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] |
MAR CAITTEAR AN
t-AIRGEAD.
AKA and see "How the Money Goes."
X:1
T:
M:C
L:1/8
R:Air
N:”Slow and bold”
S:Skinner – Harp and Claymore (1904)
Z:AK/Fiddler’s Companion
K:E
B,>E G<E B<E ({d}e2) |
c>e B>e c<F ({G/F/^E/}F>)G | B,>E G<E B<E ({d}e2) |1
({A,/E/}c>)e B>e G<E
({F/E/D/}E) z :|| ({A,/E/}c>)e B>e G<E ({F/E/D/}E) a ||
(g>e b>e {d’}e’>b g>e) |
(d>Bf>d a>fd>B) | (g>eb>e e’>bg>e) |
(ab/c’/) f>b ({g/a/}g>)e (eb)
| (g/f/e) b>g (3.c’.b.g (3.e.B.G | d/c/B (f>d) (3afd (3.B.A.F |
((3BEG) ((3Bdg) ((3bge) e’>d’ |
(c’>e’) (b>e’) ({g/a/}g>)e [G2B2e2] ||
MAR HILLS STRATHSPEY. Scottish, Strathspey. G Major. Standard
tuning. AABB. Composed by Kirkmichael, Perthshire, fiddler Robert Petrie. Petrie (Collection of Strathspey Reels and Country
Dances), 1790; pg. 8.
X:1
T:Marr
Hills Strathspey
C:Robert
Petrie
S:Petrie's
Collection of Strathspey Reels and Country Dances &c., 1790
Z:Steve
Wyrick <sjwyrick'at'astound'dot'net>,
N:Petrie's First Collection, page 8
L:1/8
M:C
R:Strathspey
K:G
"^Slow"
g|
GB/c/ d>B e>g{e}d{c}B | G>Bd>B (e/d/c/B/) A>B| G>Bd>B
eg/f/ g>d | (e/f/e/f/) (a/g/f/e/)
dBB :|
f
| (g/f/g/a/) ge d>gd<B |
g>ag<e d<BB>d | (g/f/g/a/) g>e d>eg>a | (g/f/g/a/) g<e d<BB :|
MARACAIBO REEL, THE. Irish, Reel. E Minor. Standard. AABB. Composed
by Chicago tin whistle player Johnny Harling, who (explains Bill Black) was
watching a pirate movie at the time this tune came into his head. The pirates’
ship was headed for Lake Maracaibo, Venuzuela, and hence the title. Black (Music’s the Very Best Thing), 1996; No.
273, pg. 147.
X:1
T: The
C: Johnny Harling
Q: 350
R: reel
Z:Transcribed by Bill Black
M: 4/4
L: 1/8
K: G
B/d/ | e3 d efge | aged B3 G | E3 F G3 A | BedB A2 (3Bcd |
e3 d efge | aged B3 G | E3 F GBdB | AGED E3 :|
F | D3 E FGAF | GFED EFGA | Be e2 fd d2 | gfed e3 d |
B3
A GBdB | A3 G FADA | EB B2 GBdB | AGED E3 :|
MARBHNA LUIMNÍ. Irish, Slow Air (4/4 time). G Major/Mixolydian. Standard tuning. One
part. A popular air first printed in Neale's A Collection of the Most Celebrated Irish Tunes (Dublin, 1726). Ó
Canainn (Traditional Slow Airs of Ireland),
1995; No. 112, pg. 95.
MARBLE HILL. Canadian, Jig. Canada, Cape Breton. D Major. Standard tuning. AABB’.
Composed by Cape Breton fiddler and composer Dan R. MacDonald (1911-1976).
Cameron (Trip to Windsor), 1994; pg.
51.
MARCAC AG AN AONAC, AN. AKA and see "The
Jockey at the Fair."
MARCEL AUCOIN. Canadian, Jig. Canada, Cape Breton. B Minor. Standard tuning. AABBAACC.
Composed by fiddler Jerry Holland (Inverness, Cape Breton). Cranford (Jerry Holland’s), 1995; No. 214, pg. 62.
MARCEL MARTIN. American, Reel. E Major. Standard tuning. AABB. Composed by William
Welling (Averill Park, New York) who told Susan Songer (Portland Collection) that Marcel Martin was his tough boss of long ago,
when a young Welling was employed as a dishwasher. “I wrote this tune to get
over my dislike of him,” quotes Songer. Welling is the author of The Hartford Collection. Songer (Portland Collection), 1997; pg. 129. Great Meadow Music GMM 2002, Rodney Miller & David
Surette – “New Leaf” (2000).
MARCEL MESSERVIER. French-Canadian, Jig. D Major. Standard
tuning. AA’BB’CCDD.
X:1
T:Marcel Messervier
M:6/8
L:1/8
K:D
F2B BcB | F2B BcB | E2A ABA | cAB cde | f2B BcB | f2B Bde | fgf edc |1 B6 :||2 B3A3 ||
DFA fed | cBc B2A | fed ceg | bag fdA | DFA fed | cBc B2A | fed cba |1 gBc d3:||2 gBc dcd ||
efe edc | e3 Acd | efe dcB | B2A Acd | efe edc | e3 Acd | efe B2c | d6 :|| DFA DFA | BAF D3 |
DFA
DFA | BAF E3 | DFA DFA | BAF D3 | DFA cBA | GFE D3 :||
MARCH, BOYS, MARCH. AKA and see "The Merry
Bagpipes."
MARCH FOR DIDACE. Canadian, Pipe March (cut time). Canada, Cape Breton. A
Major/Mixolydian. AABBCCDD’. A ‘double-tonic’ tune composed by Inverness, Cape
Breton, fiddler Jerry Holland. Cranford (Jerry
Holland’s), 1995; No. 7, pg. 3.
MARCH FOR THE 3rd
REGT. OF FOOT, LORD
AMHERST’S. English, March. Composed by General John
Reid (1721-1807), a Scottish musician and military figure who served in America
during the Revolutionary War under Lord Jeffrey Amherst. The march was printed
in Reid’s Set of Marches for two
clariments, hautboys, or German flues, two horns & a bassoon (London,
1778). The piece was reprinted (without the horn parts) in a publication called
Martial Music (Albany, 1807),
compiled by Timothy Olmstead, a Connecticut psalmodist and composer who had
also been a Connecticut fifer during the war. Raoul Camus believes Olmstead’s
publication is essentially military music from the Revolutionary War era. New World Records 80276-2, “Music of the American
Revolution: The Birth of Liberty.”
MARCH FOR THE 76th
REGT. LORD MACDONALD’S HIGHLANDERS.
AKA and see “Lord
Macdonald’s Highlanders.”
MARCH FROM NEWARK No. 42.
English, March. D Major. Standard. AABBCCDD. Gibbons originally set the
tune in the key of F major in his 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; pgs. 36-37 (set for two instruments).
MARCH
FROM OSCAR AND MALVINA. AKA and see "Leslie's/Lesley's March [1],"
"Duplin House," "Blue Bonnets [2]." Irish (?),
March (6/8 time). D Major. Standard. AABBCC. Composed (as part of a Rondo) by
William Reeve and published in London, England in 1791, scored for harp and
uilleann pipes. The opera Oscar and
Malvina, or the Hall of Fingal, was
a long-running pantomime staged several times in London in the last decade of
the 18th century into the early years of the next. It featured for a
few years the playing of uilleann piper O’Farrell (whose first name is not
known, but may have been Patrick), whose tutor and collections of music are
important snapshots of the historical repertoire of the times. O’Farrell
(Pocket Companion, vol. 1), c. 1805;
pgs. 46 (appears as “Highland March in Oscar and Malvina”). Claddagh CC30, The Chieftains ‑ "Boil the Breakfast
Early" (1979). Shanachie 78002, “Solas” (1996).
X:1
M:6/8
L:1/8
R:March
S:O’Farrell – Pocket Companion, vol. 1 (c. 1805)
Z:AK/Fiddler’s Companion
K:D
d3d3 | dcB ABc | dcB AGF | F/G/AF E2D | e3e3 | fed eag | fed dAB |
d>ef/g/ e2d :: fdd eAA | fed eAA | gee fBB | ga/g/f/e/ fBB | fdd eAA |
fg/f/e/d/ ebg | fed dAB | d>ef/g/ e2d :: dfa dfa | dfa agf | egb egb | egb bge |
dfa
dfa | dfa a2g | fed dAB | d>ef/g/ e2d :|
MARCH HARE, THE. English, Jig. D Major. Standard tuning. AABB.
Raven (English Country Dance Tunes),
1984; pg. 122.
X:1
T:March Hare, The
M:6/8
L:1/8
R:Jig
K:D
A/G/ | FAA BAA | dAA BAA | FAA dfe |
edB B2 A/G/ | FAA BAA |
dAA BAA dff afe | dBB B2 :: f | fbb
faa | fbb afe | fbb faa |
fga gfe | fbb faa | fbb afe | def
afe | dBB B2 :|
MARCH IN BLUEBEARD. AKA – “Blue Beard’s March.”
English, March. D Major. Standard tuning. AABA. A popular march from the period
opera Bluebeard, based on the fairy
tale of a famous nobleman and his over-curious wife. The original story was
written by Charles Perrault and first published in 1698, and it was turned into
an opera by Grétry called Barbe Bleue.
Michael Kelly saw a production in Paris in 1790 and paid Colman to make a
libretto out of it in which the villain became Turkish rather than French. When
Blue Beard, or Female Curiosity was
staged in 1801 at the Theatre Royal, Drury Lane, reviews were mixed but it
proved popular with audiences. It employed an impressive grand cavalcade across
mountains, which used model figures and animals growing larger at each
successive appearance. Boys were also hired for the cast to preserve the
perspective. It was revived at Covent Garder in 1811, when 16 white performing
horses were used, “to thunders of applause.” Kelly himself acted in the play
and told this amusing story:
***
At the end of the piece, when Blue Beard is slain by Selim, a most
ludicrous scene
took place. Where Blue Beard sinks under the stage, a skeleton rises,
which when
seen by the audience was to sink down again; but not one inch would the
said
skeleton move. I, who had just been killing Blue Beard, totally
forgetting where I
was, ran up with my drawn sabre, and pummelled the poor skeleton’s head
with
all my might, vociferating, until he disappeared, loud enough to be
heard by the
whole house, “(Damn) you, why don’t you do down?” The audience were in
roars
of laughter at this ridiculous scene, but good-naturedly appeared to
enter into the
feelings of an infuriated composer. (quoted
in the New York Times Sept., 23,
1877)
***
“March from Blue Beard” was immensely
popular from the beginning of the 19th century, for it appears in a
number of musicians’ copybooks and manuscripts, including those of James
Haslingden (from the south or Midlands of England), dated 1827, and an
anonymous Staffordshire musician’s manuscript, dated 1820. In America, it
appears in the music manuscript copybooks of Morris Woodruff (1803, Litchfield,
Conn., as “The Blue Bards March, or Female Curiosity”), John Beach (1801-1825,
Gloucester, Mass.), Daniel Henry Huntington (Onondaga, N.Y., 1817), George
White (Cherry Valley, N.Y., c. 1790-1830), Joel Allen (1800-1817, Southington,
Ct.), and the Bellamy Band (Hamden, Ct., 1799-1804). In print it can be found
in Edward Riley’s Flute Melodies (New
York, 1814-1816), P.H. Munson’s Figures
of the Newest and Most Fashionable Country Dances (Hudson, N.Y., 1808) and
in the various editions of Alvan Robinson’s Massachusetts
Collection of Martial Musick (1818-1826), to name just a few. One of the
oddest instances 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 by which the men could exercise (i.e. by dancing).
“March in Bluebeard” was one of eight tunes on barrel no. 4. This tune may be
the “Slow March in Bluebeard” that was included in 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 Montreal 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. The tune was set in the key
of ‘C’ in Lincolnshire musician Gibbons’ original manuscript. 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].
Callaghan (Hardcore English), 2007;
pg. . 42. Sumner (Lincolnshire
Collections, vol. 1: The Joshua Gibbons Manuscript), 1997; pg. 38 (set for
three instruments). Saydisc SDL 234, Parry’s Barrel
Organ (vol. 11 in the Golden Age of Mechanical Music).
X:1
T:March in Blue Beard
M:4/4
L:1/8
R:March
K:D
a3g f2e2|d4 e4|fefg a2 gf|eeee
e2z2|a3g f2e2|d4 e4|fefg f2e2|d2 d>d d4:|
|:e3d c2d2|e4 f4|gfga b2 gf|eeee
e2z2|e3d c2d2|e4 f4|e2d2c2B2|A2 A>A A2z2|
a3g f2e2|d4 e4|fefg a2 gf|e2 e>e
e2z2|a3g f2e2|d4 e4|fefg f2e2|d2 d>d d4:|
MARCH IN RINALDO (Handel). English, Air. Published by John Gay, The Beggar's Opera (1729). Raven (English Country Dance Tunes), 1984; pg
56.
MARCH IN SOLOMON. English, March (cut time). D
Major. Standard tuning. AABB. The air was included in the late 18th
century 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 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. The melody first appeared in George
Frideric Handel’s oratorio Solomon (1749), set in Biblical times. The melody
later in a several period publications, such as the 1768 James Gillispie violin
manuscript (Part 1, No. 11). Preston (Marches,
Airs & Minuets), 1804; pg. 96.
X:1
T:March in Solomon
M:C|
L:1/8
R:March
S:The late 18th century
copybook manuscript of Henry Livingston
Z:AK/Fiddler’s Companion
K:D
|: A>A | e4A4 | F3E D2d2 | edef
d2a2 | f3e defg | a2a2a2 gf |
g2g2g2 fe | f2 ed g2f2 | e6 ::
e>e | a4f4 | edef e2a2 | g2f2b2a2 |
g4f4 | d4A4 | dcde d2g2 | gefg
“tr”e4 | d6 :|
MARCH IN THE BATTLE OF
PRAGUE. AKA and see “Dow Everly [2].” English, March (4/4
time). D Major. Standard tuning. AABB. The
Battle of Prague is a sonata first published in Dublin around the year 1788
by Frantisek Kotzwara (1730-1791), a Czech expatriate who lived in London and
made his living as a virtuoso double-bass player working at the King’s Theatre.
The descriptive piece, which commemorates the Prussian victory over the
Austrians at Prague in 1757, is the only work of his to survive. Portions of it
were quite popular on both sides of the Atlantic in the late 18th/early
19th century. As if being a “virtuoso double-bass player” (how many
have there been?) was not enough claim to fame, he is also remembered (perhaps
in-famously) as the first recorded victim of autoerotic asphyxiation. It seems
that the 63 year old gentleman visited a brothel at Vine Street no. 5 in St.
Martin’s on the night of September 2nd, 1791. There he spent time in
the company of a prostitute named Susannah Hill, gave her two shillings for a
dinner of ham, beef, porter and brandy, and following their repast he requested
that she remove his testicles with a knife; which request she reasonably
refused. The musician then proceeded to secure a rope around a doorknob, kneel,
tie the other end around his neck, and, apparently while engaged in intercourse
with Ms. Hill, he strangled himself.
Hill was prosecuted for the musician’s murder, although in the end the
court found her testimony regarding the night plausible and acquitted her. The
court records were supposedly destroyed to prevent public scandal, but a secret
copy was made with an eye to future monetary gain—the copy is said to have been
preserved and kept at the Francis Countway Library of Medicine in Boston. At
the time the incident was whispered about, however, and a year after an
anonymous pamphlet was published called “Modern propensities; or, An Essay on
the Art of Strangeling, & c. Illustrated with Several Anecdoets. With Memoirs
of Susannah Hill, and a Summary of her Trial at the Old Bailey on Friday,
September 16, 1791, on the Charge of Hanging Francis Kotzwara, at her Lodgings
in Vine Street, on September 2” (J. Dowson, London, 1791).
***
Writer Mark Twain mentions the piece
in his book A Tramp Abroad, when he
writes of a salon organist who “turned on all the horrors of ‘The Battle of
Prague,’ that venerable shivaree, and waded in the blood of the slain
“***
Selections from The Battle of Prague were printed widely. The “March in the Battle
of Prague” was published in America by J.G.C. Schetky in Philadelphia in 1793.
The melody appears in numerous 19th century British musicians’
manuscripts, including those of Joshua Gibbons, John Clare and John Moore (see
below), and Rev. Robert Harrison (1820, Brampton, Cumbria), James Winder (1835,
Wyresdale, Lancashire), William Clarke (1858, Feltwell, Norfolk), John Fife (c.
1780 Perth, Scotland), James Haslingden (1827, Midlands or southern England),
William Hall Lister (mid-19th century, East Boldon, near Newcastle)
and the Tiller manuscript. Gibbons originally set the tune in the key of F
major in his ms. The melody may also be found in English musician John Clare's
c. 1818 ms. See also note for “Turk’s March
[1]” for more on Turkish music in Britain. Sources for notated versions:
the 1823-26 music ms. of papermaker and musician Joshua Gibbons (1778-1871, of
Tealby, near Market Rasen, Lincolnshire Wolds) [Sumner]; a c. 1837-1840 MS by
Shropshire musician John Moore [Ashman]; the John Clare manuscript (c. 1820,
Helpston, Northants) [Callaghan]. Ashman (The
Ironbridge Hornpipe), 1991; No. 15, pg. 2 (appears as “Grand March in the
Battle of Prague”). Callaghan (Hardcore
English), 2007; pg. 28. Sumner (Lincolnshire
Collections, vol. 1: The Joshua Gibbons Manuscript), 1997; pg. 39.
X:1
T:Battle of Prague. JC.008
M:C
L:1/8
Q:120
S:John Clare, Poet, Helpston
(1793-1864)
R:March
O:
A:Northamptonshire
Z:vmp:P.Headford
K:D
d2d>dd2e/d/c/B/|{B}A2A>AA2f>d|{c}B2g>e{d}c2e>c|d2d>dd2(fe)|!
e2cd ee(fe)|{e}d2Bc dded|{d}cB/c/
e/d/c/B/ A2^G2|A2A>A A2z:|!
|:A2A>B
c>de>f|g2e>gf2fg|afdd ~f>efd|e2A>AA2F>G|!
A2B>cd2f>d|{d}c2g>ef2
(3Adf|afdd fedc|d2d>dd2z:|]
MARCH
OF DONALD LORD OF THE ISLES TO THE BATTLE OF HARLAW (1411). AKA and see “Inverness Jig [2],”
“MacGregor Jig,” “Mac’s Fancy,” “O’Reilly’s
Jig,” “The Rover’s Return,” “The Victor’s Return.” Scottish, Jig. ABA’B.
MacDonald (The Gesto Collection).
MARCH OF ST. TIMOTHY. American, March (2/4 time). G Major. Standard tuning. AA'BB'. The tune
was written on Oct. 2nd, 1984, by dulcimer player Judi Morningstar
(White Lake, Michigan) of the Olde Michigan Ruffwater Stringband, and was named
for the church where the band played for over ten years at a dance sponsored by
the Detroit Country Dancers. Judi formally copyrighted the tune in 1985 “after
Steve Hickman, who plays in the Washington D.C. area, suggested it might became
a popular tune…The dancing ended at St. Timothy’s in Detroit when the group
moved out to the suburbs and eventually merged with the Oakland Traditional
Dance Society. The Olde Michigan Ruffwater Stringband still plays together and
just ended a 23 ½ year first Sunday dancing at beautiful Lovett Hall in
Greenfield Village, Dearborn Michigan” (private communication, 10/16/05).
Morningstar (Designer Music by Judache).
Morningstar (The Ruffwater Fakebook).
Songer (Portland Collection), 1997;
pg. 130. Front Hall FHR01, Bill Spence & Fennig’s
All Stars - “The Hammered Dulcimer” (1973). The Olde Michigan Ruffwater
Stringband – “Michigan Spring.” Just Friends – “Dulcimer Holiday.”
MARCH OF THE CAMERON
MEN. Scottish, March and Air (6/8 time).
D Major. Standard tuning. AB.
X:1
T:The March of the Cameron Men
C:Words and Melody by Mary M Campbell
B:Two Hundred and Twenty Popular Scottish Songs
Z:Nigel Gatherer
M:6/8
L:1/8
K:D
F>G|A>FA d>Af|f>ed d>cB|A>GF FED|E3-E2 F/G/|A>FA d>Af|e>dc d>cB|
A>FD E>FE|D4 || F>G|A2 D D2 D|EDE FDB|A>GF FED|E3-E2 A,|D>DD AAA|
dAF D2 A/A/|d>cd e>de|f3-f2 d/c/|B3-B2 c/d/|A3-A2 d/c/|d>AF E>FE|D3-D2|]
MARCH OF THE CLAN
SUIBHNE. Irish, March. Ireland, County
Donegal. A clan march collected in 1903 by Padraig Mac Aodh O’Neill from the
playing of Fanad, Donegal, fiddler Seaghan Mac Giolla Carr, who was over eighty
years of age at the time. Mac Aodh O’Neill published it in his Songs of Uladh Caoimhin Mac Aoidh (1994)
states it is clearly in pipe style and believes this dates the Donegal fiddle
tradition of imitating pipe music to the mid-1800's, at least.
MARCH OF THE CLANS. Irish, March (4/4 time). G Major. Standard tuning. ABC. O'Neill (O’Neill’s Irish Music), 1915/1987; No.
124, pg. 70.
X:1
T:March of the Clans
M:C
L:1/8
R:March
S:O’Neill – O’Neill’s Irish Music (1915)
Z:AK/Fiddler’s Companion
K:G
g2 g>e dB GG | BABd edef | f2
g>e dB GG | BABd e2 de/f/ | g2 g>e dB GG |
BABd edef | g2 g>e dB GG | BABd
e2d2 || GG/G/ GA/A/ Bdgd | gd d/e/d/c/ BAGD|
GG/G/ GA/A/ Bdgd | gd d/e/d/c/ BA G2
| GG/G/ GA/A/ Bdgd | gd d/e/d/c/ BA GD |
GG/G/ AA/A/ Bdgd | gd d/e/d/c/ BA G2
|| {ef}g2 b>a geeg | d>ddc BA G2 | {ef}g2 b>a ge a>g |
fdef g2g2 | {ef}g2 b>a ge eg |
d>ddc BA G2 | g2 b>a ge a>g | fdef g2g2 ||
MARCH OF THE DIE HARDS. AKA and see "Caledonian
March." Scottish, March. The tune commemorates the 57th Regiment
Scots. Bayard (1981) thinks it "especially close" to his
MARCH OF THE GAELIC ORDER, THE. Irish, March. Paddy O’Brien (et al) – “The Big Squeeze.”
MARCH OF THE KING OF
LAOIS. AKA - "The King of
Laois." AKA and see "Rory
O'Mo{o}re," "Rory of the
Hills." Irish, March (3/8 time). G Major. Standard tuning. AB. This
ancient melody has been associated with the O'Moore family and may have been
composed in praise of one Ruairi Og O Mordha, a head of the family during the
16th century and a famous Irish hero of the resistance to English colonization
of the time (Sean Mac Reamoinn). The name 'Laois' is pronounced 'lay-eesh'.
“March of the King of Laois” first appears in Bunting’s 2nd collection of 1809
set in 6/8 time with the title “Rory O Moor: King of Leixs March.” Phillipe
Varlet sees some resemblance to “The
Hurler’s March [2]” which Bunting obtained from the collector George Petrie
and printed in his next collection of 1840. Bulmer & Sharpley (Music from Ireland), Vol. 2, No. 81.
Johnson (The Kitchen Musician's
Occasional: Waltz, Air and Misc.), No. 1, 1991; pg. 13. June Appal 016, Malcolm Dalglish and Grey Larsen ‑
"Banish Misfortune." Kicking Mule 157, Duck Baker - "Irish Jigs,
Reels, Hornpipes and Airs.” Outlet 1019, The O’Brien Family - “Ulster Outcry”
(1974). RCA 09026-60916-2, The Chieftains - "An Irish Evening"
(1991). Shanachie 79023, "Chieftains 3" (1971/1982). Shanachie 97011,
Duck Baker - "Irish Reels, Jigs, Airs and Hornpipes" (1990. Learned
from a recording by Sean O'Riada). Paul Dooley - “Rip the Calico.”
X:1
T:March of the Kings of Laois
R:march
L:1/8
M:6/8
Z: Z:transcribed by
henrik.norbeck@mailbox.swipnet.se
K:Dmix
A2F A2D|A2F A2D|B2G A2F|G2F E>FG|
A2F A2D|A2F A2d|B2d A>dG|F>dF
E2D|F>ED G>FE|
A3 A>GF|E>cG E>CE|G>cG
E>CE|D>ED D>ED|D>ED D3:|
|:B2G d2G|B>AG d2G|A2d A2d|F2d
A>dA|
B2d d>BA|G>FG E>FG|F>ED
G>AB|A3 AGF|
E>cG E>CE|G>cG
E>CE|D>ED D>ED|D>ED D3:|
MARCH OF THE MEENATOITIN BULL.
AKA and see "The Inverness
Gathering." Irish, March (4/4 time) and Reel. A Mixolydian. Standard
tuning. AABBCC. Caoimhin Mac Aoidh (1994) notes piping influences in this
Donegal version (played as both a march and reel) of the Scottish tune
"The Inverness Gathering"). Source for notated version: fiddler John Doherty (1895-1980,
X:1
T:The March Of The Meenatoiteen Bull/The Drunken Piper
C:march
L:1/8
M:4/4
K:D
A2e2 A2BA | e2ef edBd | e2g2 G2GB | d2de dBGB |
d2e2 A2Bd | e2ef edBd | e2a2 gfed | eaed B2A2:|
A2e2 a3g | e2a2 edef | g2a2 G2GB | d2de dBGB |
d2e2 a3g | e2a2 edef | g2a2 gfed | eaed B2A2:|
A2e2 A2AA | eAAA cAAA | e2g2 G2GG | dGGG BAGB |
d2e2 A2AA | eAAA cAAA | e2a2 gfed | eaed B2A2:|
MARCH
OF THE MEN OF HARLECH (Gorhoffedd Gwyr
Harlech). AKA -
"Men of Harlech." Welsh, March (4/4 time). C Major. Standard tuning.
The music was first printed in Edward Jones' Musical and Poetical Relicks of the Welsh Bards, 2nd ed., 1794.
Later, in the 19th century, Welsh words were added to the tune by the poet John
Ceiriog Hughes and published in his 1890 volume Cant O Ganeuon (One Hundred Songs); an English translation followed
a few years later. The march was supposed by some to have been composed during
the Wars of the Roses, when Harlech Castle was besieged by the forces of Edward
IV during the years 1468-1469. The castle was a celebrated Welsh fortress,
having been built c. 530, and it is perhaps the oldest British fort whose
remains are still standing. Bayard (1981) found a southwestern
X:1
T:Gorhoffedd
Gwyr Harlech
T:March of
the Men of Harlech
M:C
L:1/8
S:Jones – Welsh Bards (1794)
Z:AK/Fiddler’s Companion
K:C
{C/E/G/}c>BAB
cdec|fedc BABG|{C/E/G/}c>BAB cdeg|g<e d>c c4:|
|:d>cB>c
dd z2|g>fe>f gg z2|g>fe>f g>fe>f|g>fe>f gg
ze|f>ag>g f>fe>e|
df/e/dc BABG|{C/E/G/}c>BAB cdeg|g<e d>c c4:|
MARCH OF THE MONTHS, THE. Irish, Air (6/8 time). G Minor. Standard
tuning. AB. Source for notated version: "...from the whistling of Joe Martin
of Kilfinane Co. Limerick, a rambling working man with a great knowledge of
Irish airs and songs, and much natural musical taste" (Joyce). Joyce (Old Irish Folk Music and Songs), 1909;
No. 183, pg. 91.
X:1
T:March of the Months
M:6/8
L:1/8
R:Air
N:”Mod. Time”
S:Joyce – Old Irish Folk Music and Songs (1909)
Z:AK/Fiddler’s Companion
K:Gmin
GA|B2c dBG|gec dBG|A2B cAF|fdB
cAF|B3 c3|dgg gab|fge dec|BGG G2||c|
d3 dec|dBG GAB|c3 cdB|cAF FGA|B3
c3|dgg gab|fge dec|BGG G2||
MARCH
OF THE THIRD REGIMENT OF GUARDS. AKA and see "Scotch Hornpipe [1]." Scottish,
March. The "London March" uses
one strain of this tune. Aird (Selections), 1788, vol. 3, No. 593.
MARCH OF THE
THIRTY-FIFTH REGIMENT.
English, American; March. The melody appears in George Willig’s Compleat Tutor for the Fife. (in liner
notes to the New Work Records recording) says it is a march in binary form but
opines that it is long and rather crude. “Though binary in form…it has a
somewhat distinct middle section, complete with a full cadence in the relative
minor.” New
World Records 80276-2, “Music of the American Revolution: The Birth of
Liberty.”
MARCH OF THE TRIBES TO
GALWAY. AKA and see "Road to Lisdoonvarna [2],"
"Sarsfield March," "All the Ways to Galway [1],"
"The Galway Girls," “High Way to Galloway,” "Slash away the Pressing Gang."
MARCH OF THE
VOLUNTEERS (Mairseal Na
h-Oglac).
Irish, March. D Major. Standard tuning. AAB. Roche Collection, 1982, vol. 3; No. 209, pg. 80.
MARCH OF THE WORKERS (Life in the City). Scottish, Jig. Composed by Billy (William)
Jackson as part of his piece “Wellpark Suite,” commissioned by Tennent's in
honor of the centenary of their Wellpark brewery in Glasgow. A recording of the
work was released in 1985 featuring members of Ossian (of which Jackson had
been a member) and The Easy Club.
MARCH PAST. AKA and see “Din Tarrant’s [6],"
“Wha Saw the Forty Twa,” “Wha
Saw the Forty Second?,” “Wha
Wadna Fecht for Charlie,” Scottish, March. John Kirkpatrick identifies the
tune as Scottish, used there as a march or strathspey. The melody is also
played in Ireland as a polka. It was picked up by morris dancers in the
Cotswold village of Eynsham, Oxon, a team which impressed collector Cecil Sharp
in the early 20th century with their speed and high kicks. Source for notated
version: a manuscript by Kenworthy Schofield [Bacon]. Bacon (The Morris Ring). Topic TSCD458, John Kirkpatrick - “Plain Capers” (1976).
MARCH SARABANDE. See “Bandelena March.”
MARCH TO REFORM STREET, THE.
Scottish, March (cut time). C Major. Standard tuning. AAB. A modern
composition by Scottish fiddler Ron Gonnella. Miller (Fiddler’s Throne), 2004; No. 346, pg. 203. Atholl
Brose AB008, Ron Gonnella – “The Lad o’Kyle” (1986).
MARCH TO THE
BATTLEFIELD. Irish (?), March (2/4 time). D
Major. Some similarities to “The Rattlin’
Bog” or “The Bog Down in the
Valley-O.” Jimmy Shand’s Bagpipe Marches. Kerr (Violin Instructor and Irish Folk Song Album) c. 1890’s?; pg. 52.
MARCH TO THE
RENDEZVOUS. Scottish, March (4/4 time). G
Major. Standard tuning. AA'BB'. Composed by Alexander Walker. Walker (A Collection of Strathspeys, Reels, Marches,
&c.), 1866; No. 184, pg. 63.
MARCH, W.S. ROYALS. AKA and see “Ball’s Hornpipe,” “Quick Step 25th Regiment.”
MARCHA DE LOS NOVIOS (March of the Newlyweds). AKA and see "Marching Through Georgia." Tex‑Mex,
March. USA, New Mexico. A wedding processional tune.
MARCHE CÉCILIA. AKA and see “Elmer’s Tune.” French-Canadian, Polka and
Galope. Recorded by Alfred Montmarquette.
The liner notes to Labbé’s album indicate the tune is a Galope and Polka
at the same time, and that it was one of Montmarquette’s most successful
recordings. Gabriel Labbé et al – “Hommage à Alfred
Montmarquette” (1995).
MARCHE DE CABRETTAIRES. Old Hat Music OH!02, "The Old Hat Dance
Band" (1992. Learned from the band Rosbif).
MARCHE DE LA NOCHE, LE (The Wedding March). Cajun. Recorded by accordion player
Joseph Falcon and Cleoma Breaux.
MARCHE DE VERNER. French-Canadian, March (6/8). From Gabriel L'Abbe, a mouth-organ player
who recorded in the 1920's and 30's. Folkways RBF111,
Gabriel L'Abbe - "Masters of French-Canadian Music." Old Hat Music
OH!02, "The Old Hat Dance Band" (1992).
MARCHE DES COLLÉGIENS. AKA and see "Collegians'
March," "Marche des Forges."
MARCHE DES FORGES. AKA and see "Collegians'
March," "Marche des Collegiens."
MARCHE DES MARIES (The Wedding March). Cajun, March (4/4 time). USA, Louisiana. G
Major. Standard tuning. A(Vocal)BA(Vocal)BA. This wedding march is traditionally
the first song played at a Cajun wedding dance. During it, the wedding couple
link arms with their entourage and walk around the dance floor at least twice
while it is being played (Francois, 1990). According to "Cheese"
Reed, the song was popularized by Eunice, Louisiana, musician Abe Manuel.
Source for notated version: Wallace "Cheese" Reed, Raymond Francois
(La.) [Francois]. Francois (Yé Yaille
Chere), 1990; pgs. 226-227.
MARCHE DES RAQUETTEURS [1]. French-Canadian, March (6/8 time). A Major. Standard tuning. AA’BB’.
From the playing of Montréal accordion great Alfred Montmarquette
(1871-1944), who recorded it on a 78 RPM disc. Source for notated version:
Vincent & Raynald Ouellet, of the group Éritage [Hart & Sandell]. Hart
& Sandell (Dance ce Soir), 2001;
No. 64, pg. 97. Fogarty’s Cove Records, Éritage – “La
ronde des voyageurs” (1982).
MARCHE DES
RAQUETTEURS [2] (Snowshoers’ March). AKA and see “Reel Arcène.” French-Canadian,
March (6/8 time). D Major. Standard tuning. ABB'CB"B"'A'. Source for
notated version: learned by
MARCHE DU ST-LAURENT. French-Canadian, March (2/4 time). D Major. Standard tuning.
AA'BB'A"A"'B"B"'. Source for notated version: Montreal
button accordion player Philippe Bruneau [Begin]. Begin (Philippe Bruneau), 1993; No. 4, pg. 12.
MARCHE FRANCOISE (French March). French, March (2/4 time). D Major. Standard tuning. AABB. Aird (Selections of Scotch, English, Irish and Foreign Airs), vol. II, 1785; No. 139, pg. 51.
X:1
T:Marche Francoise
M:2/4
L:1/8
S:Aird, vol. II (1785)
Z:AK/Fiddler’s Companion
K:D
af f/g/a/f/ | ge “tr”e2 | fd d/e/f/g/ | a/g/a/b/ ad’ | af f/g/a/f/ | ge “tr”e2 |
f/d/g/e/ de | dd/d/ d2 :: Ac/d/ ee | ee “tr”e2 | e/d/e/f/ e/d/e/f/ | e/d/e/f/ “tr”e2 |
dd/e/
ff | ff “tr”f2 | f/e/f/g/ f/e/f/g/ | f/e/f/g/ “tr” f2 :|
MARCHES DE THOMAS
POMERLEAU, LES. AKA –
“Air en Re d’Henri Landry.” French-Canadian, March. D Major. Standard tuning.
AA’BB’. A crooked tune from the playing of Henri Landry (Pontbriand, near
Thetford Mines, Quebec). Remon & Bouchard (25 Crooked Tunes, vol. 2),
1997; No. 14. 30 Below TB 001CD, Les têtes de violon (Bouchard
et al) – “Airs Tordus/Crooked Tunes” (1998).
MARCHFIELD BRAE SCOTS
MEASURE. Scottish, Scots Measure. G Major.
Standard tuning. AAB. A modern composition by Crieff (Perthshire) schoolmaster
Ron Gonnella, a native of
MARCHING DOWN BROADWAY. Old‑Time, Polka.
MARCHING JAYBIRD. AKA and see "Jaybird March."
A banjo piece. Tradition TLP 1007, Lacey Phillips ‑
"Instrumental Music of the
MARCHING MAIDS. American, Dance Tune (2/4 time). D Major. Standard tuning. AABB tuning.
Ford (Traditional Music in
X:1
T:Marching Maids
M:2/4
L:1/8
S:Ford – Traditional Music in
Z:AK/Fiddler’s Companion
K:D
a/g/f/e/ dA|BAFA|d/c/d/e/
f/e/d/e/|fe e2|a/g/f/e/ dA|
BAFA|a>b ac|ed d2::a>a aa|bA
A2|f>f ff|
aA A2|f>f f/e/f/g/|ag
g/f/g|a>b ac|ed d2:|
MARCHING QUADRILLE. Old‑Time, Quadrille (6/8 time).
MARCHING THROUGH
MARCHING TO DROGHEDA. Irish, March. G Major. Standard tuning. AAB. Roche Collection, 1982, vol. 2; No. 347, pg. 61.
MARCHIONESS, THE. AKA and see "The Guard House," "Chelmsford Races," "The Hullichan Jig," "Soldier's Dance." Scottish, Jig. A
Major. Standard tuning. AABB. The melody appears in Kirkmichael, Perthshire,
fiddler Robert Petrie’s 1st
collection. Cushing, No. 85, pg. 40. Petrie (Collection of Strathspey Reels and Country Dances), 1790; pg. 13.
X:1
T:The
Marchioness
C:Trad.
S:Petrie's
Collection of Strathspey Reels and Country Dances &c., 1790
Z:Steve
Wyrick <sjwyrick'at'astound'dot'net>,
N:Petrie's First Collection, page 13
L:1/8
M:6/8
R:Jig
K:A
E
| A2A TAGA | B2B e2d | c2A TAGA | GBG
EFG |
A2A
TAGA | B2B e2d | cBA BAG | A2A A2 :|
|:
z | e2e cde | f2f Tf3 | g2g efg | abg
a3 |
e2e
cde | fga agf | edc BAG | A2A A2 :|
MARCHIONESS OF
BREADALBANE, THE. Scottish, Reel. C Major. Standard
tuning. AB. Composed by William Marshall
(1748-1833). Marshall, Fiddlecase Edition,
1978; 1845 Collection, pg. 15.
X:1
T:Marchioness of Breadalbane, The
M:C
L:1/8
R:Reel
S:Marshall – 1845 Collection
Z:AK/Fiddler’s Companion
K:C
G|c2 (cB/A/) GcGE|FDEC A,DB,G,|c2 (cB/A/) GcGE|DdBG c2 (cG)|
c2 (cB/A/) GcGE|FdEc DdBG|c2 (cB/A/) GcGE|DfdB c2c||e/f/|gege afaf|
gedc BdBG|gege afaf|AdBG c2 ce/f/|gege afaf|gedc BdBG|AFcA GecE| DfdB c2 c||
MARCHIONESS
OF CORNWALLIS' STRATHSPEY,
THE. Scottish,
Slow Strathspey. E Flat Major. Standard tuning. AAB. Composed by William Marshall (1748-1833) in honor of Louisa
(1776-1850), the fourth daughter of the Alexander (1743-1827), the 4th
Duke of Gordon, who became Marchioness of Cornwallis through her marriage to
Viscount (later Marquis) Brome. The Viscount’s mother (Louisa’s mother-in-law)
was a great favorite of Marshalls as she had a good sense of humor, says Moyra
Cowie (The Life and Times of William
Marshall, 1999). This is the tune (an "excellent melody", says
Glen) that the last Duke of Gordon, Marshall's patron, considered one of the
composer's best and which he preferred to end his dining‑room concerts
with, directing Daniel Macdonald (the composer and performer steward who
replaced Marshall after he left the Duke's employ) to have his musical
retainers to render it on such occasions. Gow (Complete Repository), Part 4, 1817; pg. 4. Hunter (Fiddle Music of Scotland), 1988; No.
183. Marshall, Fiddlecase Edition,
1978; 1822 Collection, pg. 22.
X:1
T:Marchioness of Cornwallis’
Strathspey, The
M:C
L:1/8
R:Strathspey
S:Marshall – 1822 Collection
Z:AK/Fiddler’s Companion
K:Eb
B,/A,/ | G,<B, B,>C E2 G,E | B,EGE
GF FB,/A,/ | G,<B, BC/D/ [G,2E2] [G,E]e | c>BAB GEE :|
c/d/ | e/d/c/B/ EB dB eB | fB a>g
gffg|a>gfe edcB | e>cBB, CEEc/d/ |
eEcE BEGE | a>fg>e dff>B, |
CEDF EBGe | cBAB GEE ||
MARCHIONESS OF
HUNTLEY('S) [1], THE. AKA and see “The Duchess of Gordon [5].”
Scottish (originally), Canadian; Strathspey. Canada; Cape Breton, Prince Edward
Island. A Major (most versions): B Flat Major (Johnson). Standard tuning. One
part (Kerr): AB (Cole): AAB (Athole, Gow, Johnson, Skye): AABB (Perlman).
Composed by William Marshall (1748-1833), originally
set in his 1822 collection in the key of B flat (it appears in A Major in Gow’s
Third Collection). His 1822 Collection is dedicated to the
Marchioness, Elizabeth Brodie (1794‑1864), wife of George (1770-1836),
Marquis of Huntly and the future 5th Duke of Gordon. Elizabeth was
the daughter of a wealthy merchant named Alexander Brodie and his wife,
Elizabeth Wemyss, of Arnhall in Kincardinehsire. When Elizabeth and George
married, at Bath in December, 1813, he was twenty-four years her senior.
Elizabeth Grant of Rothiemurchas described them at the time:
***
Lord Huntly now in the decline of his rackety life, overwhelmed with debts,
sated with pleasure, tired of fashion, the last heir male of the Gordon
line. His
bride was young, and good, and rich but neither clever nor handsome. She
made him very happy and paid his most pressing debts, that is her father
did,
old Mr. Brodie of the Burn, brother to Brodie of Brodie…He mad a really
large fortune; he gave his daughter, his only child, £100,000 down, and
left
her more than another at his death. Really, to her husband her large
fortune
was the least part of her value: she possessed upright principles, good
sense,
and she turned out a first rate woman of business.
***
Moyra Cowie (The Life and Times of William Marshall, 1999), says the Marchioness
was instrumental in the publication of Marshall’s 1822 collection of music and was
a great aid to Marshall, promoting his music to her friends. Despite a number
of tunes composed in her honor, Hunter (1988) says Elizabeth was more partial
to psalms and hymn tunes than dance music. Myra Cowie, however, says she was an
accomplished musician and loved to play traditional Scottish music. When the
old Duke died and George inherited the title the couple (who were to remain
childless, to the regret of both) moved into Gordon Castle. It is telling,
perhaps, that during their tenure no balls were held at the residence. In later
life Elizabeth devoted herself to charitable works and to religion, and
eschewed fashion. Source for notated version: Kenny Chaisson (b. c. 1947, Bear
River, North-East Kings County, Prince Edward Island; now resident of Rollo
Bay) [Perlman]; Winston Fitzgerald (1914-1987, Cape Breton) [Cranford]. Cole (1000 Fiddle Tunes), 1940; pg. 124.
Cranford (Winston Fitzgerald), 1997;
No. 67, pg. 31. Gow (Third Collection
of Niel Gow’s Reels), 3rd ed., originally 1792; pg. 37. Henderson
(Flowers of Scottish Melody), 1935.
Hunter (Fiddle Music of Scotland),
1988; No. 137. S. Johnson (A Twenty Year Anniversary Collection),
2003; pg. 29. Kerr (Merry Melodies), vol. 2; No. 37, pg. 7.
MacDonald (The Skye Collection),
1887; pg. 22. Marshall, Fiddlecase
Edition, 1978; 1822 Collection, pg. 1. Perlman (The Fiddle Music of Prince Edward Island), 1996; pg. 196. Ryan’s Mammoth Collection, 1883; pg.
163. Stewart-Robertson
(The Athole Collection), 1884; pg.
19. Breton Books and Records BOC 1HO, Winston “Scotty”
Fitzgerald - “Classic Cuts” (reissue of Celtic Records CX 17). Green Linnett
GLCD 1087, Seamus Connolly - "Notes From My Mind" (1988).
X:1
T:Marchioness of Huntly, The
M:C|
L:1/8
S:Strathspey
B:Stewart-Robertson – The
Athole Collection (1884)
Z:AK/Fiddler’s Companion
K:A
A,>CE>C D<F ~E2 | F<B B>c d/c/B/A/ G/F/E/D/ | C>D E<C D<F ~E2 | F>B A/G/F/E/ A2 A:|
d|c>eA>e c>e d/c/B/A/ | G>BE>B G>BE>d | c>eA>e c>e d/c/B/A/ | F>B A/G/F/E/ A2 A>d |
c>eA>e c/e/f/g/ a2 | F<B B>c d/c/B/A/ G/F/E/D/ |
C>DE>C D<F ~E2 | F>B A/G/F/E/ A2A ||
MARCHIONESS OF HUNTLEY
[2]. Scottish, Strathspey. C Major.
Standard tuning. AAB (Athole): ABB' (Kerr): AABB (Skye). Kerr (Merry Melodies), vol. 2; No. 102, pg.
13. MacDonald (The Skye Collection),
1887; pg. 108. Stewart-Robertson
(The Athole Collection), 1884; pg.
77.
X:1
T:Marchioness of Huntly
M:C
L:1/8
R:Strathspey
B:Stewart-Robertson – The
Athole Collection (1884)
Z:AK/Fiddler’s Companion
K:C
E | C<cc>E G2 G>E | C<c c>E D2 D>E | C<c c>E G>Ac>d | c<A c>E D2D :|
e/f/ | g>c a/g/f/e/ g>c a/g/f/e/ | g>c a/g/f/e/ d2 de/f/ | g>c a/g/f/e/ c>ge>g |
f/e/f/g/ a/g/f/e/ d2 de/f/ | g>e a/g/f/e/ g>e a/g/f/e/ | g>c a/g/f/e/ d2 de/f/ |
g>ef>d
e<c e>d | d/c/B/A/ c>E D2D ||
MARCHIONESS OF HUNTLY--ABOYNE CASTLE [3]. Scottish, Strathspey. A Major.
Standard tuning. One part (Cranford, Hunter): AB (Martin). Composed by self‑taught
fiddler Peter
Milne (1824-1908), one of the great fiddler and composer J. Scott Skinner's teachers. Milne made his living
playing in theaters until his opium addiction (which began with laudanum taken
for an injury) reduced him to busking on ferry‑boats crossing the Firth
of Forth. This strathspey is often paired with another Milne composition, “The
Marquis of Huntly’s Reel [2].” J. Murdoch Henderson (Flowers of Scottish Melody, 1935) in his biography and critique of
Milne says: “He evinces a distinct feeling for pleasing melody, but the beauty
of one or two of his airs, particularly ‘The Marchioness of Huntly—Aboyne
Castle’, is considerably marred by their lack of poise.” Sources for notated
versions: Winston Fitzgerald (1914-1987,
|
See also listing at: Alan Snyder’s Cape Breton Fiddle
Recording Index |
X:1
T:Marchioness of Huntly, The [3]
T:Aboyne Castle
C:Peter Milne
B:Fiddle Music of Scotland, Jas Hunter
Z:Nigel Gatherer <gatherer@argonet.co.uk>
M:4/4
L:1/8
K:A
C | A,>B,C>F E<CA,>c | d>B d/c/B/A/ B<GE<C |
A,>B,C>F E<CA,>d |
(3cde (3dcB c<AA>C|A,>B,C>F E<CA,>c|d>B d/c/B/A/
B<EG<B|A<EF>A E<CD>d|
(3cde (3dcB c<AA>e | a>e d/c/B/A/ e<Ac>A | d>e d/c/B/A/
B<EG<B |a>e d/c/B/A/ e>Ac<A|
Be|a>e
d/c/B/A/ e>Ac>A| D<F C<E B,>E G<B| A>EF<A E>CD>d|
cd/e/ d/c/B c<A A ||
MARCHIONESS
OF HUNTLY'S FAVORITE [1], THE. Scottish, Slow Air (4/4 time). C
Minor. Standard tuning. AB. Composed by William Marshall
(1748-1833). His 1822 Collection was dedicated to the Marchioness, Elizabeth
Brodie (1794‑1864), who was wife to George (1770-1836), Marquis of Huntly
and the future 5th Duke of Gordon. Despite a number of tunes
composed in her honor, Hunter (1988) says she was more partial to psalms and
hymn tunes than dance music. 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. Hardie (Caledonian Companion), 1992; pg. 92.
Hunter (Fiddle Music of Scotland),
1988; No. 63. Marshall, Fiddlecase
Edition, 1978; 1822 Collection, pg. 27.
X:1
T:Marchioness of Huntly’s Favorite,
The [1]
M:C
L:1/8
R:Slow Air
S:Marshall – 1822 Collection
Z:AK/Fiddler’s Companion
K:Cmin
G|c>dce GGG>E|F>EDC B,2 B,G|c>dce
GGGE|FEG=B, C2 CG|c>dce GGG>E|
F>ED>C ~B,2 B,D|CEDF
EGFe|g>fed c2c||G|c>de>f e/d/c/B/ G2|
B/=A/B/c/ B/c/d/c/ B2
Bd|c>de>f g/f/e/f/ gE|a/g/f/e/ d/f/e/d/ c2 cG|
c>de>f e/d/c/B/ G2|B/=A/B/c/
B/c/d/c/ B2 Bd|e/g/f/e/ d/f/e/d/ c/=B/c/d/ eE| DAG=B, C2C||
MARCHIONESS
OF HUNTLY'S FAVOURITE [2],
THE. Scottish,
Strathspey. E Flat Major. Standard tuning. AAB. Composed by Neil Gow Junior
(1795-1823), the son of Nathaniel
and grandson of Niel Gow (who spelled his first name differently). A keen
amateur musician, he entered the medical profession but died at the age of 28.
The Gow’s dedicated their Sixth Collection (Edinburgh, 1822) to the Marchioness
of Huntly, “with deep feelings of gratitude to her Ladyship’s family.” Gow (Sixth
Collection of Strathspey Reels), 1822; pg. 1.
X:1
T:Marchioness of Huntly’s Favorite
[2]
M:C|
L:1/8
R:Strathspey
C:Neil Gow Jr. (1795-1823)
B:Gow – Sixth Collection of
Strathspey Reels (1822)
Z:AK/Fiddler’s Companion
K:Eb
E<E ~e>f {e}g>f e2|E<E
c>B eG F2|E<E FG A>B c2|B>c (c/B/)(A/G/) “tr”(F2 {EF}E2):||
g>d g>f eB c2|B<B a>g
f>e f2|e>B cE FG [E2c2]|B>c (c/B/)(A/G/) “tr”(F2 {EF}E2)|
g>e g>f eB c2|B<B a>g
f>e f2|e>B cE FG [E2c2]|B>c (c/B/)(A/G/) “tr”(F2 {EF}E2)||
MARCHIONESS
OF HUNTLY'S FAVORITE JIG, THE. Scottish, Jig. C Minor. Standard
tuning. 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
Alexander (1743-1827), 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.
The Marchioness, Elizabeth Brodie (1794‑1864), was wife to George
(1770-1836), Marquis of Huntly and the future 5th Duke of Gordon.
Despite a number of tunes composed in her honor, Hunter (1988) says she was
more partial to psalms and hymn tunes than dance music. See note for
“Marchioness of Huntley’s [1]” for more. Hardie (Caledonian Companion), 1992; pg. 92. S. Johnson (A Twenty
Year Anniversary Collection), 2003; pg. 31. Marshall, Fiddlecase
Edition, 1978; 1822 Collection, pg. 27.
X:1
T:Marchioness of Huntly’s Favorite Jig,
The
M:6/8
L:1/8
R:Jig
S:Marshall – 1822 Collection
Z:AK/Fiddler’s Companion
K:Cmin
G|c2d e2c|d2b fed|c2d e2f|g2E
gfe|d2b b=ag|fdB Bcd|e2c dc=B|c3C2:|
D|E2CG,2E|FDB, B,2D|C2E D2F|E2G
F2A|G2e B2G|FDB, B2d|e2c dc=B|
c3 C2D|E2C G,2E|FDB, B,2D|C2c
cde|d2B, def|E2g gfe|dcB def|gfe dc=B|c3C2||
MARCHIONESS OF
HUNTLY'S JIG. Scottish, Slow Jig. B Flat Major.
Standard tuning. 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
Alexander (1743-1827), 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.
The Marchioness, Elizabeth Brodie (1794‑1864), was wife to George
(1770-1836), Marquis of Huntly and the future 5th Duke of Gordon.
Despite a number of tunes composed in her honor, Hunter (1988) says she was
more partial to psalms and hymn tunes than dance music. Marshall, Fiddlecase Edition, 1978; 1822
Collection, pg. 1.
X:1
T:Machioness of Huntly’s Jig, The
L:1/8
M:6/8
S:Marshall – 1822 Collection
Z:AK/Fiddler’s Companion
K:Bb
f|(df)d B3|(FBF) D3|B,2 B fdB|Acc
cde|(df)d B3|(FBF) D3|E2g fbf|dBB ~B2:|
d/e/|fec bfd|fed bfd|fga bfd|Acc ~c2
d/e/|fed bag|fed cBA|GAB cde|dBB ~B2 e/f/|
fed bfd|fed bfd|fga bfd|Acc ~c2
d/e/|fed edc|B>AG FED|E2g fbf|dBB ~B2||
MARCHIONESS OF
NORMANBY, THE. Scottish, Jig. B Flat Major.
Standard tuning. 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. Marshall, Fiddlecase Edition, 1978; 1845 Collection, pg. 17.
X:1
T:Marchioness of Normanby, The
M:6/8
L:1/8
R:Jig
S:Marshall – 1845 Collection
Z:AK/Fiddler’s Companion
K:Bb
f|dfd B3|dfd B3|GAB cde|dcB AGF|dfd B3|dfd B3|efg gab|
ag=e f2:|F2F FGA|Bcd e2c|B2B Bcd|ede g2f|E2g g2b|
D2f f2b|dcB FGA|B3B2d|F2F FGA|Bcd e2c|B2B Bcd|
ede g2f|b2B fga|b2B g2f|d2B FGA|B3 B3||
MARCHIONESS OF
QUEENSBURY'S WALTZ. Scottish, Waltz. C Major. Standard
tuning. AABBCC. Carlin (Master Collection),
1984; No. 177, pg. 103.
MARCHIONESS OF TAVISTOCK’S WALTZ.
English, Waltz. C Major. Standard tuning. AABBA. The Marchioness of
Tavistock of the title may refer to Lady Anna Marie nee Stanhope (1783-1857) who
was the Marchioness of Tavistock before she became the Duchess of Bedford. She
was the elder of three daughters of Charles, 3rd Earl of Harrington,
and a talented amateur artist who painted miniatures of her family and friends.
She liked to dress her subjects up in the guise of angels, and the National
Gallery of Ireland has a portrait of the artist, winged, with her sisters as
cherubs. A different “Marchioness of Tavistock’s Waltz” appears in John Paff’s Gentlemen’s
Amusement No. 2 (New York, 1812). Cahusac (Twenty Four Favorite Country
Dances for the Year 1809), 1809; No. 13.
X:1
T:Marchioness of Tavistock’s Waltz
M:3/8
L:1/8
R:Waltz
B:WM Cahusac’s Annual Collection
of Twenty Four Favorite Country Dances for the Year 1809, No. 13 (London)
N:”With proper Directions to each Dance as they are performed at
N:Court, Bath, and all Public Assemblies.”
Z:Transcribed and edited by Flynn Titford-Mock, 2007
Z:abc’s:AK/Fiddler’s
Companion
K:C
c/d/|eee|fef|g2 a|g2
e/g/|fff|eee|ddf/e/|d2 c/d/|
eee|fef|g2^g|abc’|gec|d
g2|.e(e/f/d/e/)|c2:||
(B/c/)|ddd|e2 g|^f/g/a/b/c’/a/|bg
(B/c/)|ddd|e2 g|^f/g/a/b/c’/a/|g2:||
MARCHIONESS OF
TOWNSHEND, THE. Scottish, Strathspey. A Minor.
Standard tuning. AAB. Composed by Alexander Walker. Walker (A Collection of Strathspeys, Reels, Marches,
&c.), 1866; No. 30, pg. 12.
MARCHIONESS OF
TULLIBARDINE. AKA and see "The Burra Isle War Dance."
Scottish, Shetland; March. A Mixolydian. Standard tuning. AAB (Skinner): AABC
(MacDonald/Skye): AABBCCDD (Perlman). Sources for notated versions: "From
Miss F. Morison's Collection" (MacDonald/Skye); Dan McPhee (1920-1994,
bred in Elmira, North-East Kings County, Prince Edward Island; late of
Brantford, Ontario) [Perlman]. MacDonald (The
Skye Collection), 1882; pg. 179. Perlman (The Fiddle Music of Prince Edward Island), 1996; pg. 94. Skinner (Harp and Claymore), 1904; pg. 41
(includes variation sets).
|
See also listing at: Alan Snyder’s Cape Breton Fiddle
Recording Index |
X:1
T:Marchioness of Tullibardine, The
M:2/4
L:1/8
R:March
S:MacDonald – Skye Collection (1887)
Z:AK/Fiddler’s Companion
K:A
e/d/|cB/A/ A/A/ c/A/|c/e/A/f/ e/A/c/A/|=Gd/e/
d/=G/B/G/|B/d/=G/B/ =gB/G/|
cB/A/ A/A/ c/A/|c/e/A/f/
e/A/c/A/|B/d/=G/d/ =gB/G/|cA A2:|
g|ag/f/ e/A/c/A/|c/e/A/f/
e/A/c/A/|=gf/e/ d/=G/B/G/|B/d/=G/d/ =gB/G/|
A/a/ ^g/a/ e/A/c/A/|c/e/A/f/
e/A/c/A/|B/d/=G/d/ =gB/G/|cA A>^g||ag/f/ e/A/c/A/|
c/e/A/f/ e/A/c/A/|=gf/e/
d/=G/B/G/|B/d/=G/B/ =gB/G/|cB/c/ dc/d/|
e/d/e/f/ e/A/c/A/|B/d/=G/d/
=gB/G/|{d}cA A2||
MARCHIONESS OF
TWEEDDALE, THE. Scottish, March (?). E Flat Major.
Standard tuning. AB. 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
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. Tweeddale is
in Berwick on Tweed. The Marchioness is Lady Susan Montague, the 2nd
daughter of Lady Susan Gordon of Gordon castle and William Montague, thus she
was the 4th Duke of Gordon’s grand-daughter. She married at Huntly
Lodge in 1816 George, 8th Marquis of Tweeddale, an aide-de-camp to
Wellington in the Peninsular War, later a general in the army. Charles Samuel
Stewart (Sketches of Society in Great
Britain and Ireland, 1834) flatteringly said of her:
***
Lady Tweeddale, who previous to her marriage was Lady Susan Montague,
a daughter of the Duke of Manchester, is fine looking, both in face and
figure,
and of sedate and dignified manners, blended with much feminine grace
and
sweetness. Though the mother of ten children, she appears scarce more
than
twenty-five or twenty-eight years of age…
***
The Gow’s dedicated their Third Collection of Niel Gow’s Reels
(1792) to the Marchioness of Tweeddale. The Marchioness at that time was Lady
Hannah Maitland, who had married George Hay, 7th Marquess of
Tweeddale (1753-1804) in 1785. The couple had eleven children. Their end was unfortunate, as they had
travelled to the Continent for the Marquess’ health during a lull in the
Napoleonic wars and were caught in France when conflict resumed in 1803. They
were imprisoned in the fortress at Verdun, where the Marchioness died in May,
1804, followed soon after in death by her husband. See also note for “The Marquis of Tweeddale's
Reel”
X:1
T:Marchioness of Tweeddale, The
L:1/8
M:C
S:Marshall – 1822 Collection
Z:AK/Fiddler’s Companion
K:Eb
E2 D/C/B,/A,/ G,EB,G,|B,EDF EBGe|A2
A/G/A/B/ cEDB,|FB,GB, A/G/F/E/ DB,|
E2 D/C/B,/A,/ G,EB,G,|B,EDF EBGe|cC
A>G F/G/A/B/ cA|
G/A/B/c/ BB, [G,2E2]
[G,2E2]||G/A/B/c/ BB E>g F/E/d/c/ B/A/B/c/ BB|
b/=a/g/f/ g/f/e/d/ e/d/c/B/
eE|~d/e/f/g/ fF Bc B/A/G/F/|E/e/d/e/ BG A,c c2|
G/A/B/c/ ~B/c/d/e/ ~d/e/f/g/
f>g|a>g f/e/d/c/ B/A/G/F/ GE|
~G/A/B/c/ BB, [G,2E2] [G,2E2]||
MARCHIONESS OF
TWEED-DALE'S DELIGHT. AKA and see "The Key(s) of the Cellar,"
"Come Ye Ower Frae France."
Scottish, Country Dance Tune (3/2 time). G Minor. Standard. AABB. The tune, in
old hornpipe metre, was published under this title by Niel Gow in his Second Collection, 2nd edition, 1803. It
had previously been used as the vehicle for a Jacobite song "Cam' Ye Ower
Frae France," poking fun at the Hannover king. Emmerson sees in Gow's
treatment of the tune a link between the old hornpipe metre and the modern
common time dotted‑rhythm hornpipe. The Marchioness during Gow’s time
(although it is not know if she was the Marchioness of the title) was Lady
Hannah Maitland, daughter of the 7th Earl of Lauderdale) who married
George Hay, 7th Marquis of Tweeddale. They travelled to the
Continent in 1802, during a lull in the Napoleonic wars, and were in France
when hostilities renewed. Both were imprisoned in the fortress of Verdun, and
the Marchioness died there in May, 1804. Emmerson (Rantin’ Pipe and Tremblin’ String), 1971; No. 16, pg. 121. Gow (Second Collection of Niel Gow’s Reels),
1788; pg. 30 (3rd ed.)
X:1
T:Marchioness of Tweeddale’s Delight
T:Key of the Celler
M:3/2
L:1/8
B:Gow – 2nd Collection of Niel Gow’s Reels, 3rd ed.,
pg. 30 (orig. 1788)
Z:AK/Fiddler’s Companion
K:Gmin
B2G4 D2”tr”G4|B2G4 B2 ABcA|B2G4
D2”tr”G3B|A2F2F2 c2 ABcA:|
|:G2g2{a}”tr”g2 ^f2g4|d2g2”tr”g3
ab2g2|d2g2 (ag)f=e “tr”f4{e/f/}|A2F2F2 c2 ABcA:|
MARCHIONESS SALUTE, THE. AKA ‑
"Failte na Banamharc." Scottish, Strathspey. F Major. Standard
tuning. AAB. "These two (also "Merry Lads and Bonny Lasses")
form a medley of the editors, in compliment to the Marchioness of Huntly, and
commemorative of the mirth defused among all ranks in the north, by the almost
universal celebration of the nuptials of the noble pair" (Fraser). Fraser
(The Airs and Melodies Peculiar to the
Highlands of Scotland and the Isles), 1874; No. 212, pg. 87.
Stewart-Robertson (The Athole Collection),
1884; pg. 230.
X:1
T:Marchioness Salute, The
M:C
L:1/8
R:Strathspey
B:Stewart-Robertson – The
Athole Collection (1884)
Z:AK/Fiddler’s Companion
K:F
A | F>C A,<F C<FA,<F | C>F A,<A G>G, B,<G | F>CA,>F C<FA<f | c>FA>f A<F~F :|
f | c<A f>A c>f A<f | c>f A<a g>G B<d | c<A f>A c>fA>f | c>FA>f A<F F>f | c<A f>A (3ccf (3Aaf |
(3ccf (3Aaa g>G B<b | (3agf (3efg (3fcB (3ABd | (3cAF
DFB A<F~F ||
MARCHMONT HOUSE. Scottish, Jig. D Major. Standard tuning. AABBCCDD. The Earls of
Marchmont commissioned a new residence and Marchmont House, designed by Robert
Adam, was built to replace nearby Bedbraes Castle in Dunse, Berwickshire. It
was built around the year 1754. Some 20 years ago or so it was the home of the
McEwan family, although now it serves as a Sue Ryder home for the disabled.
John Glen (1891) finds the earliest appearance of this tune in Robert Bremner's 1757 collection,
reprinted by Joshua Campbell in his Collection
of Newest & Best Reels & Minuets ... (1788). Bremner (A Collection of Scots Reels), 1757; pg.
23. Carlin (Gow Collection), 1986;
No. 441. Gow (Complete Repository),
Part 3, 1806; pgs. 34-35.
X:1
T:Marchmont House
M:6/8
L:1/8
R:Jig
S:Gow – 3rd Repository (1806)
Z:AK/Fiddler’s Companion
K:D
A|(F/G/A)F D2A | ~d>ed dAG |
(F/G/A)F D2f | eEE E2G |
(F/G/A) D2A | ~d>ed dAG|FdF Edc |
dAF D2 :|
|:g|(f/g/a)f d2f| aba afd |(f/d/a)f
~d>ef|eEE E2g | (f/g/a)f dfa | bag fed | (B/c/d)B Afd | AFD D2 :|
|: A | FAd FAd | dAF dAF | FAd
~d>ef|eEE E2G | FAd FAd | fed cBA | (B/c/d)B AFd | AFD D2 :|
|: f|dfa dfa | afd afd | dfa def | eEE
E2f|dfa dfa|bag fed | (B/c/d)B AFB | AFD D2 :|
MARDI GRAS. American, Reel. A Major. Standard tuning. AABB. Cole (1000 Fiddle Tunes), 1940; pg. 39. Ryan’s Mammoth Collection, 1883; pg. 67.
X:1
T:Mardi Gras
M:2/4
L:1/8
R:Reel
S:Ryan’s Mammoth Collection (1883)
Z:AK/Fiddler’s Companion
K:A
([.DF][.DF]) ([.CE][.CE]) |
([.DF][.DF]) ([.CE][.CE])|(E/=F/^F/G/ A/^A/B/=c/)|(^c/=c/B/^A/ =A/G/=G/F/)|
([.DF][.DF]) ([.CE][.CE])|
([.DF][.DF]) ([C2E2])|B/c/d/e/ f/a/g/f/|eee z :: ec/A/ fd/B/|ec/A/ d/c/B/A/|
ec/A/ fd/B/|e[dg] [c2a2]|ec/A/
fd/B/|ec/A/ d/c/B/A/|A,[CE] [D2F2]|E[dg] [c2a2]:|
MARDI GRAS SONG. See "Chanson de
Mardi Gras."
MARED NIG DUBARTAD. Irish, Air (6/8 time). F Major. Standard tuning. ABB. Source for
notated version: “From Frank Keane” [Petrie]. Stanford/Petrie (Complete Collection), 1905; No. 1083,
pg. 274.
MAREEL. Shetland, Air. A Major. Standard. AAB. Composed by Tom Anderson
7/26/73. "Mareel is the phosphorescence that comes off the oars when
rowing a boat in the sunset during the autumn in Shetland. This can look like
molten gold and inspired the melody during a fishing trip in 1973"
(Anderson). Anderson (Ringing Strings),
1983; pg. 87.
MARGAREE REEL. Canadian, Reel. Canada; Cape Breton, Prince Edward Island. A
Mixolydian. Standard tuning. AB (more common) or ABCDDC (Dunlay & Reich):
AA’B (Shears): AA’BB’ (Perlman): ABB’CDC (Dunlay & Greenberg). The tune is
usually played as a two-part reel on Prince Edward Island and Cape Breton,
though the Beaton (Mabou, Cape Breton) version is longer. Dunlay &
Greenberg (1996) believe the tune to be related to the strathspey “Donalbane,” in Kerr’s Fourth Collection. There are several towns in Cape Breton,
Nova Scotia, with the name Margaree, including Margaree, Margaree Harbour,
Margaree Forks, Southwest Margaree and Margaree Valley. The tune is often
associated with Cape Breton fiddler Buddy MacMaster. Sources for notated versions:
Donald Angus Beaton & The Beaton family (Mabou, Cape Breton, Nova Scotia)
[Dunlay and Reich, Dunlay & Greenberg]; Buddy MacMaster (Cape Breton)
[Dunlay & Greenberg]; Paul MacDonald (b. 1974, Charlottetown, Queens
County, Prince Edward Island) [Perlman]. Dunlay & Greenberg (Traditional Celtic Violin Music from Cape
Breton), 1996; pg. 56. Dunlay & Reich (Traditional Celtic Fiddle Music from Cape Breton), 1986; pg. 39.
Perlman (The Fiddle Music of Prince
Edward Island), 1996; pg. 101. Shears (Gathering of the Clans Collection, vol. 1), 1986; pg. 60 (pipe
setting). CAT-WMR004, Wendy MacIssac - “The ‘Reel’ Thing”(1994.
Appears as “Donalbane”). Culburnie Records CUL 102, Alasdair Fraser & Jody
Stecher – “The Driven Bow” (1988. From the playing of Buddy MacMaster). Green
Linnett GLCD 1117, Altan - "Harvest Storm" (1992. Learned from
Alasdair Fraser). Rounder 7011, "The Beatons of Mabou" (1978. Appears
as 2nd of "Two Traditional Reels"). Rodeo (Banff) RBS 1066, Dan Joe
MacInnis‑ "The Cape Breton Fiddle Of ..." (1962. The first two
turns only). Topic 12TS354, John Willie Campbell - “Cape Breton Scottish
Fiddle” (1978. Appears as “Untitled” after “Fear nan Casan Caola”).
T:Margaree Reel
M:C|
L:1/8
R:Reel
K:Amix
a |: e2 e>d c>AA>B | A2 Ag f>d f<a | e>fe>d c2 Ac |1 B>cd>e f>d f<a :|2 B>cd>e f>d f<g |: a2 af e>cc>e |
a2
ag f>dd>f | a2 ag f>dd>f | a2 af e>ca>c | B>cd>e f>d
f<g :|
MARGARET ANNE
ROBERTSON. AKA - “Scotch Waltz.” Scottish,
Shetland, Canadian; Slow Air (3/4 time) or Waltz. Canada; Nova Scotia, Cape
Breton, Prince Edward Island. A Major. Standard tuning. AAB (Hinds, Little):
AABB (Perlman): AABB’ (Cranford/Fitzgerald): AA'BB' (Anderson & Georgeson,
Hunter). Composed in 1965 by Shetland Island native Frank (‘Frankie’) Ronald
Jamieson, born in Vidlin in 1919, an office manager to a waving and knitting
company in Lerwick. "A lament on the death of a beloved wife" (Hinds,
1981), though Hunter (1988) believes it was composed in memory of a favorite
sister with whom he lived for many years until her sudden death. Jamieson said
of his own composing: "...I might be fooling around on the fiddle you see,
and suddenly play a phrase which I like, and then I'll build around it. But
sometimes I get one part you see, and the second part will beat me‑‑but
what I did was I just left it and maybe a week or a fortnight later this would
come in my mind. And I'll pick up the fiddle and play a second piece to it
right away. It might come in a flash just like that. 'Margaret Ann Robertson'
was composed like that'" (Cooke, 1986). Jamieson himself died in 1982.
Perlman (1996) notes the tune is played “all over” Prince Edward Island where
it is known as “Scotch Waltz.” Sources for notated versions: John Allan Cameron
and Ian Powrie (Canada) [Hinds]; Francis MacDonald (b. 1940, Morell Rear,
North-East Kings County, Prince Edward Island) [Perlman]; Winston Fitzgerald
(1914-1987, Cape Breton) [Cranford]. Anderson & Georgeson (Da Mirrie Dancers), 1970; pg. 34.
Cranford (Winston Fitzgerald), 1997;
No. 216, pg. 86. Hinds/Hebert (Grumbling
Old Woman), 1981; pg. 33. Hunter (Fiddle
Music in Scotland), 1988; No. 34. Little (Scottish and Cape Breton Fiddle Music in New Hampshire), 1984; pgs.
22‑25. Perlman (The Fiddle Music of
Prince Edward Island), 1996; pg. 173. Shetland Folk Society, Da
Mirrie Dancers. John Allan Cameron and Ian Powrie ‑ “Farewell to
Scotland,” O/P.
X:1
T:Margaret Anne Robertson
M:3/4
L:1/8
R:Air or Waltz
C:Frank Jamieson
K:A
|:A,4 E2|C4 A,2|D3 F A2|E6|c4 BA|c4
A2|B2G2E2|D2C2B,2|
A4 E2|C4 A,2|D2F2A2|E6|c4 BA|c4
B2|A6|1 A6:|2 A4 cd||
|:e4A2|a4 A2|g4A2|f2e2 cd|e4 A2|a4
c2|B6|1 e3 cd2|e4 A2|a4 A2|f2g2a2|
e2c2A2|A,2C2E2|A c3 e2|d2 c2 B2|A4
cd:|2 e4 A2|A,4E2|
C4A,2|D2 F2 A2|[E6A6]|c4 BA|c4
B2|A6| [E6A6]||
MARGARET CHISHOLM'S. Canadian, Jig. Canada, Cape Breton. C Major. Standard tuning. AA’BB’. A
modern era composition by Cape Breton fiddler Dan Hugh MacEachern. RC2000, George Wilson – “Royal Circus” (2000). Rounder 7004,
Joe Cormier ‑ "The Dances Down Home" (1977).
X:1
T:Margaret Chisholm's Jig
M:6/8
L:1/8
C:D.H. MacEachern
S:D.H. MacEachern
Z:Transcribed by Toby Rider
R:jig
K:C
F|:EGB ece|fef g2 a|1 gec cBc| dBG
G2 F:|2 gec Bdg| c3 c2 e|!
g3 gfg| agf g2 a2| gec cBc| dBG G3|1
g3 gfg| agf g2 a| gec Bdg| c3 c2 e:|!
|2 F2|EGc ege|faf g2 a| gec Bdg| c3
c||
MARGARET GRAHAM OF
INCHBRAKIE. Scottish, Strathspey. G Minor.
Standard tuning. AAB. Composed by Scots fiddler-composer Niel Gow (1727-1806).
Carlin (Gow Collection), 1986; No.
131.
MARGARET LAVIN (Mairgread Ni Labain). Irish, Air (3/4 time). G Major (D
Mixolydian?). Standard tuning. AB. O'Neill (Music of Ireland: 1850 Melodies),
1903/1979; No. 140, pg. 25.
X:1
T:Margaret Lavin
M:3/4
L:1/8
R:Air
N:”Moderate”
S:O’Neill – Music of Ireland (1903), No. 140
Z:AK/Fiddler’s Companion
K:G
G>>E | Dz D2 D/E/G | Az A2 G/A/B
| c2 B2 {A/B/} A>>G | E4 {A}G>>E |
Dz D2 D/E/G | A2BG2 A>>G| E2
D2 D2 | D4 || G/A/B |
cz c2 {c}B>A | Bz B2 {B}A>G |
c2 B2 {B}A>G | E4 G/A/B |
cz c2 {c}B>A | G>B d2 B>A |
G>E C>D E>C | (D2 D)z ||
MARGARET MACDONALD (Mairearad Nighean Domhnuill). Scottish, Slow Air (4/4 time). E
Minor. Standard tuning. AAB. "Of Margaret MacDonald, a name so common in
the Highlands, the editor is unable to give any account. This note may,
however, extort the event which gave rise to it, from some one competent to favour
the public with the origin of so interesting an air, which he might have
acquired, had he anticipated that the risk would have devolved upon him"
(Fraser). Fraser (The Airs and Melodies
Peculiar to the Highlands of Scotland and the Isles), 1874; No. 114, pg.
45.
X:1
T:Margaret Macdonald
T:Mairearad Nighean Dòmhnuill
M:C
L:1/8
R:Slow Air
S:Fraser Collection
(1874)
Z:AK/Fiddler’s Companion
K:G
B/^d/|e>f g>f eEE>F|G>F G<B F2 zf|g>ef>^d e>d B<=d|A>G F<B E3:|
F|G>AB>^c d>=cBc|B>AG>A B2 zf|g>ef>^d e>d B<=d|A>G F<B E2 zF|
G>AB>^c
d<=cBc|B>AG>A B2 zA|B>b g>f e^dB=d|A>GEB E3||
MARGARET MACINNIS. Canadian, Jig. Canada, Cape Breton. D Major. Standard tuning. AA’BB’.
Composed by Cape Breton fiddler and composer Dan R. MacDonald (1911-1976).
Cameron (Trip to Windsor), 1994; pg.
55.
MARGARET MACPHEE. Canadian, Strathspey. Canada, Cape Breton. D Major. Standard tuning.
AB. Composed by fiddler Brenda Stubbert (b. 1959, Point Aconi, Cape Breton,
Nova Scotia) in honor of piano accompanist Margaret MacPhee. Cranford (Brenda Stubbert’s), 1994; No. 55, pg. 20. Brenda Stubbert -
“Tamerack ‘er Down” (1985).
MARGARET MACPHEE'S JIG. Canadian, Jig. Canada, Cape Breton.
G Major. Standard tuning. AA'BB'. A self-titled jig composed by New Waterford,
Cape Breton, pianist Margaret Macphee (b. 1913). Cook (Night in the Kitchen Collection), 1996; pg. 39.
MARGARET MALONE. Irish, Planxty (2/4 time). A Minor. Standard tuning. AABB. Composed by
blind Irish harper Turlough O'Carolan (1670-1738). Complete Collection of Carolan's Irish Tunes, 1984; No. 98, pg. 75.
MARGARET O'NEILL. Irish, Air (6/8 time). D Dorian. Standard tuning. ABB. Joyce obtained
the tune from the Forde Collection. Joyce (Old
Irish Folk Music and Songs), 1909; No. 434, pg. 247.
X:1
T:Margaret O’Neill
M:6/8
L:1/8
R:Air
B:Joyce - Old Irish Folk Music
and Songs, No. 434 (1909)
Z:AK/Fiddler’s Companion
K:Ddor
D|D>ED DEG|c3 e2d|d/c/AG
F>ED|(E3 E2) (3A/G/E/|
D>ED DEG|c3 e2d|cAG E2D|(D3
D2)||:d|dcA cde|f3 e2d|
cAG FED|(E3 E2) (3A/G/E/|D>ED
DEG|c2d e2d|d/c/AG E2D|(D3 D2):|
MARGARET ROCHE [1] (Mairghread Na Roiste). AKA and see "The Little Black Rose [2],"
"Róisín dubh [1]." Irish, Air
(3/4 time). A Minor. Standard tuning. One part. "Bunting gives wto
settings of this air, which he calls 'Roisin dubh' (The Little Black Rose). But
is is universally known all over Munster as 'Mairghread na Roiste': and I
believe that Bunting has given it a wrong name. The air called Róisín dubh, which is known, not only in
Munster, but all over Ireland, is entirely different. It well be found in
Petrie's Ancient Music of Ireland, in
a major setting; and in my 'Irish Music and Song', in its proper minor setting.
The setting I give here of Mairghread no Roiste differs a good deal from both
of Bunting's settings of the air he (wrongly) calls Roisin Dubh. It is more
purely vocal. It has remained in my memory since boyhood, with the first verse
of the Irish song, which tells a sad story. Margaret Roche was condemned to be
burned alive for murder. On her condemnation her brother set out post haste for
Dublin and was successful in obtaining a reprieve, but arrived home just an
hour too late. He then composed a lament of which I give the first verse.
***
O Margaret, Margaret, Margaret Toche
Of the white hands, of the golden ringlets:
There were one and twenty people at your wedding;
And no one living belonging to you at your burning.
***
Joyce (Old Irish Folk Music and Song), 1909; No. 57, pg. 31.
X:1
T:Margaret Roche
T:Mairghread na Roiste
M:3/4
L:1/8
R:Air
S:Joyce – Old Irish Folk Music and Songs (1909)
Z:AK/Fiddler’s Companion
K:A Minor
d/>c/A/G/|A2A2 BG|A2A2 cd|f2f2
ed|e3 dcA|f2f2 ed|e2 e>d cA|d2d2 e>d|
d3c A>A|f2f2 ed|e2 e>d cA|c2c2
e>d|d3c A (3A/B/c/|d2d2 cA|f2 e>d cA| G2A2A2|A4 A2||
MARGARET ROACH [2].
AKA – “Gallens Lament.” Irish, Air (4/4 time). E Minor. Standard tuning. One
part. O’Farrell (Pocket Companion, vol. III), c. 1808;
pg. 34.
X:1
T:Margaret Roach
[2]
L:1/8
R:Air
S:O’Farrell
– Pocket Companion, vol. III (c.
1808)
Z:AK/Fiddler’s Companion
K:Emin
GE | E2E2 GE | E4 GA/B/ | c4 BA | B4 G>A | B2 “tr”e4 | edcBAG | A4 BG |
A3G
E2 | c4 BA | B4 (AG) | E2E2 G>A | G4E2 | A4 G>A | B3A GE | D4 (EF) | E4
||
MARGARET SHEEHAN. AKA ‑ "Mairgread Mi Seadacain." AKA and see "My
Darling Colleen Fuen." Irish, Air (3/4 time, "very slow"). G
Major. Standard tuning. One part. O’Neill (1913) points out that, while the
melody is regular in composition, there is no repetition of strains. O'Neill (Music
of Ireland: 1850 Melodies), 1903/1979; No. 61, pg. 11. O’Neill (1913), pg.
115.
X:1
T:Margaret Sheehan
M:3/4
L:1/8
R:Air
N:”Very Slow”
S:O’Neill – Music of Ireland (1903), No. 61
Z:AK/Fiddler’s Companion
K:G
z2 B2A2 | G4E2 | D4E2 | G6 | G4B2 |
d4B2 | G4B2 | d6 | d4 e2 | d4 B2 |
B2 {c/B/}A2G2 | A6 | A4 B2 | c4A2 |
B4 G2 | E6 | G4A2 | B4d2 | d4e2 |
d6 | g4e2 | d4B2 | B2 {c/B/}A2G2 |
A4c2 | B4A2 | G4E2 | D4E2 | G4A2 |
B4G2 | A4B2 | G4 G2 | G6 ||
MARGARET STUART’S REEL. Irish, Reel. Ireland, County Donegal. B Minor. Standard tuning. AA’B.
See also the related “Sweeney’s
Buttermilk.” Source for notated version: fiddler Danny O’Donnell (County
Donegal) [Feldman & O’Doherty]. Feldman & O’Doherty (The Northern Fiddler), 1978; pg. 188.
MARGARET THAT LOST HER
GARTER. See note for “Frankin is Fled Away.”
MARGARET WALKER.
Irish, Reel. B Flat Major. Standard tuning. AB. Source for notated version:
fiddler Sean Maguire, based on J. Scott Skinner’s composition [O’Malley].
O’Malley (Luke O’Malley’s Collection of
Irish Music, vol. 1), 1976; No. 12, pg. 6.
X: 1
T: Margaret Walker
M: 4/4
L: 1/8
Q: 350
S: Luke O'Malley vol 1
Z: Transcribed by Bill Black
R: Reel
K: Bb
B2 dB ecAc | B2 df bfdB | egce dfbd | cBAc BFGA
|
B2 dB ecAc | B2 df bfdB | gecg fdBf | cf=ef
gf_ec ||
(3dcB bB aBgB | (3ded (3Bdf bfdB | (3AGF ef dFcF
| (3AcA (3FAc fF (3Ace |
(3dcB bB aBgB | (3fgf (3Bdf bfdf | gecg fdBf |
ecAF B2 z2 ||
w: %(space)
P: Key of G
K:G %Transposed from Bb
G2 BG cAFA | G2 Bd gdBG | ceAc BdgB | AGFA GDEF
|
G2 BG cAFA | G2 Bd gdBG | ecAe dBGd | Ad^cd
ed=cA ||
(3BAG gG fGeG | (3BcB (3GBd gdBG | (3FED cd BDAD
| (3FAF (3DFA dD (3FAc |
(3BAG
gG fGeG | (3ded (3GBd gdBd | ecAe dBGd | cAFD G2 z2 ||
MARGARET’S FANCY. English, Highland or Reel. A
Major. Standard tuning. AABB. Kennedy (Traditional
Dance Music of Britain and Ireland: Reels and Rants), 1997; No. 119, pg.
29.
MARGARET'S WALTZ. English, New England; Waltz. A Major. Standard tuning. One part (most
versions): AAB (Martin). Composed in the 1950’s by English collector Pat
Shuldham‑Shaw, and dedicated to Margaret Grant, an employee of the English
Folk Dance and Song Society on the occasion of her retirement. It is also said
to have been played in honor of Princess Margaret, then President of the
English Folk Dance and Song Society, on the occasion of a visit by her to Cecil
Sharp House, London, headquarters of the society. A picture was taken of her
dancing to the melody and was published in Dance
and Song, the organization’s magazine. New York fiddler Jay Ungar is quoted
in Matthiesen's Waltz Book (1992) as
having taught the melody, popular at New England contra dances for years, to
Shetland fiddler Aly Bain, though at the time he was unaware of its origins
(Ungar himself learned it from New York hammered dulcimer player Bill Spence).
Bain took the tune back to Scotland and fancied it the kind of melody his
friend Pat (Shuldham-) Shaw would enjoy hearing. After dinner one night in
Bain’s Sylvan Place, Edinburgh, flat, the instruments came out and Bain played
his ‘new’ waltz, asking Shaw what he thought. Shaw, the story goes, dryly
replied that yes, indeed, he did like the tune‑‑because as a matter
of fact, he'd composed it. The melody was, for a time, the most requested tune
on radio Scotland (Fiddler Magazine).
The cross-Atlantic meandering of the tune is quite remarkable. Aly Bain was on
tour with the Boys of the Lough and were seen by Kentucky fiddler J.P. Fraley.
Fraley was taken with the tune and was persuaded by Bain to attend a late-night
party after the concert with the promise that Bain would teach Fraley the
waltz, which he did. Fraley liked it so much he played it as his waltz
selection for the Clifftop festival competition and came in second place. Some
claim Paul McCartney’s “Mull of Kintyre” sounds like “Margaret’s Waltz.” Martin
(Ceol na Fidhle, vol. 3), 1988; pg.
9. Matthiesen (Waltz Book I), 1992;
pg. 34. Front Hall Records 05, Fennigs All‑Stars‑‑"Saturday
Night in the Provinces." Green Linnet SIF‑104, Seamus Maguire &
Jackie Daly ‑ "The Celts Rise Again" (1990). Green Linnet SIF‑1079,
Seamus Maguire & Jackie Daly ‑ "Buttons and Bows" (1987).
Whirlie Records CD2, Aly Bain - "First Album" (1984). J.P. Fraley -
“Maysville.” Boys of the Lough - “Live at Carnegie Hall.”
X:1
T:Margaret's Waltz
C:Pat Shaw
R:waltz
M:3/4
L:1/8
K:A
AF|E3 F AB|c4 Ac|BA F2 Ac|B4 AF|E3 F
AB|c e3 A2|c4 B2|A4:|
cd|e2 f2 g2|a2 g2 a2|fe d2 f2|e4
cB|A3 B cd|e4 ce|fe d2 (3cAc|B4 cd|
eA fA gA|aA gA fA|eA dA (3cAc|B4
AF|E3 F AB|c e3 A2|c4 B2|A4||
MARGATE ROUT. English, Country Dance Tune
(whole time). B Flat Major. Standard tuning. AABB. Originally published in Charles
and Samuel Thompson’s Compleat Collection, vol. 3 (London, 1773), and
later in Straight and Skillern’s Two Hundred and Four Favourite Country
Dances, vol. 1 (London, 1775). It also was entered into the 1788 music
manuscript copybook of fiddlers John and William Pitt Thompson (Norwich,
Conn.). Margate is a seaside town in north western Kent, famous as a resort for
vacationing Londoners for several centuries. Thompson (Compleat
Collection of 200 Favourite Country Dances, vol. 3), 1773; No. 83.
X:1
T:Margate Rout
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:Bb
f2 dB g2 gb|fdcB cAGF|f2 dB g2 gb|fdec B4::d2 dB cAGF|f2 fd ecBA|
gfef
gabg|fdec B4::B2 B>A BFDB,|B2 B>A BFDB,|Bcde fgfe|dBcA B2 B,2:||
MARGERY GRINDER. AKA and see "Terry
Heigh Ho the Grinder [1]."
MARGERY ROSS STEWART. Canadian, March. Canada, Cape Breton. Composed by fiddler, composer,
compiler and editor Paul Stewart Cranford – who is also a lighthouse keeper! –
for a member of his family. Odyssey ORCS 1051, Jerry
Holland – “Fiddler’s Choice” (1998).
MARGERY'S FAVORITE. American, Reel. F Major (‘A’ part) & D Minor (‘B’ part). Standard
tuning. AABB. Cole (1000 Fiddle Tunes),
1940; pg. 41. Ryan’s Mammoth Collection,
1883; pg. 68.
X:1
T:Margery’s Favorite
M:2/4
L:1/8
R:Reel
S:Ryan’s Mammoth Collection (1883)
Z:AK/Fiddler’s Companion
K:F
FA/d/ cA/d/|c/A/F/A/ c/A/f|FA/d/
cA/d/|A/d/c/A/ G/A/B/G/|FA/d/ cA/d/|
c/A/F/A/ c/A/f|FA/d/ cA/d/|c/A/G/A/
Fz::af/a/ ge/g/|f/e/d/f/ e/^c/A|
af/a/ ge/g/|f/e/d/f/ ez|af/a/
ge/g/|f/e/d/f/ e/^c/A|A^c/e/ a/g/f/e/|g/f/e/f/ dz:|
MARGIE WALTZ. Old-Time, Waltz. A Major. Standard. One part. Source for notated
version: Clarence Tate [Phillips]. Phillips (Traditional American Fiddle Tunes), vol. 2, 1995; pg, 282.
MARGOT JACKSON (Mairéad Nic Shiacais). Irish, Reel. G Major. Standard
tuning. AA’BB’. Source for notated version: from a 1960's collection by piper
Jack Wade 1913-1967 (originally from County Dublin and Meath, living in County
Monaghan when he was killed in an auto accident), with a note that Wade got it
from Owen McCague, a musician from County Fermanagh [Breathnach]. Breathnach (CRÉ
IV), 1996; No. 98, pg. 52.
MARGOT’S SURPRISE. American, Reel. G Minor. Standard tuning. AABB. A Klezmer-style tune by
Seattle fiddler Steve Trampe, who told Susan Songer (1997) that it was named
for the sudden snowstorm clarinetist Margot Leverett once was caught in which
buried her car. Songer (Portland
Collection), 1997; pg. 131.
MARGRAVINE'S WALTZ. AKA and see “Draper’s Gardens.”
Front Hall FHR‑010, Bill Spence and Fennig's All
Stars ‑ "The Hammered Dulcimer Strikes Again" (1977).
MARGRETT BROWN'S
FAVORITE. See "Maggie Brown's Favorite,"
"Planxty Margaret Brown."
MARGURITE/MARGUERITTE
McNEILL(‘S). Canadian, Reel. Canada, Cape
Breton. D Major. Standard tuning. AB. Composed by Cape Breton fiddler and
composer Dan R. MacDonald (1911-1976). Cameron (Trip to Windsor), 1994; pg. 26. Shanachie 14001,
"The Early Recordings of Angus Chisholm."
MARIA DUNDASS. Scottish, Reel. F Major. Standard tuning. AAB. Composed by Nathaniel
Gow. Carlin (The Gow Collection),
1986; No. 274.
MARIA MORRIS TUNE. American, Reel. USA, southwestern Pa. D Major. Standard tuning. AB.
"Named for a woman who liked it" (Bayard, 1981; pg. 36). Source for
notated version: Issac Morris (fiddler from Greene County, Pa., 1930's)
[Bayard]. Bayard (Dance to the Fiddle),
1981; No. 47, pg. 36.
MARIAN McCARTHY. Irish, Set Dance. A Major.
Standard tuning. AA’B. Composed by Limerick fiddler Con Foley, originally from
County Cork. It is named in honor of a famous set dancer from Limerick,
according to Séamus Connolly (2002), who competed in the 1960’s and 1970’s. “Planxty Penny” is another of his
compositions. Connolly & Martin (Forget
Me Not), 2002; pgs. 62-63. Green Linnet GLCD,
Seamus Connolly – “Here and There.”
MARIANE ITALIENNE, LA. French, Country Dance (6/8 time). G Major. Standard tuning. AABBCC. From the contradance book (tunes with dance instructions) of Robert Daubat (who styled himself Robert d’Aubat de Saint-Flour), born in Saint-Flour, Cantal, France, in 1714, dying in Gent, Belgium, in 1782. According to Belgian fiddler Luc De Cat, at the time of the publication of his collection (1757) Daubat was a dancing master in Gent and taught at several schools and theaters. He also was the leader of a choir and was a violin player in a theater. Mr. De Cat identifies a list of subscribers of the original publication, numbering 132 individuals, of the higher level of society and the nobility, but also including musicians and dance-masters (including the ballet-master from the Italian opera in London). Many of the tunes are written with parts for various instruments, and include a numbered bass. Daubat (Cent Contredanses en Rond), 1757; No. 67.
X:1
T:Mariane Italienne, La
M:6/8
L:1/8
N:”Allegro”
S:Daubat – Cent Contredanses en Rond (1757), No. 67
Z:AK/Fiddler’s Companion
K:G
G | d>ed {e}d2c | B>ed {e}d2c | B>dB c>AF | GDB, G,2G | d>ed {e}d2c |
B>dB c>AF | {F}G2 :: (g/a/b/a/).g | {b}a2f e/f/g/f/e | f2d (g/a/b/a/).g |
(f/g/a/g/).f (e/f/g/f/).e | d3 (g/a/b/a/).g | {b}a2f (e/f/g/f/).e | f2d (g/a/b/a/).g (e/f/g/f/).e |
d3 z2 :: d | dB^G EdB | {B}c3 Dc | cAF DcA | BdG AcF | GBd gdB |
ecA
dBG | ABc FGA | G3 :|
MARIANNE, LA. French, Valse (3/4 time). G Major. Standard tuning. AA'BB. Traditional
tune from central France. Stevens (Massif
Central), 1988; No. 60.
MARIANNO, LA. French, Bourree (3/8 time). C Major. Standard tuning. AABB. From the
Auvergne Province of central France. Stevens (Massif Central), 1988; No. 37.
MARIA'S
FROLIC. English, Jig. D Major. Standard
tuning. AABB. The melody first appears in Charles and Samuel Thompson’s Compleat
Collection, vol. 3 (London, 1773), later printed by James Aird in his
second volume of Selections of Scotch, English, Irish and Foreign Airs
(Glasgow, 1785). Manuscript versions can be found in the 1780 copybook of
fiddler John Fife (of Perthshire, although portions of the manuscript may have
been written at sea), and Northumbrian musician William Vickers’ collection,
begun in 1770. In America the jig was printed in G. Gilford’s Gentleman’s
Pocket Companion for the Flute or Violin (New York, 1802). Aird (Selection of Scotch, English, Irish and
Foreign Airs), vol. II, c. 1785; pg. 1, No. 2. Seattle (William Vickers), 1987, Part 3; No. 503.
Thompson (Compleat Collection of 200 Favourite Country Dances, vol.
3), 1773; No. 99.
X:1
T:Maria’s
Frolic
M:6/8
L:1/8
S:Aird, Selections,
vol. II (1785)
Z:AK/Fiddler’s Companion
K:D
A/G/ | FGA
AFA | BGB AFA | E2e efd | c3A3 | FGA AFA |
BGB AFA |
D2d dec | d3D2 :: g | fga agf | efg gfe | fga Bcd |
c3 A2 (B/c/) | dcB AGF | GAB AFA |
D2d dec | d3 D2 :||
X:2
T:Maria’s Frolick
M:6/8
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
A/G/|F2A
AFA|BGB AGF|E2e efd|c3 A2G|F2A AFA|BGB AFA|D2d dec|d3 D2:|
|:g|fga agf|efg gfe|def Bcd|c3 ABc|dcB AGF|GAB AFA|D2d dec|d3 D3:||
MARICHEN. German. A popular folk tune with the ethnic German community in northern Wisconsin (Leavy).
MARIE. Cajun, Waltz. USA, southwestern Louisiana. A Major. Standard. One part.
Source for notated version: Aldus Roger, Vernon Bergeron (La.) [Francois].
Francois (Yé Yaille, Chère!), 1990;
pg. 418.
MARIE A PIERRE. AKA and see “Paddy on
the Turnpike [2]." A French-Canadian title for “Paddy on the
Turnpike.”
MARIE AND THERESA. Canadian, Jig. Canada, Cape Breton. C Major. Standard tuning. AABB.
Composed by Cape Breton fiddler and composer Dan R. MacDonald (1911-1976).
Cameron (Trip to Windsor), 1994; pg.
50.
MARIE ANNE'S REEL. French‑Canadian, Reel. F Major ('A' part) & C Major ('B'
part). Standard tuning. AAB. Carlin (Master
Collection), 1984; No. 58, pg. 43.
MARIE MACDONALD. Canadian, Jig. Canada, Cape Breton. F Major. From the repertoire of Carl
MacKenzie.
MARIE, SAUCE TON PAIN (Marie, dip
your bread). French-Canadian, Reel. G Major. Standard tuning.
AA’BB’. Source for notated
version: fiddler André Alain {1931-2001} (St-Basile-de-Portneuf, Québec) via
the group La Bottine Souriante [Hart & Sandell]. Hart & Sandell (Dance ce Soir), 2001; No. 9 pg. 44. MP 2036, La Bottine Souriante – “Je voudrais changer
d’chapeau.”
MARIE'S FAMILY. See "Whiskey Jig."
MARILLA'S LESSON. AKA - “Marillo’s Lesson.” Old-Time, Listening Piece (cut time). G
Major. Standard tuning. AA'BAA'. Source for notated version: Jere Canote
[Phillips]. Phillips (Traditional
American Fiddle Tunes), vol. 2, 1995; pg. 83.
MARINDA. English (?), Air (2/4/ time). D Major. Standard tuning. AAB. O’Farrell (Pocket Companion, vol. IV), c. 1810; pg. 140.
X:1
T:Marinda
M:2/4
R:Air
S:O’Farrell (Pocket Companion, vol. IV), c. 1810
Z:AK/Fiddler’s Companion
K:D
Ad de | f>g fd | Bg eA | d>e dA | Ad de | f>g fd | Bg ec | d2d :|
f/g/ | a>b ag | fd AF | a>b af | g2f2 | a>b ag | fd AF | a>b ag | g2f2 |
.g.g
.ge | .f.f .f.d | .g.g .ge | a>b af | .g.g .ge | (f/e/)(f/g/) fd | ef
g/e/d/c/ | d2d ||
MARINE (JIG), THE. AKA and see “The Braes of Argyll.” Irish. Ireland,
County Donegal. The Irish name for the Scottish tune “The Braes of Argyll.” The
Marine is also a dance, which Caoimhin Mac Aoidh (1994) states was invented by
an Irishman, James Fitzgerald, a popular resident dancing master at the Marine
Ballroom, Edinburgh (from which the dance derives its name) in the 1880’s. The
dance is apparently forgotten (though it was said to be a couple dance
involving side-to-side and face-to-face patterns), but versions of the tune
live on in Donegal fiddling tradition. Fintan Vallely, writing in his book Blooming Meadows (1998), states that
Fitzgerald’s tune was learned by migrant Donegal workers and brought home to
the Croaghs (Blue Stack Mountains) where it entered fiddle tradition.
MARINER’S DEPARTURE, THE. English, Reel. G Major. Standard tuning. AABA. Cahusac (Annual Collection of Twenty Four Country Dances for the Year 1809), 1809; No. 8.
X:1
T:Mariner’s Departure, The
M:C|
L:1/8
R:Reel
B:WM Cahusac – Twenty Four Country Dances for the Year 1809, No. 8 (London)
N:”With proper Directions to each Dance as they are performed at
N:Court, Bath, and all Public Assemblies.”
Z:Transcribed and edited by Flynn Titford-Mock, 2007
Z:abc’s:AK/Fiddler’s Companion
K:G
G2 DE G2e2|DBAG AFED|G2 DE G2e2|dBcA G4:||
D2 Bc d2g2|fafd cedc|B2 GA B2^c2|dfe^c d4|
G2
DE G2e2|DBAG AFED|G2 DE G2e2|dBcA G4||
MARINER'S FROCK, THE (Casog an Mairnealaig). Irish, Single Jig. A Dorian.
Standard tuning. AA'BB'. See also the related jig “Palm Sunday.” O'Neill (Dance Music of
Ireland: 1001 Gems), 1907/1986;
No. 400, pg. 80.
X:1
T:Mariner’s Frock, The
M:6/8
L:1/8
R:Single Jig
S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 400
Z:AK/Fiddler’s Companion
K:Amin
A|AGE G2A|G2E E2D|EAA c2d|e2d
de^f|g3 g^fe|dcB c2d|edc BAG|B2A A2:|
|:z|a2a a^ga|a2e e2^f|g2a g2e|dBG
GBd|g2g e2e|dcB c2d|edc BAG|B2A A2:|
MARINGOUINS, LES. See "Tous les Deux Pour la Meme."
MARINGOUINS ONT TOUT
MANGE MA BELLE, LES (The Mosquitoes
Ate Up My Sweetheart). Cajun, Waltz. USA, Louisiana. D Major. Standard tuning.
AABB(Vocal)AABBAA(Vocal)AABBAABB. The word 'maringouin' comes from the South
American Indian name for mosquito, states Raymond Francois (1990), though
'moustique' is also used in some parts of Louisiana. See also the note for the
song "Gabriel." Source for notated
version: Segura Brothers (La.) [Francois]. Francois (Yé Yaille, Chère!), 1990; pgs. 230-231. Old
Timey Records OT-108, the Segura Brothers.
MARINO WALTZ. Irish, Waltz. G Major. Standard
tuning. AA’BB’. Composed by John Sheahan of The Dubliners. Marino is a “leafy
suburb” of Dublin, the location of the architecturally significant 18th
century building called “The Casino”. The melody has sometimes been called the
“Bord na Móna” waltz from association with that product in advertising.
X:1
T:The Marino (Marion?) Waltz
R:waltz
C:John Sheahan
S:John Gallagher (County Donegal)
N:John Gallagher slides up to the
first g's and from the f to the e in the
first part of the tune, and from F
sharp to F nat. in the second part of
the tune. John Gallagher is a great fiddler from Adara, Co. Donegal. He
said that this waltz was the most
popular waltz in Ireland at that time
(when he played it on the tape).
D:The Dubliners,
"Celebration"
Z:Transcribed by Larry Sanger
M:3/4
K:G
|:Jg2 d2 B2|F4 B2|E4 c2|D6|C2 D2
E>G-|F2 D2 A2|G2 D2 B2|A6|
Jg2 d2 B2|F4 f2-|Je2 d2 c2|E4 e2|d2 c3
A|F4 B2|G6|1 Gd ^cd ef:|2 G6||
|:D2 E2 F2|G2 A2 _B2|=B6|F4-
J=F2|E6|c4 E2|G4 F>E|F6|
C2 D2 E>G-|F2 D2 A2|G2 D2 d2|e4
d2|^c2 A2 F2|D4 B2|G6|1 G6:|2 Gd ^cd ef||
MARION. AKA ‑ "Morag." Scottish, Slow Air (4/4 time). D Minor.
Standard tuning. AAB. "It is much to be regretted that, in framing words
to this beautiful and admired melody, it appears to have been imperfectly
communicated to Burns, or else his muse could not attain to the usual
perfection of her efforts; at least the
set given by Mr. G. Thomson does not sing with effect to the original Gaelic
words, for which reason the editor gives the edition of his progenitor and
Culduthel, who are known to be among the first who spread its fame, from their
style of singing it" (Fraser). Fraser (The
Airs and Melodies Peculiar to the Highlands of Scotland and the Isles),
1874; No. 119, pg. 47.
MARION,
THE GABERLUNZIE MAN'S DAUGHTER. AKA ‑ "Mor Nighean a'
Ghiobarlain." Scottish, Slow Air (4/4 time). G Dorian (Fraser): A Dorian
(Morison). Standard tuning. One part (Morison): AAB (Fraser). "This is a
very ancient air, loaded with variations by MacGibbon, Oswald, and others, but
still retaining the Gaelic name; the editor supposes from inabilty to find
English for it. He consulted several gentlemen, fond of diving into Celtic
derivations, who seemed to think the name signifies 'Marion, the Knab's
Daughter.' There are an abundance of Gaelic verses to it, which throw no light
on the origin of the name. The air is given as sung by the gentlemen mentioned
in the Prosoectus, and he has lately heard Scots verses of mediocrity to the
first measure of it, which may probably in like manner suit the second measure.
The Scots verses begin, 'Blythe was the time.' &c." (Fraser). Fraser (The Airs and Melodies Peculiar to the Highlands
of Scotland and the Isles), 1874; No. 209, pg. 86. Morison (Highland Airs and Quicksteps, vol. 2),
c. 1882; No. 45, pg. 29.
X:1
T:Marion, the Gaberlunzie man’s daughter
T:Mor Nighean a’ Ghiobarlain
M:C
L:1/8
R:Slow Air
S:Fraser Collection (1874)
Z:AK/Fiddler’s Companion
K:F
G2 GB d2 cA|G2 F>G AF D2|F2 FG A2 GF|D2 F>G (FD) C2|
F<A G>F F2 (ef)|~d2 df d>c A2|c>Baf d2 cA|G2 F>G A>G G2||
d>cB>c d2 (ef)|G2 F>G AF D2|A>GF>G A2 (=Bc)|D2 F>G F>D C2|
F<A G>F F2 (ef)|~d2 df d>c A2|c>B Af/>e/ d2 cA|G2 F>G A>G G2||
X:2
T:Mor nighean a ghiobarlain
T:Marion the Beggar’s daughter
M:C
L:1/8
R:Air
S:Morison – Highland Airs and Quicksteps, vol. 2, No. 45 (c. 1882)
Z:AK/Fiddler’s Companion
K:Amin
A AB e2 dB | A2 AB BA A2 | {B/A/}Gd
dc cB AG | E2G2 {A}AG DE |
G2G2 {G}g2g2 | {^f/d/}e>^f g>f
e>d B>d | e>^f g>f e>d B>G | A2 e>d BA A2 :|
MARIONETTS
[1]. AKA and see “Albany Quick March,” “Albina.”
MARIONETTS [2]. AKA – “Marionetts Cotillion.” English, Jig. C Major. Standard tuning.
AABB. The tune was a popular song and can be found in James Aird’s Selection of Scotch, English, Irish and Foreign Airs, volume 1, 1782
and the American Aaron Beck flute manuscript of 1786. Source for notated
version: a c. 1847 music manuscript collection by Ellis Knowles, a musician
from Radcliffe, Lancashire, England [Plain Brown Tune Book]. Plain
Brown Tune Book, 1997; pg. 53.
X:1
T:Marionette Cotillon
M:6/8
L:1/8
R:Jig
K:C
c2e geg | afa g3 | fdf ece | dBd c2G
| c2e geg | afa g3 | fdf ece | dBd c3 :|
|: e3e3 | ede f3 | e2f g2f | e2d c2G
| e3e3 | ede f3 | e2f g2f | egd c3 :|
MARION'S RAMBLE. English, Jig. A Major. Standard
tuning. AAB. A modern composition by editor Michael Raven. Raven (English Country Dance Tunes), 1984; pg.
204‑205.
MARI'S WEDDING. See “Mairi’s Wedding.”
MARK WILSON’S JIG. Canadian, Jig. Canada, Cape Breton. A Major. Standard tuning. AABB’.
Composed by fiddler Jerry Holland (Inverness, Cape Breton) for Mark Wilson of
Rounder records. Cranford (Jerry
Holland’s), 1995; No. 199, pg. 57. Rounder
Records, “Jerry Holland” (1976).
MARKET CHORUS. Scottish, Country Dance Tune (2/4 time). D Major. Standard tuning.
AABB. Kerr (Merry Melodies), vol. 1;
No. 8, pg. 22.
X:1
T:Market
Chorus
M:2/4
L:1/8
S:Kerr – Merry Melodies, vol. 1, pg. 22 (c. 1880’s)
Z:AK/Fiddler’s Companion
K:D
A|Af fe/f/|ed
dc/d/|cB Bc/d/|fe A2|Af fe/f/|ed dc/d/|cBfe|c/d/B/c/ A:|
|:A|A2
d/e/f/d/|A2 d/e/f/e/|a/g/f/g/ ee|a/g/f/g/ ee|
A2
d/e/f/d/|A2 d/e/f/d/|a/g/f/g/ ec|d z d:|
MARKET DAY [1], THE. AKA and see “Mary Delaney,” “Stay for Another While.” Irish, reel.
D Major. Standard tuning. One part. Composed by County Cavan/Philadelphia
fiddler and compser Ed Reavy (1898-1988). Reavy (The Collected Compositions of Ed Reavy), No. 60, pg. 66.
X:1
T:The Market Day
R:reel
C:Ed Reavy
M:2/2
L:1/8
Z:Joe Reavy
N:Always a special day in the old tradition.
K:D
A || dcAG FDDE | FEFG AB (3=cBA | dcAG FDDg | fdec dfec |
dcAG FDDE | FEFG AB (3=cBA | d^cAG FDDg | fdec d2 (3ABc |
d2 fd adfd |cdeg fdec | d2 fd adfd | cdeg fddc |
defgbged | cdef g2 fg | (3agf (3gfe fded | cdeg fddc ||
MARKET DAY [2]. American, Piece (4/4 time). F Sharp Minor.
Standard tuning. AABB’. Composed by Vermont fiddler Pete Sutherland. Sutherland
(Bareface), 1984; pg. 17.
MARKET GIRL{'S}, THE (Cailin an Margaid). Irish, Double Jig. G Major.
Standard tuning. AABB. Compositon credited to one J. Sullivan in Ryan’s Mammoth
Collection (1883). Cole (1000 Fiddle
Tunes), 1940; pg. 67. O'Neill (Dance
Music of Ireland: 1001 Gems), 1907/1986; No. 360, pg. 74. Ryan’s Mammoth Collection, 1883; pg. 98.
X:1
T:Market Girl, The
M:6/8
L:1/8
R:Jig
S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 360
Z:AK/Fiddler’s Companion
K:G
DEF GBG | AGA BGE | DEF G2d | AEE GEE
| DEF GBd | AGA B2g |
gfe dBG | AGE GED :: Bdd dBd |
e/f/ge dBG | Bdd dcB | AGE GED |
Bdd d2f | edB def | gfe dcB | AGE
GED :|
MARKET LASS, THE. American, Reel. D Major. Standard tuning.
AABB. Sweet dates the tune to “1799?”. Sweet (Fifer’s Delight), 1965/1981; pg. 62.
X:1
T:Market Lass
M:2/4
L:1/8
R:Reel
Z:AK/Fiddler’s Companion
K:D
a/g/ | fd d/c/d/f/ | ec AB/c/ |
d/c/d/e/ f/e/f/g/ | f2 ea/g/ | fd d/c/d/f/ | ec Ad | c/d/e/f/ g/e/d/c/ |
ddd :: F/G/ | A/G/A/B/ A/B/c/d/ | e/c/e/c/
AE/F/ | G/F/G/A/ G/c/e/d/ | c/B/A/G/ FF/G/ |
A/G/A/B/ A/d/c/d/ | B/A/B/c/
Be/^d/e/ | c/d/e/f/ g/e/d/c/ | ddd :|
MARKET LOUNGER, THE. See “Stáca ‘n Mhargaidh.”
MARKET RASEN FEAST
QUICKSTEP.
English, Quickstep March (2/4 time). G Major. Standard tuning. AABB. The
town of Market Rasen, Lincolnshire, is a small market town in the West Lindsey
district. It was settled by the Saxons (and originally called East Rasen,
mentioned in The Doomsday Book). The
‘feast’ of the title refers perhaps to one of the two traditional fairs once
held yearly in the town from the 13th century, one in May and one in
September. Charles Dickens once called Market Rasen “the sleepiest town in
England.” 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. 6. BBC Radio Lincolnshire YBR 101, Liam Robinson –
“Yellowbellies” (2004. Various artists).
MARKET RASEN QUICKSTEP. English, Quickstep March (2/4
time). G Major. Standard tuning. AABB. Gibbons originally set this tune in the
key of ‘C’ major in his ms. 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. 63.
MARKET TOWN, THE ("An Baile-Margad" or "Baile an
Margaid").
AKA and see “Peter Baillie’s Wife.”
Irish, Double Jig. A Major (O’Neill): G Major (Miller). Standard tuning. AABB
(Miller): AABB' (O'Neill/Krassen & 1850): AAB (O'Neill/1915). See also the
American melody “Booth Shot Lincoln”
for a breakdown setting of this tune. Miller (Fiddler’s Throne), 2004; No. 74, pg. 55. O'Neill (O’Neill’s Irish Music), 1915/1987; No.
154, pg. 87. O'Neill (Krassen), 1976; pg. 46. O'Neill (Music of Ireland:
1850 Melodies), 1903/1979; No. 958, pg. 178. O'Neill (Dance Music of
Ireland: 1001 Gems), 1907/1986;
No. 181, pg. 44. Green Linnet SIF 1041, Kevin Burke ‑
"Portland" (1982). Green Linnet SIF 1101, Kevin Burke ‑
"Playing with Fire: the Celtic Fiddle Collection" (1989).
X:1
T:Market Town, The
M:6/8
L:1/8
R:Jig
S:O’Neill – Dance Music of
Ireland: 1001 Gems (1907), No.
181
Z:AK/Fiddler’s Companion
K:A
E|E>FE ECE|E>FA A2f|e>dc
Bcd|d>BA FGA|E>FE ECE|E>FA A2f|
edc BAB|cAA A2:||:c/d/|e>fe
ece|f2g a2f|e>dc Bcd|c>BA F2F|1 e>fe ece|
f2g a2f|edc BAB|cAA A2:|2 Ace
def|cde fga|edc BAB|cAA A2||
MARLBROUGH. AKA and see "Marlbrouk."
MARLBROUK. AKA and see "Malbrou(c)k,"
"Marlbrough," "Molly Brooks,"
"We Won't Go Home
Until Morning," "For He's a Jolly Good Fellow." English, French,
American; Country Dance Tune (6/8 time). G Major. Standard tuning. AABB. The
tune probably originated in 18th century France, though Barnes dates it to
1808. It is the vehicle for a country dance of the same name, printed by
Morrison. Barnes (English Country Dance
Tunes), 1986. Chase (American Folk
Tales and Songs), 1956; pg. 195? (appears as "Molly Brooks").
Morrison (Twenty-Four Early American
Country Dances, Cotillions & Reels, for the Year 1976), 1976; pg. 51.
MARMADIKE. AKA and see "Marmaduke's Hornpipe."
MARMADUKE'S
HORNPIPE. AKA ‑ "Marmadike."
AKA and see “Damon’s Window/Winder,”
"Dan Jones." Old‑Time, Breakdown. USA; Arkansas, Missouri. D
Major (Christeson, Phillips, Silberberg): D Mixoydian {’A’ part} & D Major
{’B’part} (Songer). Standard tuning. AB (Silberberg): AABB (Christeson,
Songer): AABB' (Phillips). Missouri fiddler Howard “Rusty” Marshall reveals
that Missouri oral tradition gives that the tune was named for Confederate
general John S. Marmaduke, son of pre-conflict Missouri governor M.M.
Marmaduke, who was“from a dynasty of Little Dixie tobacco and hemp
farmers, slave holders, and politicians.” More political appointee than warrior, John S. and his outnumbered, outgunned rebel forces were
soundly defeated at the battle of Boonville in June, 1862, resulting in
surrendering control of the Missouri River to Union forces. He led a regiment
at Shiloh, and participated in Price’s raid in Missouri during which he had two
horses shot out from under him at Little Blue. He was wounded and captured at
Marais de Cygnes in October, 1864. Despite his lack of success in the martial
arena Marmaduke was, like his father, elected governor of the state after
Reconstruction, serving from 1885-1887, and dying in office.
***
***
The title
appears in a list of traditional Ozark Mountain fiddle tunes compiled by
musicologist/folklorist Vance Randolph, published in 1954. In fact, the melody
is commonly played at fiddle contests in the mid-west. “Marmaduke’s Hornpipe”
is one of ‘100 essential Missouri tunes’ listed by Missouri fiddler Charlie
Walden. "Local fiddlers in central Missouri have mentioned this tune was
propagated by Daniel Boone Jones, a widely remembered fiddler from Boone
County, who represented Missouri in one of Henry Ford's national contests in
the late 1920's" (Christeson). The tune was so closely associated with
Jones, who was a highly influential regional fiddler in the early 20th century,
that his name was an alternate title for his contest-winning version. "Cricket on the Hearth," “Grand Hornpipe [1]” and “Rocky Mountain Goat” are melodies
thought to be reminiscent of "Marmaduke's" and perhaps cognate.
“Damon’s Winder” is a nearly identical melody, save for the ‘C’ natural notes
played in the third and fourth measures instead of a ‘C’ sharp. Sources for
notated versions: African-American fiddler Bill Driver (Iberia, Cole County,
Missouri) [Christeson]; Seattle fiddler Barry Schultz via fiddler Armin Barnett
(Seattle) [Songer]. R.P. Christeson (Old
Time Fiddlers Repertory, Vol. 1), 1973; pg. 50‑51. Phillips (Traditional American Fiddle Tunes), vol.
2, 1995; pg. 206. Silberberg (Tunes I Learned at Tractor Tavern), 2002;
pg. 97. Songer (Portland Collection),
1997; pg. 131. Missouri State Old Time Fiddlers
Association 002, Taylor McBaine (b. 1911) ‑ "Boone County
Fiddler." Missouri State Old Time Fiddlers' Association, Vee Latty
(1910-1956) - "Fever in the South." Missouri State Old Time Fiddlers'
Association, Cyril Stinnett - "Plain Old Time Fiddling." CLP 228,
Lonnie Robertson (Mo.) ‑ "Fiddle Favorites" (Privately issued,
c. 1971‑72). Voyager 340, Jim Herd - "Old Time Ozark
Fiddling." Voyager VRCD 344, Howard Marshall & John
Williams – “Fiddling Missouri” (1999. Learned primarily from Taylor McBaine).
X:1
T:Marmaduke’s
Hornpipe
L:1/8
M:2/4
K:D
F/G/|AA/A/
A/B/A/G/|F/E/F/E/ D/E/F/D/|A,E/E/ CE/E/|A,E/E/ C/E/F/G/|
AA/A/
A/B/A/G/|F/E/F/E/ D/E/F/D/|A,E/E/ CE/E/|(A,/ D) (A,/ D):|
|:(A|A/)B/d/e/ f/d/e/d/|B/d/e/f/ g/f/g/(A/|A/)B/d/e/ f/e/d/f/|e/d/B AF/G/|
A/B/d/e/ f/d/e/d/|B/d/e/f/ g/f/g/(b/|b/)g/a/f/
g/f/e/d/|c/A/B/c/ d:|
MARMALADE POLKA.
English, Polka. Topic 12TS416, Umps and Dumps –
“The Moon’s in a Fit” (1980). Topic TSCD 752, Umps and Dumps – “Stepping Up”
(2004. Compilation CD).
MARMEEL RANT. Scottish, Strathspey. E Minor. Standard tuning. AAB. MacDonald (The Skye Collection), 1887; pg. 80.
X:1
T:Marmeel Rant
M:C
L:1/8
R:Strathspey
S:MacDonald – The Skye Collection (1887)
Z:AK/Fiddler’s Companion
K:Emin
B|G<E E>e G<E E>G|F<D
D>d F<D D>F|G<E E>e G<E E>g|g<d a>f e/e/e e:|
f|g>be>b g<e
e>g|f>da>d f<d d>f|g>be>b g<e e>g|f>da>f e/e/e
ef|
g>be>b g<e
e>g|f>da>d f<d d>f|g<b a>f g>ef>d|e>Bd>F E/E/E
E||
MARMOTTEUSE, LA (Growling Old Woman {litteraly ‘The Female
Complainer’).
AKA and see “Growling
Old Man & Cackling Old Woman.”
MARNOCK'S STRATHSPEY. Scottish, Strathspey or Reel. A Minor. Standard tuning. AAB. Composed
by William Marshall (1748-1833). Moyra Cowie, in her
book The Life and Times of William
Marshall (1999) says that the Church of Marnock was built on a rise on top
of a site once used by the ancient Picts, near to the village or Aberchirder.
The view from the church looks over to the Deveron River valley. The minister
of the church in Marshall’s time was the Reverend William Stronach (b. 1754),
who married the youngest daughter, Harriet, of Sir John Reid of Barra Castle;
the Reverend helped Marshall with the distribution of his music. MacDonald (The Skye Collection), 1887; pg. 104.
Marshall, Fiddlecase Edition, 1978;
1822 Collection, pg. 43. Stewart-Robertson (The
Athole Collection), 1884; pg. 58.
X:1
T:Marnoch’s
L:1/8
M:C|
R:Strathspey
B:Stewart-Robertson – The
Athole Collection (1884)
Z:AK/Fiddler’s Companion
K:Amin
B,|C>EA,>A C>A,A,>C|B,>A,G,>G B,<G, G,>B,|C>EA,>A C<A, A,>c| B>Gd>B A2A:|
B|c<eA<e c<A A>c|B>Gd>G B<G G>B|c<eA<e c<A A>c|B<G d>B A2 A>B|
c<eA<e c<A A>c|B<Gd<G B<G
G>B|c>ed>B c>AB>G|A>EG>B, ~A,2 A,||
MAROSOVIA WALTZ. Old-Time, Waltz. A Major ('A' and 'B' parts) & D Major ('C' and 'D'
parts). Standard tuning. ABB'ACDD'A. Source for notated version: Charlie Bowman with Al
Hopkins and His Buckle Busters [Phillips]. Phillips (Traditional American Fiddle Tunes), vol. 2, 1995; pgs. 278-279.
_______________________________
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