The Fiddler’s Companion

© 1996-2010 Andrew Kuntz

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[COMMENT1] [COMMENT2] 

MARA - MARO

 

 

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."

 


MAR CASTLE [1]. Scottish, "Pastoral Air" (4/4 time). E Major. Standard tuning. AB (Hardie): AAB (Hunter, Skinner). Composed by J. Scott Skinner after a site he visited in Scotland, it appears in his Harp and Claymore collection. Hardie (1992) reports Mar is an ancient district of south west Aberdeenshire, subdivided into Braemar, Midmar and Cromar. Hardie (Caledonian Companion), 1992; pg. 99. Hunter (Fiddle Music of Scotland), 1988; No. 155. Skinner (Harp and Claymore Collection), 1904; pg. 10. Skinner, The Scottish Violinist, pg. 36.

X:1

T:Mar Castle [1]

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 CASTLE [2]. Scottish, Strathspey. E Major. Standard tuning. AB. Composed by Alexander Walker. Walker (A Collection of Strathspeys, Reels, Marches, &c.), 1866; No. 109, pg. 38.

           

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>, 3/5/04

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 Maracaibo

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

T:Highland March in Oscar & Malvina

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. Johnson (A Further Collection of Dances, Marches, Minuetts and Duetts of the Latter 18th Century), 1998; pg. 2. 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:England

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:|]

X:2

T:March in the Battle of Prague

M:C

L:1/8

K:G

g2 g>g g2 a/g/f/e/|{e}d2 d>d d2 bg|{f}e2 c’a {g}f2 af|g2 g>g g2 ba|a2 fg aaba|

g2 ef ggag|{g}fe/f/ a/g/f/e/ d2 ^c2|d2 d>d d2 z2::d2 d>e f>g a>b|c’2 ac’b2 bc’|

d’bgg c’abg|a2 d>d d2 Bc|d2 ef g2 bg|{g}f2 c’a b2 (3dgb|d’bgg d’bgf|g2 gg g4:||

 

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 Pennsylvania collected "Dusinberry March." A note in McDonald's volume states the air was "believed to be of great antiquity." Campbell (A Treatise On the Language, Poetry, and Music of the Highland Clans), 1867; pg. 7. McDonald (The Gesto Collection...), 1895; pg. 110.

           

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, County Donegal) [Feldman & O’Doherty]. Feldman & O’Doherty (The Northern Fiddler), 1979; pg. 87 (march).

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 Pennsylvania fifer's version of the tune called "Nixon No 2.” “Men of Harlech” was the regimental march of the South Wales Borderers. It was the first tune Gloucestershire fiddler Stephen Baldwin (1873-1955) learned from his father. Cole (Cole's Pocket Companion for the Flute, Flagolet and the Violin), No. 5, pg. 4. Wier, 1918, 1920, 1922; pg. 314.

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; pp. 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 Montreal button accordion player Philippe Bruneau from a 78 RPM recording of French-Canadian accordion great Alfred Montmarquette [Begin]. Hart & Sandell offer that Montmarquette actually recorded the tune twice in 1931. It differs from version [1] in that it has a different ‘A’ part, while the ‘C’ part is comparable to the ‘A’ part of version [1]. The “Reel Arcène” alternate title comes from a recording by Jean-Marie Verret. Begin (Philippe Bruneau), 1993; No. 8, pp. 16-17. Hart & Sandell (Dance ce Soir), 2001; No. 65, p. 98.

           

MARCHE DU ST-LAURENT.  French-Canadian, March (2/4 time). D Major. Standard tuning. AA'BB'A"A"'B"B"'. The tune was recorded in 1936 by fiddler Isidore Soucy (who recorded over 400 78 RPM’s). Source for notated version: Montreal button accordion player Philippe Bruneau [Begin]. Begin (Philippe Bruneau), 1993; No. 4, p. 12. Raz de Marée/Tidal Wave - "Marche du St-Laurent" (2010).

X:1

T:Marche du St-Laurent

M:C|

L:1/8

D:Isidore Soucy (78 RPM)

Z:AK/Fiddler's Companion

K:D

A2d2e2||f2 f>f {g}fedf|a2 a>a agfa|b2a2g2f2|a>g g/f/e/a/ e4|

A3A c2e2|g3 g2 g fg|b2a2 (3gag e2|f3d A2e2|f2 f?f {g}fedf|

a2 a>a agfa|b2a2g2f2|a>g g/f/e/a/ e4|A3Ac2e2|g3 g2g fg|b2a2g2c2|d4||

|:ABAG|F2D2 dd c2|(3BcB A2 ABAG|F3D F2G2|[E4A4] ABAG|

F2D2 dd c2|(3BcB A2 e3d|(3cdc A2B2c2|1{c}d4 :|2 {c}d3A d2e2||

           

MARCHE DU MONT ST. LOUIS.  French-Canadian, March (whole time). D Major. Standard tuning. AA’BB’. Composed by Québec accordion player and composer Alfred Montmarquette (1871-1944), who recorded with his trio for the Brunswick label in the 1920’s. Montmarquette is renowned for his fine march compositions, such as this one, named for a bilingual college in Montrėal. 

X:1

T:Marche du Mont St. Louis

M:C

L:1/8

R:March

C:Alfred Montmarquette

Z:AK/Fiddler’s Companion

K:D

A Bc|d2e2 f>f ef|(d4 d)A Bc|d>CBA BAGF|F2 (E2 E)A/A/ AA|

e2 f2 g>f ed|(c4 c)a/a/ aa|a2 g2 B>c BA|1 (f4 f)A Bc:|2 d>A B/A/F/A/ d>a b>f||
|:(a4 a)f ed|(A4 A)A/A/ B/A/B/c/|dd/B/ dd/B/ dd/B/ dd/B/|(c4 c)a b>f|(a4 a)g e>c|
(A6 a)d|1 c2a2B2g2|(f4 f)a b>f:|2 c2a2 B>cBA|d>A B/A/F/A/ dA Bc:||

 

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 :|

                       

MARCHE NUPTIALE.  French, March (6/8 time). G Major. Standard tuning. AABB. "By Berry." Stevens (Massif Central), vol. 1, 1987; No. 122.

           

MARCHE ROLANDE.  French-Canadian, March. In the repertoire of accordion player Jean-Claude “Tico” Petit. A-L 001, Lisa Ornstein & André Marchand – “One Fine Summer’s Day/Par un beau Samedi d’ été” (2009).

 

MARCHE ST-HILAIRE.  French-Canadian, March (cut time). G Major. Standard tuning (fiddle). AABB. Raz de Marée/Tidal Wave – “Marche du St-Laurent” (2010).

X:1

T:Marche St-Hilaire

M:C|

L:1/8

S:fiddler Aimé Gagnon (Lotbinère region, Québec)

D: Raz de Marée/Tidal Wave - "Marche du St-Laurent" (2010)

Z:AK/Fiddler's Companion

K:G

d3c|B2d2 g4-|g2 ag f2 a2-|a2 g2b2g2|d3c B2d2|g4-g2 ag|f2 a2-a2 b2|g4:|

D2 GB| d6 ef|g2B2 d4|{f}e2d2 (3BcB G2|D2G2 A-B3|d2 ef g2B2|d2 cB A2B2|G4 D2G2|

{A}B4 d2 ef|g2B2 d4|{f}e2d2 (3BcB G2|D2G2 A-B3|d2 ef g2B2|d2 cB A2B2|G4||

 

MARCHE ST. JEAN. French-Canadian, March (6/8 time). D Major (Begin): A Major (Carlin). Standard tuning. ABA' (Begin): AA'BB' (Carlin). Recorded in the 1920's by French-Canadian melodeon-player Alfred Mommarquette. Source for notated version: Montreal button-accordion player Philippe Bruneau [Begin]. Begin (Philippe Bruneau), 1993; No. 2, pg. 10. Carlin (Master Collection), 1984; No. 96, pg. 61. Folkways RBF111, Alfred Mommarquette - "Masters of French-Canadian Music, vol. 2." Old Hat Music OH!02, "The Old Hat Dance Band" (1992).

           

MARCHES DE THOMAS POMERLEAU, LES.  AKA – “Air en Re d’Henri Landry,” “Marche a Quêteux Pomerleau.” French-Canadian, March. D Major. Standard tuning. AA’BB’. A crooked tune from the playing of Henri Landry (Pontbriand, near Thetford Mines, Quebec). Thomas “Quêteux” Pomerleau (d. 1940) was a poor rural fiddler who lived in a humble dwelling in Québec. Quêteux means beggar, a name given to poor or itinerant musicians who would sometimes trade music for shelter or a meal and often relied on the charity of the community. Apparently the term could be more endearing than pejorative. Pomerleau was an influence on fiddler Landri and others who lived in his area. Remon & Bouchard (25 Crooked Tunes, vol. 2), 1997; No. 14. Dorian 90295, Greenfire – “A Roof for the Rain.” Nightingale – “The Coming Dawn” (1994). 30 Below TB 001CD, Les têtes de violon (Bouchard et al) – “Airs Tordus/Crooked Tunes” (1998).

X:1

T:Pomerleau's March (Marche a Queteux Pomerleau)

M:4/4

L:1/8

S:from Nightingale

O:c

K:G

D||:"G"G2 A2 "D"F2 D2|"C"E2 DC "D"D2 D2|"G"G2 D2 G2 B2| "C"GABG "D"D2 D2

|"G"G2 A2 "D"F2 D2|"C"E2 DC "D"D2 D2|"G"G2 D2 G2 B2|1"G"G4 G2 D2:||2"

G"G3 G GABG

||"C"c3 c "G"B2 B2|"G"B2 AG "D"FGAB| "D"A2 D2 "G"G2 A2| "G"B2 AG "D"A2

B2

|"C"c3 c "G"B2 B2| "G"B2 AG"D"FGAB| "D"A2 D2 G2 B2| 1"G"G3 G GABG:||2"

G"G4 G D||

X:2
T: Marche a Queteux Pomerleau
C: attr Henri Landry               
R:March
M: 2/4
Q: 1/4=80
L: 1/8
K: Gmaj
P: A
D |: "G"GA/G/ "D"FD | "C"ED/C/ "G"DD | GA GB | G/A/B/G/ "D"DD |
"G"GA/G/ "D"FD | "C"ED/C/ "G"DD |GD GB |[1 G2 G3/D/ :|[2 G2 GA/B/ |]
P:B
"C"c2 "G"B2 | "D"BA/G/ A2 | "G"GD GA | BA/G/ "D"AA/B/ | "C"cz "G"B2 |"D"BA/G/ A3/A/ |
"G"GD GB |[1 G2 GA/B/ :|[2G/A/B/G/ "D"DD |]

 

MARCHFIELD BRAE SCOTS MEASURE.  Scottish, Scots Measure. G Major. Standard tuning. AAB. A modern composition by Crieff (Perthshire) schoolmaster Ron Gonnella, a native of Dundee. Marchfield Brae is a steepish hill in Dundee, according to James Hunter. Hunter (Fiddle Music of Scotland), 1988; No. 311.

           

MARCHING DOWN BROADWAY.  Old‑Time, Polka. USA. D Major. Standard tuning. AAB. Brody (Fiddler’s Fakebook), 1983; pg. 183.

           

MARCHING JAYBIRD. AKA and see "Jaybird March." A banjo piece. Tradition TLP 1007, Lacey Phillips ‑ "Instrumental Music of the Southern Appalachians" (1956).

           

MARCHING MAIDS.  American, Dance Tune (2/4 time). D Major. Standard tuning. AABB tuning. Ford (Traditional Music in America), 1940; pg. 80.

X:1

T:Marching Maids

M:2/4

L:1/8

S:Ford – Traditional Music in America  (1940)

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). USA, Nebraska. D Major. Standard tuning. AABB. According to Christeson's source, fiddler Bob Walters, family tradition had it that this tune was used in the Civil War. Christeson thought the tune was derived from the Scottish "Muckin' o' Geordie's Byre," and identified that it was also one of the strains in "Grandpa's Favorite Quadrille," published in Henry Ford's "Good Morning" where it was credited to E.T. Root and Sons. Source for notated version: Bob Walters (Burt County, Nebraska) [Christeson]. R.P. Christeson (Old Time Fiddlers Repertory, vol. 1), 1973; pg. 122.

           

MARCHING THROUGH GEORGIA.  AKA and see "Marcha de Los Novios." American, Song Tune and March (2/4 time). D Major. Standard tuning. AB. A post‑1864 Union Civil War song by Connecticut songwriter Henry Clay Work (1832‑84) commemorating Sherman's infamous march to the sea. It rapidly entered both the martial band tradition and fiddling tradition‑‑at least north of the Mason‑Dixon line. Fuld (The Book of World Famous Music) called it "the most hated song in the South." In the repertories of Buffalo Valley, Pa., region dance fiddlers Ralph Sauers and Harry Daddario. Bronner (1987) notes it was a common dance tune for New York state dances. It was one of the first tunes learned on the fiddle by a young Clark Kessinger (West Virginia). Sources for notated versions: Clyde Lloyd (fifer from Indiana County, Pa., 1952) and Marion Yoders (fifer and fiddler from Greene County, Pa., 1960) [Bayard]; Art Coss (Woodland Valley, Catskill Mtns., New York) [Cazden]. Bayard (Dance to the Fiddle), 1981; No. 262A‑B, pgs. 223‑224. Cazden (Dances from Woodland), 1945; pg. 11. Cazden, pg. 9. Sweet (Fifer’s Delight), 1965/1981; pg. 16. Voyager VRCD-354, Hart & Blech – “Build Me a Boat.”

           

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>, 2/27/04

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, Cape Breton) [Cranford]; Hector MacAndrew [Martin]. Cranford (Winston Fitzgerald), 1997; No. 92, pg. 39. Hunter (Fiddle Music of Scotland), 1988; pg. 138. Martin (Traditional Scottish Fiddling), 2002; pg. 133.

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 tune 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). Tavistock, Devon, has held a fair, the Tavistock Goosey Fair, on the second Wednesday in October since the year 1105. 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; Pipe March. A Mixolydian. Standard tuning. AAB (Skinner): AABC (MacDonald/Skye): AABBCCDD (Perlman): AABBCCDD’ (Cranford/Holland). Originally set as a march. Cape Breton musicians play it as a reel, after the setting the Inverness Serenaders recorded on 78RPM disc (Cranford). 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]. Cranford (Jerry Holland: The Second Collection), 2000; No. 7, pg. 3. 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). Rounder Records 7057, Jerry Holland – “Parlor Music” (2005).

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 ReelMarshall, Fiddlecase Edition, 1978; 1822 Collection, pg. 23.

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 tuning. 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 tuning. 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 FANCY. Canadian, Jig. Canada, Cape Breton. C Major. Standard tuning. AA’BB’. The melody requires playing in position in the key of ‘C’, thus some play it in G major. Recorded on 78 RPM by Alex Gillis. Paul Stewart Cranford (2000) remarks that it was a popular tune with other Margaree, Cape Breton, fiddlers such as Angus Chisholm, Angus Allan Gillis and John Alex MacLellan. Cranford (Jerry Holland: The Second Collection), 2000; No. 255, pg. 92.

See also listing at:

Alan Snyder’s Cape Breton Fiddle Recording Index

           


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). This popular reel 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”).

See also listings at:

Alan Snyder’s Cape Breton Fiddle Recording Index

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

X:1

T: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 AND ARCHIE NEIL. Canadian, Waltz. Canada, Cape Breton. G Major. Standard tuning. AABB’. Composed by the late Cape Breton fiddler and composer Jerry Holland (1955-2009), originally in the key of ‘C’. Cranford (Jerry Holland: The Second Collection), 2000; No. 319, pg. 115. Jerry Holland – “Crystal Clear” (2000).

 

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 (fiddle). AAB. Composed by Scots fiddler-composer Niel Gow (1727-1806). Carlin (Gow Collection), 1986; No. 131.

 

MARGARET LAVIN (Mairgread Ni Labain).  AKA and see “Peggy Levin.” Irish, Air (3/4 time). G Major (D Mixolydian?). Standard tuning (fiddle). AB. A variant of the melody was printed in Darley & McCall’s ‘’’Feis Ceóil Collection’’’ (1914) under the title “Peggy Levin” (No. 53). 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:Amin

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]

M:C

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 1959 by English collector Pat Shuldham‑Shaw (1917-1977), and dedicated to Margaret Grant, representative in Devon of the English Folk Dance and Song Society on the occasion of her retirement. [Shaw also composed “Farewell to Devon” at the same time, the pair of tunes meant to be played in a medley for a specific dance]. 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 story is confirmed by Hamish Henderson (in ‘’Alias MacAlias’’) who overheard the exchange between the two “at a party.”

 

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.” Source for notated version: Aly Bain [Cranford/Holland]. Cranford (Jerry Holland: The Second Collection), 2000; No. 309, pg. 111. Martin (Ceol na Fidhle, vol. 3), 1988; pg. 9. Matthiesen (Waltz Book I), 1992; pg. 34. Pat Shaw’s Collection, Book 2. 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.” Jerry Holland – “Lively Steps” (1988).

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 tuning. 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 tuning. 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 REILLY’S.  Canadian, Jig. Canada, Cape Breton. D Major. Standard tuning. AABB. Composed by the late Cape Breton fiddler and composer Jerry Holland (1955-2009) in honor of Irish-style fiddler and teacher Marie Reilly. Cranford (Jerry Holland: The Second Collection), 2000; No. 272, pg. 97.

 

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

L:1/8

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 BIRDWATCHING.  Canadian, Reel. Canada, Cape Breton. D Major. Standard tuning. AABB. Composed by the late Cape Breton fiddler and composer Jerry Holland (1955-2009). Cranford (Jerry Holland: The Second Collection), 2000; No. 122, pg. 47.

 

MARION DEWAR’S JIG.  Canadian, Jig. Canada, Cape Breton. C Major. Standard tuning. AABB. Composed by the late Cape Breton fiddler and composer Jerry Holland (1955-2009). Cranford (Jerry Holland: The Second Collection), 2000; No. 122, 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 inability 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 (Knowles): G Major (Thompson). Standard tuning. AABB. The tune was a popular song and can be found set as a country dance in several late 18th century publications, including Randall and Abell’s Sixteen Cotillons or French Dances (London, 1768), Charles and Samuel Thompson’s Compleat Collection, vol. 3 (London, 1773), and James Aird’s Selection of Scotch, English, Irish and Foreign Airs, volume 1, 1782, along with various period instrumental tutors. “Marionets” or “The Marionet’s Cotillon” was also entered into the music manuscript books of musicians on both sides of the Atlantic. In England it appears in Ellis Knowles (Radcliffe, Lancashire) 1847 manuscript, Thomas Hammersley’s (London) 1780 copybook, and William Vickers’ (Northumberland) 1770 manuscript collection. American musicians’ manuscript include Aaron Beck’s flute book (1786), George Otis’s (Worcester, Mass.) 1793 copybook, Ira Clark (Simsbury, Conn.) 1801 copybook, P. Van Shaack’s (Kinderhook, N.Y.) 1820 copybook, and flute player Micah Hawkins (New York) 1794 copybook, among several others. 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. Thompson (Compleat Collection of 200 Favourite Country Dances, vol. 3), 1773; No. 194.

X:1

T:Marionette Cotillon [2]

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 :||

X:2

T:Marionets [2]

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:G

G2B dBd|ece d3|cAc BGB|AFA G2D|G2B dBd|ece d3|cAc BGB|AFA G3:|
|:B3 B3|BAB c3|B2c d2c|B2A G2D|B3 B3|BAB c3|B2c d2c|BcA G3:||

 

MARIONNETTES [3], LES.  French-Canadian. Composed by fiddler Lisa Ornstein in honor of influential fiddler Louis “Pitou” Boudreault. The title comes from a legend that a gifted fiddler can summon the Northern Lights (aurora borealis, also called ‘dancing lights’ or ‘les marionnettes’). A-L 001, Lisa Ornstein & André Marchand – “One Fine Summer’s Day/Par un beau Samedi d’ été” (2009).

 

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 composer 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 Sappington Marmaduke (1833-1887), 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.

***

John S. Marmaduke

***

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. According to Gordon McCann (2008), a  number of older Missouri fiddlers call the tune “Cricket on the Hearth.” Guthrie Meade (2002) mentions the tune in connection with Ozark fiddlers Cyril Stinnet, Vesta Johnson and Buck Williams, and notes similarities with “Deer Walk” and one of the “Hell Among the Yearlings” tunes. “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. The only 78 RPM era recording of the tune was under the title “Hell Up Flat Rock,” by Jess Hillard in 1933. Sources for notated versions: African-American fiddler Bill Driver (Iberia, Cole County, Missouri) [Christeson]; Seattle fiddler Barry Schultz via fiddler Armin Barnett (Seattle) [Songer]; Howe Teague (1913-2005, Dent County, Missouri) [Beisswenger & McCann]. Beisswenger & McCann (Ozark Fiddle Music), 2008; pg. 148. 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. Gold Standard, Howe Teague – “Ozark Memories” (c. 1986. Appears as part of a medley). 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).

See also listing at:

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

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. G Major: C Major. Standard tuning. AABB. Currently popular in British sessions. The tune was popularised by the band Umps and Dumps, who found it on a tape of traditional musicians compiled by Tony Engle. There is some speculation that the tune was an adaptation by band member John Kirkpatrick of an Abingdon morris dance tune (perhaps the “Duke of Marlborough”). Topic 12TS416, Umps and Dumps – “The Moon’s in a Fit” (1980). Topic TSCD 752, Umps and Dumps – “Stepping Up” (2004. Compilation CD).

X:1

T:Marmalade Polka

M:4/4

L:1/8

R:Polka

K:G

|:D2|G2G2GABc|dd d2d2ed|cc c2c2dc|BB B2B3A|

G2G2GABc|dd d2d2ed|c2AA A2F2|A2G2G2:|

|:d2|e2d2B2G2|G2F2F4|e2d2c2A2|A2G2G2Bd|

g2g2g2ag|f2e2e3e|d2Bd cAFG|A2G2G2:|

 

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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