Major Molle
M:C|
L:1/8
R:Reel
B:Stewart-Robertson: The
Athole Collection (1884)
Z:AK/Fiddler’s Companion
K:Amin
c | Aeed cBA^G | Aeed c2B2 | Aee^f gfge | dBGB edcB :|
AE E/E/E cAB^G | AE E/E/E c2Bc | AE E/E/E cABd | BGGB d2cB |
AE E/E/E cAB^G | AE E/E/E c2Bc | Aee^f gfge| DBGB edcB ||
X:2
T:Major Molle’s (of the 9th Regt. of Foot) Reel
M:C
L:1/8
R:Reel
N:”This may be Played Slow”
C:Andrew Gow (1760-1803)
B:Gow – Fifth Collection of Strathspey Reels (1809)
Z:AK/Fiddler’s Companion
K:Bmin
B(ff>)e
dcB^A|B(ff>)e “tr”d2c2|B(ff>)^g (a/g/f/g/) af|ecAc {f}e2 dc:||
B>F F/F/F dBc^A|B>F F/F/F ~d2 cd|B>F F/F/F dBce|(cAA>)c {f}e2 dc|
B>F F/F/F dBc^A|B>F F/F/F ~d2 cd|Bff>^g (a/g/f/g/) af|ecAc {f}e2 dc||
X:3
T:Major Malley’s March
M:2/4
L:1/8
R:March
D:Battlefield Band, Home Is Where the Van Is
Z:Nigel Gatherer
K:Ddor
DA A>G|FE DC|DA A>G|F2E2|DA A>B|cA/B/ cA|G>E CE|G2 FE:||
D(A A)A/A/|FD EC|DA A/A/A|F2 EF|A(A A)A/A/|FD EF|G>E CE|G2 FE|
D(A A)A/A/|FD EC|DA A/A/A|F2 EF|DA A>B|cA/B/ cA|G>E CE|G2 FE||
MAJOR MONTGOMERY. Scottish. John Glen (1891) finds the earliest appearance of this tune
in print in Joshua Campbell's 1778 collection
(pg. 68).
MAJOR MORAN’S FAVORITE. Irish, Reel. G Major. Standard tuning. AABBCC. Treoir.
X:
1
T:
Major Moran's Favorite
S:
"Treoir"
M:
4/4
L:
1/8
R:
reel
Z:
Transcribed by Bill Black
K:
G
dc
|: B2 BG ABGE | DGBG AGED | B2 BA Bcde | dBAG EGDE :|
G3
F G2 BG | A3 G A2 BA | Bdgd Bcdc | AcBG AGED :|
Bdgd
Bdgd | egdg eg d2 | Bdgd Bdgd | egfa g4 :|
MAJOR O'FLASHETY'S
REEL. English.
MAJOR REED’S MARCH. American(?), March (4/4 time).
G Major. Standard tuning. AABB. The melody appears in the music manuscript
copybook of Henry Livingston, Jr.
X:1
T:Major Reed’s March
M:4/4
L:1/8
R:March
S:Henry Livingston’s manuscript
copybook, late 18th century
Z:AK/Fiddler’s Companion
K:G
d2 d>d d2c2|B2 B>B B2A2|G2
(3GAB A2 (3ABc|B4 z2 A<B|c2B2d2 c>B|
c2 (3cde d2c2|(3BAB (3cBA
G2A2|G6z2::d2 A>A A2B2|A>GAB A2B2|
c2B2A2G2|A4 z2 (3ABc|d2 B>c d2
e>c|d2 B>c d2 e>c|d>Bc>A (3BAG (3dcB|
B2A2G2D2|G2 (3GAB A2 (3ABc|dgfedc B2|A2 G6:|
MAJOR SHANLY. Irish, Planxty. G Minor. Standard tuning. AB. Composed by blind Irish
harper Turlough O'Carolan (1670-1738). Complete
Collection of Carolan's Irish Tunes, 1984; No. 160, pg. 108‑109.
MAJOR SPICE. English, Jig. G Major (Harding, Knowles): A Major (Cahusac). Standard
tuning. AABB. The melody (as “Major Spicer”) also appears in the Gentlemens Amusement No. 2, published in
X:1
T:Major Spicer’s Fancy
M:6/8
L:1/8
R:Jig
S:Ann Winnington’s music
manuscript book (no. 26), c. 1810
N:The frontispiece indicates
Winnington resided in
Z:AK/Fiddler’s Companion
K:Bb
f/e/
| d2d {f/}
A/B/ | c2c cde | fdB BAB | G2G GAB | Ac/B/A/G/ F2A/B/ | [c2e2][ce] [ce]de | f2d g2e | fdB BAB | d3 c2 ||
X:2
T:Major Spice
M:G
L:1/8
R:Jig
B:Harding’s All Round Collection, No. 85 (1905)
Z:AK/Fiddler’s Companion
K:G
d/c/|G2G GAG|d2B g2e|d2B BAB|AFD D2 d/c/|B2B BAB|d2B g2e|
dBG AGA|G2z G2::G|A2A ABc|d2B G2G|E2E EFG|
A2F D2 F/G/|A2A ABc|d2B g2e|dBG AGA|G2z G2:|
X:3
T:Major Spicer
M:6/8
L:1/8
R:Jig
B:WM Cahusac – Twenty Four Country Dances for the Year 1809, No. 1
N:”With proper Directions to each Dance as they are performed at
N:Court, Bath, and all Public Assemblys.”
Z:Transcribed and edited by Flynn Titford-Mock, 2007
Z:abc’s:AK/Fiddler’s Companion
K:A
e/d/|c2c dcd|e2c a2f|e2c AGA|{GA}B2G E2e/d/|c2c dcd|e2c a2f|
ecA {c}BAB|(A3 A2::G/A/|B2B Bcd|{cd}e2c A2 A/G/|F2F FGA|
{GA}B2G E2 G/A/|B2B Bcd|e2c a2f|ecA AGA|c3 B2:|
MAJOR STEWART. Scottish, Reel. G Major. Standard tuning. AABB'. Kerr (Merry Melodies), vol. 3; No. 58, pg. 8.
X:1
T:Major Stewart
M:C|
L:1/8
R:Reel
S:Kerr – Merry Melodies, vol. 3, No. 58
(c. 1880’s)
Z:AK/Fiddler’s Companion
K:G
G2g2(a/g/f)g2|dgBg dgBg|G2g2 (a/g/f)
g2|faAB cBcA:|
|: gaeg (dg)B2|gaeg fgaf|1 gaeg
(dg)B2|ABcd e2d2:|2 gefa egdg|caBg A2d2||
MAK A KISHIE NEEDLE,
DYE/DIE. Shetland, Shetland Reel. G Major.
Standard tuning. AABB. "'Dye' was an affectionate term for Grandfather on the West side of Shetland. A
Kishie is a form of straw basket which was woven using a wooden needle very
similar to a fishing‑net needle. So, the title can be interpreted as ‑‑
'Make a Kishie Needle, Grandad'" (
MAK YOU FAIN TO FOLLOW
ME. Shetlands,
MAKE A LITTLE BOAT. Old‑Time,
MAKE HASTE HOME TO YOUR
MOTHER. Irish, Air (6/8 time). E Minor.
Standard tuning. ABB. Source for notated version: "Paddy Conneeely, the
Galway Piper," via Forde. Joyce (Old
Irish Folk Music and Song), 1909; No. 467, pg. 260.
X:1
T:Make Haste Home to Your Mother
M:6/8
L:1/8
R:Song Air
S:Joyce – Old Irish Folk Music and Songs (1909)
Z:AK/Fiddler’s Companion
K:Emin
d | e2B B2A | B2E E2A | B2c A2F |
(G3 G2) || A | B2d e2f | g2e f2d | e2B Bcd | (e3 e2) ||
A | B2d e2f | g2e f2d | e2B Bcd |
e2f gfg | e2B B2A | B2E E2A | B2c A2F | (G3G2) ||
MAKE HASTE TO THE
WEDDING. AKA and see "Haste to the Wedding [1]."
MAKE ME A PALLET ON
YOUR FLOOR. Old‑Time, Blues Tune. The title
was recorded for the Library of Congress by musicologist/folklorist Vance
Randolph from
MAKE THE BED. Scottish, Reel. The melody appears in the Gillespie Manuscript of Perth, 1768.
MAKE YOUR BREAKFAST
EARLY. Irish, Reel.
MAKING BABIES BY STEAM. AKA and see “Daniel O’Connell,”
"Larry O'Gaff [1]." Irish, Air
and Jig. The title comes from a song by Johnnie McEvoy about the Irish
political hero Daniel O'Connell (1775-1847). O’Connell gave a speech on the
occasion of the debut of the first steam engine in
***
You lovers of mirth, I pray pay attention
And listen to what I am going to relate,
Concerning a couple I overheard talking
As I was returning late home from a wake.
As I looked around I espied an old woman
Who sat by a gap all a-minding her cow.
Or some other ditty I can't recall now,
She was jigging a tune called 'An Buachaillín Donn'
Or some other ditty I can't tell you now.
MAKING LOVE IN THE
COTTON ROWS. AKA and see "Faire l'Amour dans les
Rangs d' Coton."
MAKING
LOVE IN THE CHICKEN COOP/HEN HOUSE. AKA and see "Faire l'Amour dans
l'Poulailler."
MÁLA BEAG FATAÍ, AN (The Little Bag of Potatoes). AKA and see “The Little Bag of Potatoes.”
MÁLA FATAÍ, AN (The Bag of Potatoes). AKA and see “The Bag of Potatoes [2].”
MALAMUTE’S FANCY HORNPIPE. Irish, Hornpipe. G Major. Standard. AABB. Composed by
X:
1
T:
Malamute's Fancy Hornpipe
M:
4/4
L:
1/8
R:
hornpipe
C:
© B. Black
N:
“A malamute is a large wolf-like dog bred to pull sleds in
N:
privacy of their packs - especially during full moons - they also perform
N:
a strange ritual that the local people say resembles dancing. Malamutes
N:
seem to favor Kerry sets, but things get a little complicated sometimes
N:
because of the "2 feet human / 4 paws dog" discrepancy.”
K:
G
D
| GBBA BGEG | Bggf gdBd | cBAd BGFG | AGAB cAFD |
GBBA
BGEG | Bggf gdBG | EGAB cGEG | FADF G3 :|
A
| (3Bcd ef gfge | dBGB AGEF | GBdg afdf | gfge d2 dc |
(3Bcd
ef gfge | dBGB ABce | dgfg efge | dBcA G3 :|
MALBROU(C)K. AKA ‑ "Malbrook."
AKA and see "Marlbrough," "Marlbrouk,"
"Molly Brooks," "We Won't Go Home Until Morning."
French (originally), English; Jig. C Major. Standard. AABA. This is the tune
for the well-known songs "We Won't Go Home Till Morning" or "For
He's a Jolly Good Fellow." The title honors John Churchill, first Duke of
Marlborough, a famous military figure and intriguer during the reigns of three
monarchs; James II, Willaim III and Queen Anne. It was first printed by
Valleyre between 1762 and 1778, according to Fuld (1966), in a collection of
French street songs, Chansons,
Vaudevilles et Ariettes Choisis par Duchemin where it appears as "La
Mort de M. de Marlb'roug." It was a favorite of Marie Antoinette,
according to Kidson (1915) who learned it about 1781 from a peasant woman
called in to nurse her first child; by 1783 it had become fashionable and a
number of printings of "Marlbourouck," "Malbrouk,"
"Adir de Marlbourouck" and other variants occurred. Fuld also notes
the melody "Calino Casturame,"
which appears in the Fitzwilliam Virginal
Book, is quite similar. Several writers have speculated on earlier origins
for the tune. A famous legend has it that it was learned during the crusades in
X:1
M:6/8
L:1/8
K:G
G/A/ | B2B BAB | c3 BcB | A2A AGA |
B3 G2 G/A/ | B2B BAB |
c3 c2d | B2G A2B | G3 z2 :: B/c/ |
d2d e2e | d3z2 B/c/ | d2d e2e |
d3 z2G/A/ | B2B BAB | c3 BcB | A2A
AGA | B3 G2 G/A/ |
B2B BAB | c3 z2d | B2G A2B | G3 z2
:|
MALCOLM CURRIE. Scottish. The tune was written by William Gray, Pipe‑Major of the
2nd Battalion, Argyll and Sutherland Highlanders, during World War I. Flying Fish FF‑250, The Battlefield Band ‑
"Home is Where the Van Is" (1981).
MALCOLM DARE NOT MOVE (Cha 'N Fhaod Callum Caruchadh). Scottish, Reel. D Major. Standard
tuning. AABB. Editor Keith MacDonald arranged this tune as part of his “Skye
Set." MacDonald (The Skye Collection),
1887; pg. 184.
X:1
T:Malcolm Dare Not Move
T:Cha ‘n fhaod Callum caruchadh
M:C
L:1/8
R:Reel
S:MacDonald – Skye Collection (1887)
Z:AK/Fiddler’s Companion
K:D
A|(B/c/d) AG F2 AA|B/c/d AF
E2E2|B/c/d AG F2AA|{d}efed B2B:|
d|ABde feef|d2 A/A/A dAAB|AB de
fedf|efed B2A:|
MALCOLM FINLAY('S
REEL) {“Calum Fhionnlaith” or “Calum Fhionnlaid”}. AKA – “Calum Finlay.” AKA and see “Jerry Holland(’s Reel) [2],”
“Larry Downs' Reel.” Scottish,
Canadian; Reel.
X:1
T:Calum Fhionnlaith (Malcolm Finlay)
M:4/4
L:1/8
C:Traditional, arranged by Dan
Beaton
R:Reel
O:
B:The
K:E
c| BEGB EB bg| e/2e/2e fe gfec| BEGB
EB bg| fefg e/2e/2e :|
!g|: gebe gb eg| fefe c/2c/2c ce |1
gebe gb eg| fefg e/2e/2e eg:|
!|2 BEGB EB bg| fegf e/2e/2e||
MALCOLM MACPHAIL. Canadian, Pipe Reel (cut time).
MALCOLM MACPHEE. Canadian, Jig. A
Mixolydian. Standard tuning. AABBCCDD. Composed by
MALCOLM OF THE GLEN
[1] (Calum a'Ghlinne). Scottish, Slow Air (6/8 time). E
Flat Major. Standard tuning. AB. "The verses sung to this air contain the
representation of that sting which a reflecting mind must feel, when either
habitually addicted, or casually ensnared into a course of dissipation and
expense, prejudicial to the interests of his family. Malcolm of the Glen had an
only daughter, courted by many, and forsaken by an equal number. In moralizing
over his glass, to which he was, it would appear, addicted, he at length
discovers the fault his own, from a supposition that his purse was exhausted.
He then reveals for her advantage what he ahs to spare, and bestows due praise
on her beauty, and the propriety of her conduct, giving a hearty rub to those who
think themselves more rich and more prudent, who nevertheless will have
remaining to bear their expenses to the other world no more than Malcolm of the
Glen" (Fraser). Fraser (The Airs and
Melodies Peculiar to the Highlands of Scotland and the Isles), 1874; No.
229, pg. 93.
X:1
T:Malcolm of the Glen
T:Calum a’ Ghlinne
M:6/8
L:1/8
R:Slow Air
S:Fraser Collection (1874)
Z:AK/Fiddler’s Companion
K:Eb
E|B,CE E2G|B2e GF z/E/|CFG A2F|_d>ed cB z/G/|Bcd e>Bc|_d>ed cB z/e/|
BAG A>Bc|GeG FEC|B,CE E2||E|GEF E>FG|BGe GFE|AFG A>GF|
d>ed c/B z/G/|Bcd e>Bc|_d>ed cB z/e/|BAG A>Bc|BeG FEC|B,CE E2||
MALCOLM OF THE GLEN [2] (Calum a
ghlinne). Scottish, Air
(6/8 time). F Major. Standard tuning. One part. Morison (Highland
Airs and Quicksteps, vol. 2), c. 1882; No. 18, pg. 9.
X:1
T:Malcolm of the Glen [2]
T:Calum a ghlinne
M:6/8
L:1/8
R:Air
N:”Briskly”
S:Morison – Highland Airs and Quicksteps, vol. 2, No. 18 (c. 1882)
Z:AK/Fiddler’s Companion
K:F
CCD FFA | c2f AGF | DGG A2c | f2f
d>cc | cdf f2c | def dcA | GAc def | dcA GAF | DCD F3 ||
MALCOLM ON A SPREE. See “Tha’n Daorach Air Calum.”
MALCOLM’S JIG. AKA and see “Driving the Steers.”
MALCOLM’S NEW FIDDLE. Canadian, Jig. Canada, Cape Breton. E Major. Standard tuning. AABB.
Composed by fiddler Jerry Holland (Inverness, Cape Breton). Cranford (Jerry Holland’s), 1995; No. 247, pg. 71.
MALCOLM’S WEDDING. AKA and see “Sleepy Maggy/Maggie.”
MALINDY. AKA and see “Old Melinda.”
MALL PEATLY. AKA and see "Moll Pately,"
"The Old Marinett,"
"Gillean of Croydon."
English, Country Dance Tune (6/8 time). A Minor (Chappell): D Minor (Barnes,
Sharp). Standard tuning. AAB (Chappell): ABB (Sharp): AABB (Barnes). The air
appears in Bellerophon, of Lust tot
Wyshed (Amsterdam, 1622), Playford's Dancing
Master (1665) and Apollo's Banquet.
Thomas D'Urfey wrote a song to the tune called "Gilliam of Croydon,"
and it appears under this title in several ballad operas of the 1730's. Barnes
(English Country Dance Tunes), 1986.
Chappell (Popular Music of the Olden Time),
vol. 1, 1959; pg. 278. Sharp (Country
Dance Tunes), 1909/1994; pg. 66.
X:1
T:Mall Peatly
M:6/8
L:1/8
S:Sharp – Country Dance Tunes (1909)
Z:AK/Fiddler’s Companion
K:Dmin
z | (d3f3) | (A2B c>BA) | (d2e
f>gf | e2d d3) |
(d3f3 | A2B c>BA) | (d2e f>gf
| e2d d2) ||
|: (e | f>gf cAF | f3) (de^f |
g>ag edc | g2 f/e/ d2) (e \ f2g a2)(A |
^c2A a2) (A | ^c2A f2)g | (a>gf
e>d^c | d3 d2) :|
MALL RUA (Red-Haired Moll). AKA and see "B'fhearr liomsa ainnir gan
guna," "Come under my
Dimity," "Ditherum Doodle,”
"Her Blue
eyes they gleam and they twinkle," "I'll take a glass with a
friend," "Jig an dá
Thuistiún," "Late
on a Saturday Night," "Moll
Roe{‘s} [1]," "Moll
Roe in the Morning," "Munsterman's
Flattery," "The Night of
the Fun [3]," "One
Bumper at Parting," "Though
late was I plump." Irish, Single Jig. E Minor. Standard tuning. AA'B.
Breathnach (1985) reports that Clare folklore has it that Mall Rua (Mall Roe)
killed “three or four” of her husbands. Mall was red-haired, and thus the
appellation ‘rua’ or red and was proprietress of Leimneach Castle in north
Clare, an edifice which still stands. The ‘castle’ is actually a
seventeenth-century mansion grafted onto a fifteenth-century tower. The mansion
part was probably begun in 1639 when its owner, Conor O'Brien, married the
famous Maire Ruadh, 'Red Mary', daughter of Sir Tirlogh McMahon. This was the second marriage for Mary, and
it lasted some twelve years until, in 1651, Conor was killed by troops under
Cromwell who had been sent to besiege Leamaneh. The story goes that when his
body was brought home by his retainers, Mary refused to admit them, declaring
“We need no dead men here.” It seems she felt a live lord was the best
protection for her and her infant son, and since the Cromwellian forces were in
the ascendance, she betook herself to Limerick to find a husband among her
former husband’s foes. In this she was successful, and her next husband was a
Cornet named John Cooper. Unfortunately for Cooper, he had occasion to
disparage his matrimonial predecessor, Conor O’Brien, and Mary, furious at the
slight, threw him out an upstairs window where he plummeted to his death.
Cooper perhaps had some inkling as to her temper (and his peril), for other
stories about Mary relate that she hung servants from the corbels of the
castle—men by the neck and women by the hair. She kept a famous blind stallion
who was so fierce that the grooms had to hide in specially constructed niches
when they let him out of his stall. Caoimhin Mac Aoidh reports that she was the
target of a curse due to her many offences which foretold that she would
"die roaring with her legs in the air". This damnation was fulfilled
when she was thrown from her horse into a broken tree trunk. Mac Aoidh says he
heard older people in Clare use this curse verbatim in a joking manner. Several
songs were written to the tune; see Breathnach’s note in CRE II. Source for notated version: whistle player Art O'Keefe,
1960 (Co. Kerry, Ireland) [Breathnach]. Breathnach (CRE II), 1976; No. 93, pg. 48.
MALL SIMS. AKA ‑ "Mall Simme." AKA and see "English Echo." English, Country Dance
Air (4/4 time). D Minor (Raven): D Dorian (Chappell). Standard tuning. One part
(Raven): AABC (Chappell). The title refers to an unknown lady {Mall=Moll(y)}.
The tune was apparently originally a harp tune, according to Robin Williamson,
and appears in the Skene Manuscript
of c. 1615. Chappell (1859) finds it in the Fitzwilliam
Virginal Book, Rossiter's Consort
Lessons (1599), Vallet's Secret des
Muses (1615), Nederlandtsche Gedenck‑Clank
(1626), and Camphuysen's Stichtelycke
Rymen (1647). Samuel Bayard (in his article “A Miscellany of Tune Notes,” Studies in Folklore, pg. 171) finds a
“good and distinctive, but unmistakable” set of the tune under the title “The
Beckoning Fair One” in Edward Jones’s Musical
and Poetical Relicks of the Welsh Bards (2nd edition, London,
1794). See also the variant “Wanton Season.”
Chappell (Popular Music of the Olden Time),
vol. 1, 1859; pg. 261. Raven (English
Country Dance Tunes), 1984; pg. 12. Flying Fish,
Robin Williamson ‑ "Legacy of the Scottish Harpers, vol. 2."
X:1
T:Mall Sims
M:C
L:1/8
S:Chappell – Popular Music of the Olden Times
(1859)
Z:AK/Fiddler’s Companion
K:D Dorian
A4f4 | edcB A2a2 | g2f2e2d2 | ^c2A2
A4 |
f2d2e2A2 | G2F2E2D2 | A2d2d2^c2 | d8
:|
fga2 ef g2 | dfed ^c2A2 | FG A2 EF
G2 | DFED ^C2A,2 ||
DEFG AF D2 | (A4 A4) | FGA_B cA F2 |
(c4 c4) |
d^cde fefd | efed ^cB A2 | B^c d2 d2
^c2 | d8 ||
MALLARD, THE. Scottish, Clog or Hornpipe. B Flat Major.
Standard tuning. AB. The tune was composed in 1926 by Aberdeenshire fiddler and
composer J. Murdoch Henderson (1902-1972), dedicated to E. Calder, Aberdeen.
Source for notated version: Winston Fitzgerald (Cape Breton) [Cranford].
Cranford (Winston Fitzgerald), 1997;
No. 18, pg. 7. Henderson (Flowers of
Scottish Melody), 1935.
MALLOW. Irish?, Reel. G Dorian. Standard tuning. AAB. Hardings All-Round Collection, 1905; No. 141, pg. 44.
X:1
T:Mallow
M:2/4
L:1/8
R:Reel
B:Harding’s All-Round Collection,
No. 141 (1905)
Z:AK/Fiddler’s Companion
K:G Minor
(D/G/).G/^.F/ GG/A/|(B/c/).d/=.e/
fe/f/|cA/F/ (=B/c/)A/F/|F/A/c/=e/ fe/f/|
(D/G/).G/^.F/ GG/A/|(B/c/).d/=.e/
fe/f/|g(f/d/) (c/A/).A/.B/|A/GA/ Gz:|
|:[dg] [d2g2] a/g/|f/e/c/A/
cd/=e/|[df][d2f2] d/c/|d/c/A/F/ A/c/d/f/|
[dg] [d2g2] a/g/|f/d/c/A/
cd/=e/|f/=e/f/g/ f/g/f/d/|c/A/.G/.G/ .Gz||
MALLOY'S FAVORITE (Rogha Uí Mhaolmhuaidh). AKA and see “Mulloy’s Reel,” "Molloy's Favourite [2]."
Irish, Reel. G Major. Standard tuning. AABBCC. Breathnach (1985) notes the tune
is related to “Colonel Fraser,” one
of a family of tunes including “Green
Fields of Ireland.” See also John Doherty’s “The Cameronian” (“The Old Cameronian”) and “The Mother’s Delight,” both related
tunes. Source for notated version: fiddler Michael Coleman (County Sligo,
Ireland/New York) [Breathnach]. Breathnach (CRÉ
III), 1985; No. 148, pg. 69. Feldman & O’Doherty (Northern Fiddler), 1979; pg. 167. Shanachie
Records, "The Classic Recordings of Michael Coleman."
MALONE BAY. Canadian, Jig. Canada, Cape Breton. G Major. Standard tuning. AABB.
Composed by Robert Joudrey.
X:1
T:
M:6/8
L:1/8
Q:100
S:(from the playing of Natalie
MacMaster)
D:Natalie MacMaster, "A
Compliation",1996, Warner Music Canada CD 1656
Z:W. Armstrong, Jan-98
G,2B, D2G|B2B BAG|A,2B, C2E|
A2A cBA|D2F A2d|f2f gfe|ded cBA|
[1BGE D3:|[2 BGE G3 |:
gdB G2B|D3 D3|gdB G2B|A3 A2B |cBA
DFA|f2f gfe|
[1 ded cBA|BGED2z:|[2 dcd fef| agf
g3|]
MALONEY’S. Irish, Single Jig. The tune is
associated with piper Joe Kilmurray (Ballallen, Ballinacarrigy, Co. Westmeath).
It appears in the Stephen Grier (south Leitrim) manuscript of 1883 under the
“Maloney’s” title, and a version was noted in 1973 from the lilting of piper
Kilmurray’s brother, Jim. Drumlin Records BMNCD2, Brian
McNamara – “Fort of the Jewels” (2004).
MALONEY'S FANCY. AKA and see “Biddy Maloney,” “Malowney’s Wife.” Irish, Jig. D Major.
Standard tuning. AABBCC. Cole (1000
Fiddle Tunes), 1940; pg. 61. Ryan’s Mammoth Collection, 1883; pg.
MALOWNEY'S/MALONEY'S
WIFE (Bean-Ceile Ui
Maoileoin). AKA
and see “Bashful Maid,” “Biddy Maloney,” “Maloney’s
Fancy,” “Mellonie’s Jig,” “Miss Ommany’s Reel,” “Paddy in
London,” “What do you think
of her now?” Irish, Double Jig. D Major. Standard tuning. AABBCC (Flaherty,
Harker/Rafferty, Kennedy, O'Neill): AABB'CC (
See also listings at: Jane Keefer’s Folk
Music Index: An Index to Recorded Sources Alan Ng’s Irishtune.info |
X:1
T:Maloney’s Wife
L:1/8
R:Jig
S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 11
Z:AK/Fiddler’s Companion
K:D
A/G/|F2A AFA|AFA AFD|GBG FGA|BGE E2 A/G/|
F2A AFA|AFA d2A|Bcd Afd|AFD D2:|
|:d|ecA Bcd|ecA AGF|GBG FGA|BGE
E2d|ecA Bcd|ecA d2A|Bcd Afd|AFD D2:|
|:f/g/|afa gfe|fed cBA|BdB AFA|BGE
E2 f/g/|afa gfe|fed cBA|BdB Afd|AFD D2:|
X:2
T:Mullowney’s Jigg with Variations
M:6/8
L:18
R:Jig
S:O’Farrell – National Irish Music for the Union Pipes (1804)
Z:AK/Fiddler’s Companion
K:D
AG | FGA AFA | AFA AFA | BGG AGF | BGE
E{F}GE | FGA AFA |
AFA d2A | B/c/dB AFd | AFD D2 ::
c/d/ | ecA AcA | ecA d2A | GBG FGA |
BGE E2 c/d/ | ecA dfa | gfe d2A |
dcB AFd | AFD D2 || f/g/ | a3g3 | fed cBA |
GBG FGA | BGE E2 f/g/ | agf gbg |
fed cBA | dcB AFd | AFD D2 :: f |
Af/g/a/f/ d2f | af/g/a/f/ d2g |
bgf/g/ e2g | bgf/g/ e2f | af/g/a/f/ bgg | af/g/a/f/ d2A |
B/c/dB AFd | AFD D2 :: A | d/e/dc
dAF | d/e/dc dAF | GBG FGA | BGE E2A |
d/e/dc dAF | d/e/dc dAF | dcd efg |
fdd d2 :: g | f/g/ab afd | fdf/g/ afd | g2d f2d |
eBe efg | f/g/ab afd | fdf/g/ afd |
gfg eag | fdd d2 :: g | fdf ece | dcB AGF |
GBG FGA | BGE E2g | fdf ece | dcB
AGF | B/c/dB AFd | AFD D2 :|
MALTMAN (COMES A/ON
MONDAY), THE. AKA and see "Sir Roger de Coverley," "Old (Sir) Roger a Coverdill."
Scottish, English; Country Dance Tune (9/8 time). G Major (Bremner, Gow): D
Major (Johnson): B Flat Major (Knowles). Standard or Scordatura (ADae) tuning
(fiddle). AABBCC (Bremner, Gow): AABBCCDDEEFFGGHH (Knowles):
AABBCCDDEEFFGGHHIIJJKKLL‑‑‑ MMNNOOPPQQRRSSTTUU (Johnson
{theme and variations}). A version of the seventeenth century country dance
"Sir Roger de Coverly." The title comes from the first line of Allan
Ramsay's words to the tune, published in his Tea‑Table Miscellany (Vol. 3, 1723); a maltman is one whose
trade is to make malts e.g. for brewing. The tune appears in the Drummond Castle Manuscript (in the
possession of the Earl of Ancaster at Drummond Castle), inscribed "A Collection
of Country Dances written for the use of his Grace the Duke of Perth by Dav.
Young, 1734," and in Robert
Bremner's 1757 collection (p. 47). It was also included in the 1840 music
manuscript of Waverton, Cumbria, musician John Rook (p. 189). Source for
notated version: Bremner's 1759 Scots
Tunes, pg. 18. Bremner (Scots Reels),
c. 1757; p. 47. Carlin (Gow Collection),
1986; No. 462. Gow (Complete Repository),
Part 2, 1802; p. 17. Johnson (Scottish
Fiddle Music in the 18th Century), 1984; No. 33, pp. 89‑91. Knowles (A Northern Lass), 1995; p. 22.
X:1
T:Maltman, The
M:9/8
L:1/8
S:Gow – 2nd Repository (1802)
Z:AK/Fiddler’s Companion
K:G
D|E/F/GG G2g dBG|F2(A A)EA
F2D|E/F/GG G2g def|g2(G G>)AG G2:|
|:c|Bcd efg dBG|F2(A A)EA F2D|dBd
ece def|g2G GAG G2:|
|:(d2/e/2f/)|g3 f2e dBG| F2(A
A)EA F2D|gag f2e def|g2(G G)AG G2:|
MALT'S COME DOWN. English, Air (6/2 time). G Mixolydian. Standard tuning. AA. The tune
dates back to the 16th century, and appears in a setting by the English
composer William Byrd in the Fitzwilliam
Virginal Book (No. CL), and in Deuteromelia
(1609). Chappell (Popular Music of the
Olden Time), Vol. 1, 1859; pg. 151.
MALVINA. English, Reel. A Major. Standard tuning. AABBCC. Source for notated
version: a c. 1847 music manuscript book by Ellis Knowles, a musician from
Radcliffe, Lancashire, England [Plain Brown Tune Book]. Plain Brown
Tune Book, 1997; pg. 50.
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