The Fiddler’s Companion

© 1996-2008 Andrew Kuntz

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MARQ - MARS

 

 

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]

 

 

 

MARQUIS, THE. Scottish, Strathspey. B Flat Major. Standard tuning. Composed by J.R. Findlater.

X:1

T:The Marquis

C:J R Findlater

S:MS Collection, Athole Collection, Perth Library

Z:Nigel Gatherer

N:"Slowish time"

M:4/4

L:1/8

K:Bb

d/e/|f>g f/g/a/b/ f<dd<b|b>gf<d g<c c/d/e|\

f>g f/g/a/b/ f<db<d|b>gf<d B2 b:|]

c|d<fe>c d<BB<d|e<gc>B A/B/c/A/ Fd/e/|\

d<ff<d e<gab|g>ec<A|B2 b:|]

                                               

MARQUIS (of?) HANSLEY'S. AKA and see “Stirling Castle.” Scottish, Reel. D Major. Standard tuning. AABB. Nigel Gatherer finds this to be a composite tune: the ‘A’ part of the tune is from “Stirling Castle,” while the ‘B’ part is “Marquis of Huntley’s Highland Fling.” Cole (1000 Fiddle Tunes), 1940; pg. 35. Ryan’s Mammoth Collection, 1883; pg. 62.

X:1

T:Marquis Hansley’s

M:C|

L:1/8

R:Reel

S:Ryan’s Mammoth Collection (1883)

Z:AK/Fiddler’s Companion

K:D

(3GFE | D2 (FD) ADFD | C2 (CA,) EA,CA, | D2(FD) ADFD | (3Bcd (3efg (fd)dz |

D2(FD) ADFD | A,2 (CA,) EA,CA, | D2(FD) ADFD | (3Bcd (3efg (fd)d :|

|: A | d2f2 gefd | B2(ed) cABc | d2f2 gefd | (3Bcd (3efg (fd)d2 | d2f2 gefd |

B2(ed) cABg | (3fgf (3edc (3dcB (3AGF | (3Bcd (3efg (fd)d :|

                                   

MARQUIS OF BEAUMONT [1], THE.  Scottish, Reel. A Major. Standard tuning. AB. Surenne (Dance Music of Scotland), 1852; pg. 80.

X:1

T:Marquis of Beaumont, The [1]

M:C

L:1/8

R:Reel

S:SurenneDance Music of Scotland, pg. 80  (1852)

Z:AK/Fiddler’s Companion

K:A

c | A2 cd ecfd | ecAc dBBc | A2 cd ecfd | ecac ({c}B3)c | A2 cd ecfd | ecAc dBBc |

A2 cd ecfd | ecac ({c}B3) || c | Acef ecAc | Bcde fBBc | Acef ecAc | ecac ({c}B3)c |

Acef ecAc | Bcde fBBd | cedf egfa | ecac ({c}B3) ||

 

MARQUIS OF BOWMONT('S REEL) [2]. Scottish, Reel. B Flat Major. Standard. AB (Cole): AAB (Marshall). Composed by William Marshall (1748-1833). The Marquis of Bowmont was James Henry Robert Innes-Ker, heir to the Dukedom of Roxburghe, according to Moyra Cowie (The Life and Times of William Marshall, 1999). Cole (1000 Fiddle Tunes), 1940; pg. 44. Marshall, Fiddlecase Edition, 1978; 1822 Collection, pg. 1. Ryan’s Mammoth Collection, 1883; pg. 70.

X:1

T:Marquis of Bowmont’s Reel, The [2]

L:1/8

M:C

S:Marshall1822 Collection

Z:AK/Fiddler’s Companion

K:B_

B|FBEB DBFB|Dd e/d/c/B/ c(CC)B|DBFB EBDB|Fd (d/c/B/A/) BB,B,:|

B|fB (e/d/c/B/) fBdB|cF (B/A/G/F/) cFAF|fB (e/d/c/B/) fBdB|FdAc B(B,B,)B|

FB (e/d/c/B/) fBdB|cF (B/A/G/F/) cFAF|fBgB aBbB|dB (d/c/B/A/) BB,B,||

                       

MARQUIS/MARQUESS OF GRANBY, THE. AKA ‑ "Away to the Marquis of Granby," "Ligrum Cush," "Lacrum Cosh," "Over the Water to Charlie," "Pot Stick," "Sean Buidhe/Bui" (Yellow John [1]), "The Shambuy/Shambuie," "Wishaw's Delight." English, March or Jig (6/8 time). North‑West England. G Major (Keller/Gibbs, Knowles): D Major (Keller/Bush). Standard. AABB. The Marquis, John Manners (1721-1770), was "a good man at the bottle" whose image once graced no less that eighteen London public-houses and who can still be seen on sign-boards for inns, partly due to his personal bravery and partly to the baldness of his head. Legend has it that he set the best of his soldiers up as inkeepers when they retired from service. Old Weller, in Dicken’s Pickwick Papers, married the hostess of the “Marquis of Granby” at Dorking:

***

The Marquis of Granby in Mrs Weller's time was quite a model of a

road-side public-house of the better class - just large enough to be

convenient, and small enough to be snug. On the opposite side of the

road was a large sign-board on a high post, representing the head

and shoulders of a gentleman with an apoplectic countenance, in a

red coat with deep blue facings, and a touch of the same blue over

his three-cornered hat, for a sky. Over that again were a pair of flags;

beneath the last button of his coat were a couple of cannon; and the

whole formed an expressive and undoubted like- ness of the Marquis

of Granby of glorious memory.

***

Granby led one of the great cavalry charges of British history on July 31, 1760 at Warburg, where, "with his wig off and his bald head glistening in the sunshine, he led 22 squadrons against the French, first driving their horse form the field and then routing their infantry" (Winstock, 1970; pg. 55). He was also a hero of the French and Indian War in the American Colonies (and thus this tune appears in a number of late 18th century American music manuscripts and publications). The Marquis was made commander-in-chief of the the British Army in 1766 but was the subject of bitter political attacks and, in declining health, he resigned in 1770 and gave up most of his public offices. He died in debt.

***

The tune was issued on broadsides soon after his success at Warburg, and was regularly played in the British army by the time of the Revolutionary War. The Thompson firm (London) published it in a tutor for the fife around the year 1760 as well. The melody itself is derived from "Over the Water to Charlie," which itself appears to have been derived from "Pot Stick" or "Sean Buidhe" (Yellow John). The alternate title "Pot Stick" comes from Johnson's 200 Country Dances of 1748, according to Glen, while the title "Yellow John" is a term of contempt for the Irish adherents to William III (William of Orange). The Gaelic form of "Yellow John," Sean Buidhe, was corruptly rendered in English as "The Shambuy." Source for notated version: the music manuscript of Captain George Bush (1753?-1797), a fiddler and officer in the Continental Army during the American Revolution [Keller]. Keller (Giles Gibbs Jr. His Book for the Fife...1777), 1974; pgs. 36 & 37. Keller (Fiddle Tunes from the American Revolution), 1992; pg. 19. Knowles (Northern Frisk), 1988; No. 86. Winstock (Songs and Music of the Redcoats), 1970.

X:1

T:Marquis of Granby, The

L:1/8

M:4/4
S:Giles Gibbs manuscript

K:G

D2 | G2D2G2D2 | G>F G>B B>A GG | B>A B>c d2 c>B | A2 A>A A2 D2 |

G2D2G2D2 || G>F G>B B>A GG | B>A B>c d2 c>B | A2 A>A A3D |

A>G A>B A2 DD | A>G A>B c3 c | c>A B>c d2 c>B | A>G A>B G3D |

A>G A>B AADD | A>G A>B c2 z2 | c>A B>c dd c>B | A>G A>B G2 ||

                       

MARQUIS OF GRANBY'S DELIGHT, THE. Scottish. The melody appears in the Gillespie Manuscript of Perth, 1768.

                       

MARQUIS OF HARLINGTON, THE.  AKA and see “Dearest Dicky.” English, Jig. B Flat Major. Standard tuning. AABB. The Marquis of Harlington was the title in the 18th century of the eldest son of the Duke of Devonshire. The tune was published in Preston’s Twenty Four Country Dances for the Year 1801 (London). It appears in the c. 1860’s music manuscript of William Tildesley (Swinton, Lancashire), under the title “The Marquis.”

 

MARQUIS OF HASTINGS' STRATHSPEY, THE. AKA and see "Loudon's/Louden's Bonnie Woods (and Braes)," "Lord Moira('s Welcome to Scotland)," "Old  Aunt Katie [2]" (Pa.). Scottish, Strathspey. F Major. Standard tuning. AABCCD. Francis Rawson-Hastings (1754-1826) was Lord Moira and became the 1st Marquis of Hastings in 1816. He was the eldest son of John Rawdon, the first Earl of Moira and was for most of his life a military man. First coming to prominence while serving with distinction in the British army during the American War of Independence (although he was noted for his severity and strong disciplinary attitude), he later fought in Belgium against the French in 1794. Rank and privilege attended him. He received a peerage in 1783; in 1803 he became Commander-in-Chief in Scotland; was made Master of Ordnance in 1806 and went to India in 1813 to replace Lord Minto as Governor-General. Hastings pursued a vigorous expansionist policy during his administration and extended considerably the frontiers of British India. The Marquess, and his wife Lady Flora (Mure Campbell, whom he married in 1804), were at the center of Calcutta society. He resigned in 1821, but in 1824 accepted the governorship of Malta. He died at sea in 1826. A curious footnote is that Hastings had promised his wife that they should lie in the same grave. As this could not in the circumstances be carried into effect, he desired his right hand to be amputated at his death and sent home, that it might be buried with the Marchioness. It was deposited in the family vault in Loudoun Kirk, and when she died in 1840 it was laid in the grave beside her body.

***

Louden/Loudoun was the Marquess’s family seat in Scotland. The famous song “Loudoun’s bonnie woods and braes” is set to the tune known as “The Marquis of Hastings’ Strathspey” or “Lord Moira’s Welcome.” The lyric by Robert Tannahill is said to commemorate Hastings’ parting from his young wife to go on foreign service. It goes:

***

Loudoun's bonnie woods and braes.
I maun lea’ them a,’ lassie;
Wha can thole when
Britain’s faes
Would gi’e Britons law, lassie?
Wha would shun the field of danger?
Wha frae fame would live a stranger?
Now when Freedom bids avenge her,
Wha would shun her ca’, lassie?
Loudoun’s bonnie woods and braes
Ha’e seen our happy bridal days,
And gentle Hope shall soothe thy waes
When I am far awa’, lassie.

"Hark! the swelling bugle sings,
Yielding joy to thee, laddie,
But the dolefu’ bugle brings
Waefu’ thoughts to me, laddie.
Lanely I may climb the mountain,
Lanely stray beside the fountain,
Still the weary moments countin,
Far frae love, and thee, laddie.
O’er the gory fields of war,
When Vengeance drives his crimson car,
Thou’lt maybe fa’, frae me afar,
And nane to close thy e’e, laddie."

O resume thy wonted smile!
O suppress thy fears, lassie!
Glorious honour crowns the toil
That the soldier shares, lassie;
Heav’n will shield thy faithful lover,
‘Till the vengeful strife is over,
Then we’ll meet, nae mair to sever,
‘Till the day we die, lassie;
‘Midst our bonnie woods and braes
We’ll spend our peaceful, happy days,
As blithe’s you lightsome lamb that plays
On Loudoun’s flow’ry lea, lassie.

***

Gow (Complete Repository), Part 4, 1817; pg. 21. Surenne (Dance Music of Scotland), 1852; pg. 164.

X:1

T:Marquis of Hastings, The

L:1/8

M:C

R:Strathspey

S:Gow – 4th Repository  (1817)

Z:AK/Fiddler’s Companion

K:F

C|:F<F F<F Ac ~c2|B<G A>F {EF}G>F EC|F<F F<F Ac ~c2|d>f e/f/g/e/ f/g/a/g/ f<a:|

F<f a>f g>f ec|d<d {e}f>d c>B AF|f<f a>f g>f ec|~d>f (e/f/)g/e/ f2 fg/a/|b>g a>f g>f df|

D/c/B/A/ f>A B/A/G/F/ G>A|F<F F<F B<d d2|c>f e/f/g/e/ f/g/a/g/ f<a||

|:{B}A>Fc>F d/c/B/A/ cf|AfcF G>ABd|A>Fc>F (d/c/)B/A/ cf|~d>f e/f/g/e/ f/g/a/g/ fa:|

f/az/ f/a/z/ e/gz/ c2|~d>efd c>BAF|(3fga (3fga (3efg ~c2|d>f (e/f/)g/e/ f2 fg/a/|

(db) (ca) (Bg) (Af)|{AB}c>BA>F {EF}G>FEC|(3FGA (3GAB (3ABc (3Bcd|c>f a/g/f/e/ {g}f2 fa||

                                               


MARQUIS OF HUNTL(E)Y('S STRATHSPEY) [1]. AKA ‑ "Marquis of Huntley's Reel." Scottish; Strathspey or Reel. G Minor (Athole, Cole, Gow/Repository, S. Johnson, Kennedy, Kerr, Marshall, Skye, Surenne): G Dorian (Gow): A Minor (Gatherer, Johnson). Standard tuning. AB (Cole, Hardie, S. Johnson, Marshall {1822}, Surenne): AAB (Athole, Glen, Gow, Kennedy, Kerr, Marshall {1781} & Skye): AABB (Gatherer).

***

The title Marquis (sometimes appearing as Marquess) of Huntly (in Aberdeenshire) was the secondary title of the Dukes of Gordon and was normally given to an eldest son, and although the Gordons were a Scottish clan Huntly itself is in England. The particular Marquis of Huntly referred to by Marshall was George, born in 1770 and, as the eldest, heir to the Dukedom of his father Alexander. George ascended to the title in 1827 and remained until 1836, and when he died childless the Dukedom ended, while the Marquessate and Earldom of Huntly "devolved" upon a relative, then the 5th Earl of Aboyne (according to Charles Gore). Mary Robinson (in her book Beaux and Belles of England) writes:

***

Doctor Beattie describes him as “the best and most beautiful boy that ever was

born.” He proved to be one of the most popular of the young nobility of that period.

Doctor Beattie strongly advised the duchess to engage an English tutor, a clergyman,

for him, recommended either by the Archbishop of York, or by the Provost of Eton.

When it afterward became a question whether the young heir should go to Oxford or

to Cambridge, the doctor, who seems to have been a universal authority, allowed that

Cambridge was the best for a man of study, whilst Oxford had more dash and spirit in

it: so little are matter altered since that time. 

***

Fifteen years appear to have elapsed before the birth of a second son, Alexander. Both

These scions of this ducal house became military men: the young Marquis was colonel

of the Scots Fusileer Guards, and served in the Peninsular war, and was eventually

Governor of Edinburgh Castle. Long was he remembered by many a brother officer,

many an old soldier, as a gallant, courteous, gay-hearted man; with some of the faults

and all the virtues of the military character. He married late in life Elizabeth, daughter

of Alexander Brodie, Esq. of Arnhall, N. B., who survived him. 

***

George Gordon, Marquis of Huntly, later the 5th Duke of Gordon

***

Another view of the Marquis was afforded by Elizabeth Grant of Rothiemurchas, who wrote of he and his wife at the time of their wedding:

***

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.

***

“The Maruqis of Huntley’s Strathspey” was composed by William Marshall (1748-1823), it being of the first tunes he was supposed to have written. Marshall worked for the Gordon family for 30 years as a Steward of the Household and later land steward, and in his spare time became conversant with mathematics, astronomy, clocks, mechanics and optics, as well as composing 300 tunes. Years later Robert Burns noted that he had been "told by somebody who had it of Marshall himself, that he took the idea of his three most celebrated pieces, 'The Marquis of Huntley's Reel,' 'His Farewell' and 'Miss Admiral Gordon's Reel' from the old air 'The German Lairdie'" (Emmerson, 1971). The Rev. John Skinner wrote a famous song to this air, which begins: "Tune your fiddles, tune them sweetly...". “The Marquis of Huntly” has been compared to Niel Gow's "Miss Margaret Graham of Inchbrakie," which was published in Gow's First Collection, 2nd edition, 1801, however, Marshall's tune was first published his in his own First Collection, 1781. The second section of Gow's piece is similar but not identical. Paul Stewart Cranford (1995) remarks that some of Marshall’s tunes have been in oral tradition so long in Cape Breton, Nova Scotia, that local sets have evolved; this is one such piece. Francis O’Neill (1922) remarks: “This fine reel first published in 1781 is but one of many composed by Wm. Marshall who for thirty years was in the service of the Duke of Gordon as butler and house steward. In music as in other accomplishments he was entirely self-taught. His playing of strathspeys and reels was so inspiring, it is said, that neither the old nor the young could overcome their inclination to dance. As an amateur violin player of Scottish dance music, he was unrivalled in the last half of the 18th Century. No composer of his time was so victimized by plagiarists who appropriated his tunes, changed a few notes, and passed them off as their own under different titles.

***

Source for notated version: Winston Fitzgerald (1914-1987, Cape Breton) [Cranford]. Aird (Selections), vol. II, 1782; No. 101, pg. 37. Alburger (Scottish Fiddlers and Their Music), 1983; Ex. 53, pg. 80 (appears as "Marquis of Huntly's Reel, a Strathspey"). Carlin (The Gow Collection), 1986; No. 132. Cole (1000 Fiddle Tunes), 1940; pg. 127. Cranford (Winston Fitzgerald), 1997; No. 161, pg. 64. Feldman & O’Doherty (Northern Fiddler), 1979; pg. 174a (appears as untitled Highland). Gatherer (Gatherer’s Musical Museum), 1987; pg. 59. Glen (The Glen Collection of Scottish Dance Music), vol. 1, 1891; pg. 19. Gow (Complete Repository), Part 1, 1799; pg. 9. Hardie (Caledonian Companion), 1992; pg. 86. Henderson (Flowers of Scottish Melody), 1935. Johnson (The Kitchen Musician's No. 10: Airs & Melodies of Scotland's Past), 1992 (revised 2001); pg. 12. S. Johnson (A Twenty Year Anniversary Collection), 2003; pg. 30. Kennedy (Traditional Dance Music of Britain and Ireland: Reels and Rants), 1997; No. 120, pg. 29. Kerr (Merry Melodies), vol. 1; Set 21, No. 5, pg. 13. MacDonald (The Skye Collection), 1887; pg. 123. Marshall, Fiddlecase Edition, 1978; 1781 Collection, pg. 6 (appears as "The Marquis of Huntly's Reel) and the 1822 Collection, pg. 11. McGlashan (A Collection of Reels), c. 1786; pg. 17. O’Farrell (Pocket Companion, vol. III), c. 1808; pg. 19. O’Neill (Waifs and Strays of Gaelic Melody), 1922; No. 208. Ryan’s Mammoth Collection, 1883; pg. 166. Stewart-Robertson (The Athole Collection), 1884; pg. 189. Surenne (Dance Music of Scotland), 1852; pgs. 36-37.  Culburnie CUL 113D, Alasdair Fraser & Tony MacManus – “Return to Kintail” (1999). Green Linnet Records SIF 1058, Matt Molloy & Sean Keane ‑ "Contentment is Wealth" (1985). Green Linnet SIF‑1101, Seane Keane ‑ "Playing with Fire: the Celtic Fiddle Collection" (1989). Philo 2001, "Jean Carignan" (learned from a recording by Cape Breton fiddler Angus Chisholm). Rounder SS‑0145, Carl MacKenzie ‑ "Traditional Music on Rounder: A Sampler" (1981. Appears as 2nd strathspey of "Dan R. MacDonald Medley"). WS 031703, Wendy MacIsaac – “Timeline” (2003). WMT002, Wendy MacIsaac – “That’s What You Get” (1998?).

See also listings at:

Alan Snyder’s Cape Breton Fiddle Recording Index

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

Alan Ng’s Irishtune.info

X:1

T:Marquis of Huntly

M:C

L:1/8

R:Strathspey

B:Stewart-Robertson – The Athole Collection   (1884)

Z:AK/Fiddler’s Companion

K:G Minor

F|D<G G>F D<G G>A|F>GA>B c/B/A/G/ F<A|D<G G>F D<G G>g|

f>c e/d/B/A/ G2G:|

d|g>ab>g d>gb>g|a/g/f/d/ ~c>d f>c a<f|g>ab>g d>gb>g|b/a/g/f/ d>^f g/g/g ~g2|

g>ab>g a>^fg>d|f>c d<f A>Fc>A|D<G G>F D>GG<g|f>c d/c/B/A/ G2G||

X:2

T:Marquis of Huntly's Reel, The

M:4/4

L:1/8

S:McGoun's Repository c.1803

Z:Paul Kinder

R:Reel

K:Bb

D<GG>E D<G G2|"tr"F>GAB c<AF>A|D<GG>F D<G G2|fc d/2c/2B/2A/2 {A}G2 G2|

D<GG<F D<GGA|F>GA>B c/2B/2A/2G/2 FA|D<GG>F D<GGg|fc d/2c/2B/2A/2 {A}G2

G2||g>abg d>gbg|a/2g/2f/2d/2 c>d fcaf|g>abg dgbg|b/2a/2g/2f/2 d^f g/2g/2g g2|

g>abg afgd|f>cdf AFcA|D>GG>F D>G G2|fc d/2c/2B/2A/2 {A}G2 G2||

X:3

T:Marquis of Huntley’s Reel, The

M:2/4

L:1/8

S:Aird, vol. II (1782)

Z:AK/Fiddler’s Companion

K:A Minor

EAA>G | EAA>B | G>AB>c | c/d/B/A/ GB | EAA>G | EAAa | gd e/d/c/B/ | A2 A2 :|

|: a>bc’a | bgae | gd   | G>ABG | a>bc’a | bgae | a>b c’/b/a/^g/ | a2 aa/b/ | c’abg |

aeg>e | dBgB | G>ABG | EAA>G | EAAa | gd e/d/c/B/ | A2 A2 :|

X:4

T:Marquis of Huntly’s Strathspey

M:C

L:1/8

R:Strathspey

S:O’Farrell – Pocket Companion, vol. III (c. 1808)

Z:AK/Fiddler’s Companion

K:A

A | E<A A>G E<A A>B | G>ABc d/c/B/A/ G2 | EAA>G EAA>f | gd (e/d/c/B/) A2A :|

e | abc’a ea{b}c’a | (b/a/)(g/e/) de (g>a)bg | (a>b)c’a ea{b}c’a | bgeg a2a2 |

a>bc’a bgae | gded BGdB | E<A (A>G) E<A A>f | gd (e/d/c/B/) A2 A ||

 

MARQUIS OF HUNTLY [2]. Scottish, Strathspey. F Major. Standard tuning. AAB. Stewart-Robertson (The Athole Collection), 1884; pg. 227.

T:Marquis of Huntly

M:C

L:1/8

R:Strathspey

B:Stewart-Robertson – The Athole Collection (1884)

K:F

A|F<AcA f>c d/c/B/A/|FA/B/ c>A G<g ~g>a|F>Ac>A f>c d/c/B/A/| Bc/d/ c>B A<F~F:|

c|f<ad<f A<cF<c|f<a g>f e<g ~g>e|f<ad<f c<fA<c|Bc/d/ c>B A<F ~F>c|

f<ac<f A<cF<c|~f<a g>f e<g ~ga/g/|(3fga (3gab (3agf (3gfe| ~f<d c>B A<F~F||

 

MARQUIS OF HUNTLY('S) [3]. AKA and see "Marquis of Huntly's Highland Fling."

 

MARQUIS OF HUNTLEY'S [4]. Scottish, Hornpipe. C Major. Standard tuning. AB. Harding’s All Round Collection, 1905; No. 26, pg. 8.

X:1

T:Marquis of Huntley’s [4]

M:2/4

L:1/8

R:Hornpipe

S:Harding’s All-Round Collection, No. 26  (1905)

Z:AK/Fiddler’s Companion

K:C

e/f/|g/e/c/e/ g/e/c’/a/|g/e/c/e/ g/e/c’/a/|g/e/a/g/ f/d/g/f/|e/f/^f/g/ de/=f/|

g/e/c/e/ g/e/c’/a/|g/e/c/e/ g/e/c’/a/|(g/e/).c/.G/ (f/d/).B/.G/|cec B/A/||

G/A/B/c/ d/e/f/d/|(e/g/).g (c’/g/).g|(g/e/).e (f/d/).d|f/d/e/c/ d/e/f/^f/|

g/e/c/e/ g/e/c’/a/|g/e/c/e/ g/e/c’/a/|(g/e/).c/.G/ (f/d/).B/.G/|cec||

                       


MARQUIS OF HUNTL(E)Y'S FAREWELL, THE. AKA and see "George Booker [1]." Scottish, Strathspey ("Slow when not danced"). A Major. Standard tuning. AB (most versions): ABAB’ (McGlashan): ABAB'AB''AB''' (Skinner). An andante air with "just a touch of strathspey," composed by William Marshall (1748-1833). The Marquis of Huntley, George Gordon (b. 1770), was the hereditary heir to the Duke of Gordon and became the 5th and last Duke. This tune was written by Marshall, the Gordon’s steward or butler, who was emotionally moved as the young man took his farewells from his family when he departed for his Continental tour in 1787. Witnessing the family's sorrow and grief at his leaving, Marshall " endeavored in the first part (of the tune) to imitate the wailing of the parents, and in the latter bars that of his young sisters" (Marshall, 1845 Collection). It was one of the earliest composed by Marshall and was first published in his First Collection of 1781; it is particularly celebrated and one of his most famous pieces (Collinson {1966} was much impressed by it and used it as an example of Marshall's melodic grace and power). The melody was published by the Gows, with no credit to the composer in their Repository, Part First, 1799. It was included as one of the tunes in a 1921 concert set by the famous Scots violinist J. Scott Skinner, which set was romantically entitled "Spey's Furys;" Skinner was thoroughly familiar with the tune by that time, for his rendition of it gained him a first place prize at a competition held nearly sixty years previously in Inverness in September, 1863. Skinner was not only a noted violinist but, especially early in his career, was a tutor of the national dances, and had formerly included the melody as one of the pieces in his dance school ball in Forres in 1880. In America the tune became the precursor for the old-time tune "George Booker [1]," first printed by George P. Knauff in his Virginia Reels, volume III (Baltimore, 1839). Alburger (Scottish Fiddlers and Their Music), 1983; Ex. 54, pg. 80. Carlin (The Gow Collection), 1986; No. 133. Collinson (The Traditional and National Music of Scotland), 1966; pg. 223. Emmerson (Rantin’ Pipe and Tremblin’ String), 1971; No. 62, pgs. 150‑151. Gow (Complete Repository), Part 1, 1799; pg. 24. Hardie (Caledonian Companion), 1992; pg. 71. Honeyman (Strathspey, Reel and Hornpipe Tutor), 1898; pg. 22. S. Johnson (A Twenty Year Anniversary Collection), 2003; pg. 30. Kerr (Merry Melodies), vol. 1; Set 10, No. 1, pg. 8. MacDonald (The Skye Collection), 1887; pg. 1. Marshall, Fiddlecase Edition, 1978; 1822 Collection, pg. 14. McGlashan (A Collection of Reels), c. 1786; pg. 38. Skinner (The Scottish Violinist), pg. 16. Skinner (Harp and Claymore), 1904; pg. 105. Stewart-Robertson (The Athole Collection), 1884; pg. 12. Surenne (Dance Music of Scotland), 1852; pgs. 48-49. Beltona BL2096, Edinburgh Highland Reel and Strathspey Society (1936). HCD 008, Tommy Peoples - "Traditional Irish Music Played on the Fiddle" (appears as 2nd tune, track 5).

See also listing at:

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

X:1

T:Marquis of Huntly’s Farewell, The

M:C|

L:1/8

S:Strathspey

B:Stewart-Robertson – The Athole Collection  (1884)

Z:AK/Fiddler’s Companion

K:A

C|A,2 A,>C E/E/E (E>F|A>Bc>B A2 (A>c|A,2 A,>C E/E/E (E>c|

B>c d/c/B/A/ (A<F F>A|A,2 A,>C E/E/E (E>F|A>Bc>B A2 (A>c|

d2 d>f e<c c>A|B>c d/c/B/A/ A<F F||f|f/e/d/c/ a>c b>c a2|f/e/d/c/ ac f>ed>c|

B<b b>f b/a/g/f/ b2|f<b b>f a>gf>e|f/e/d/c/ a>c b>c a2|f/e/d/c/ ac f>ed>c|

d/e/f/g/ a>g f>e d>c|B>c d/c/B/A/ A<F F>A||

                       

MARQUIS OF HUNTLY'S FAVORITE, THE. Scottish, Slow Slip Jig. B Flat Major. Standard tuning. AAB. Composed by William Marshall (1748-1833). Marshall, Fiddlecase Edition, 1978; 1822 Collection, pg. 3.

X:1

T:Marquis of Huntly’s Favorite, The

L:1/8

M:9/8

S:Marshall1822 Collection

Z:AK/Fiddler’s Companion

K:B_

(B/c/d)B BFB BFB|(B/c/d)B BFB (c2d)|(c/d/e)d cGc cGc|(c/d/e)d cGc e2g:|

B>df bfd fdB|B,Bd bfd ~f2g|B,Bd bfd fdB|Ccc c2d e2g|

Bdf bfd fdB|B,Bd bfd fga|bag agf gfe|dec gc~d e2g||

                       

MARQUIS OF HUNTLEY'S HIGHLAND FLING [1], THE. See "Flax in Bloom." Scottish, Strathspey. D Major. Standard tuning. AB (Surenne, White): AABB (Alburger, Emmerson, Gow, Johnson/Cooper, Kennedy, Martin, Skye): AABB' (Athole): AABBCCDD (Martin). Composed by George Jenkins (c. 1760-1806), who was a friend or at least a correspondent of the Gows (perhaps, like them, from Perthshire, though his country of origin is obscure) and a teacher of "Scotch Dancing" in London about the year 1794. The tune, which was the first use of the term 'Highland fling,' appears in his First Collection of 1793. It also appears in Issac Cooper of Banff’s (b. 1755-d. 1810 or 1811, although sometimes the year is given as 1820) Collection of Strathspeys, Reels and Irish Jigs for the Piano-Forte & Violin to which are added Scots, Irish & Welch Airs Composed and Selected by I. Cooper at Banff (London, Edinburgh, c. 1806). Christine Martin (2002) says the Highland Fling is the oldest Highland dance, and is said to have been based on the rutting of stags (and as such, is related to fertility dances). The Gows published it in Repository, Part Second, usually dated 1802, although the Purdie edition contains the note that it was composed by “the late Mr. Geo. Jenkins,” leading one to believe the publication date for that edition was older then 1804. Jenkins composed a few good reels and strathspeys, but John Glen (1895) was of the opinion that "a number of his tunes do not possess the true Scottish character." The second part of the tune appears as the first part of “Denis Murphy’s Slide [1].” Alburger (Scottish Fiddlers and Their Music), 1983; Ex. 39, pg. 62. Carlin (The Gow Collection), 1986; No. 522. Emmerson (Rantin’ Pipe and Tremblin’ String), 1971; No. 64, pg. 153. Gow (Complete Repository), Part 2 1802; pg. 36. Honeyman (Strathspey, Reel and Hornpipe Tutor), 1898; pg. 11 (appears as "The Marquis of Huntly"). Johnson (A Twenty Year Anniversary Collection), 2003; pg. 7 (from I. Cooper’s collection). Kennedy (Traditional Dance Music of Britain and Ireland: Reels and Rants), 1997; No. 121, pg. 29. Kerr (Merry Melodies), vol. 1; Set 6, No. 5, pg. 6 (appears as "Marquis of Huntly"). MacDonald (The Skye Collection), 1887; pg. 74. Martin (Ceol na Fidhle, vol. 3), 1988; pg. 10. Martin (Traditional Scottish Fiddling), 2002; pg. 51. Ryan’s Mammoth Collection, 1883; pg. 170. Stewart-Robertson (The Athole Collection), 1884; pg. 97. Surenne (Dance Music of Scotland), 1852; pg. 10. White’s Unique Collection, 1896; No. 161, pg. 20. Beltona 2103 (78 RPM), Edinburgh Highland Reel and Strathspey Society (1936). Greentrax CDTRAX243, Tony Cuffe – “Sae Will We Yet” (2003).

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:Marquis of Huntly’s Highland Fling [1]

M:C|

L:1/8

R:Strathspey

B:Stewart-Robertson – The Athole Collection (1884)

Z:AK/Fiddler’s Companion

K:D

A | d<d f>d g>e f<d | B<B e>d c>AA>c | d<d f>d g>ef>d |

B>e d/c/B/A/ d2d :: B | A>DF>D A>Bd>e | f<d g>f e>d B<d |

A>DF>D A>B d<b |1 a<f e>f d2d :|2 (3agf (3gfe d2d ||

 

MARQUIS OF HUNTLY'S HIGHLAND FLING [2], THE. Scottish, Strathspey. G Minor. Standard tuning. AAB. Honeyman (Strathspey, Reel and Hornpipe Tutor), 1898; pg. 28.

X:1

T:Marquis of Huntly’s Highland Fling [2]

M:C

L:1/8

R:Strathspey
S:Honeyman – Strathspey, Reel and Hornpipe Tutor  (1898)

Z:AK/Fiddler’s Companion

K:G Minor

F|D<G G>F D<G G>A|F>GA>B c/B/A/G/ FA|D<G G>F D<G G>g|

f>c d/c/B/A/ AGG:|d|g>ab>g d>gb>g|a>fc>=e f>ga>g|g>ab>g d>gb>g|a>fd>^f g<g g2|

g>ab>g a>^fg>d|f>c d<f A<F c>F|D<G G>F D<G G>g|f>c d/c/B/A/ AGG||

                       

MARQUIS OF HUNTLY'S REEL, A STRATHSPEY [1]. AKA and see "Marquis of Huntl(e)y('s Strathspey) [1]."

 


MARQUIS OF HUNTLY'S REEL [2]. Scottish, Reel. A Major. Standard tuning. AB (Hardie, Martin): AA’BB’ (Perlman). Composed by Peter Milne (1824-1908), appearing in his Selection of Strathspeys, Reels (1870). Milne was known as the 'Tarland Minstrel', and so immersed in his art that he once said, "I was that fond o' my fiddle, I could sit inside it and look oot."  This tune, which is considered among those of Milne’s better compositions, is frequently preceded in a set by another Milne composition, “The Marchioness of Huntly—Aboyne Castle [3].” Sources for notated versions: Peter Chaisson, Sr. (b. 1929, Bear River, North-East Kings County, Prince Edward Island) [Perlman]; Hector MacAndrew [Martin]. Hardie (Caledonian Companion), 1986; pg. 33. Martin (Traditional Scottish Fiddling), 2002; pg. 133. Perlman (The Fiddle Music of Prince Edward Island), 1996; pg. 94. Olympic 6151, Arthur S. Robertson ‑ "Scottish Traditional Fiddle Music" (1978).

See also listings at:

Alan Snyder’s Cape Breton Fiddle Recording Index

Alan Ng’s Irishtune.info

X:1

T:Marquis of Huntly’s Reel, The [2]

M:C
L:1/8

R:Reel

K:A

A,2 CE AEAB|cAdc BAGF|EA,CE AEcA|dBed fe^de|

Ceag fedc|dfce BGED|CEAE DFBA|GEFG (A2 A)||E|

A/A/A ce aAgA|aefa ecBA|E/E/E GB dEcE|dEGB AGFE|

A/A/A ce aAgA|aefa ecBA|ceaf dfba|gefg (a2 a)||

                       

MARQUIS OF HUNTLY'S SNUFF MILL, THE. AKA and see "Miss Dallas('s Reel)," "The Royal Gift." Scottish, "Very slow" Strathspey. F Major. Standard tuning. AB (Hardie): AAB (Alburger, Athole, Gow). Published and claimed by Niel Gow in his Fourth Collection of 1800, however, the tune is actually a composition of William Marshall's called "Miss Dallas's Reel" (published in his First Collection, 1781) presented in a different key with a few notes altered. The problem is charitably thought by some to be not one of outright plagiarism, but perhaps arises from the fact that many of both Gow's and Marshall's tunes were in general circulation long before they were published by them. Alburger (Scottish Fiddlers and Their Music), 1983; Ex. 68, pg. 106. Carlin (The Gow Collection), 1986; No. 134. Gow (4th Collection), 1800. Hardie (Caledonian Companion), 1992; pg. 57. Henderson (Flowers of Scottish Melody), 1935. Stewart-Robertson (The Athole Collection), 1884; pg. 234.

X:1

T:Marquis of Huntly Snuff Mill

L:1/8

M:C

R:Slow Strathspey

B:Stewart-Robertson – The Athole Collection (1884)

Z:AK/Fiddler’s Companion

K:F

C<F ~F>A G>F D2|C<F ~F>A cd/e/|d>cf>A B/A/G/F/ D2|C>FA>F G2F2:|

c<f f>a g>f d2|c<f ~f>a g>af>c|d<f c>A B/A/G/F/ D2|C>FA>F G2F2|

c<f ~f>a g>f d2|c<f ~f>a g>af>a|d>fA>c B/A/G/F/ Df/g/|a<Fc>A G2~F2|| 

                       

MARQUIS OF HUNTLY'S WELCOME TO THE ROYAL HIGHLANDERS. Scottish, Strathspey. F Major. Standard tuning. AAB. The melody appears in Malcolm MacDonald’s 3rd Collection, dedicated to Miss Drummond of Perth. MacDonald (A Third Collection of Strathspey Reels), c. 1792; pg. 3. Stewart-Robertson (The Athole Collection), 1884; pg. 304.

X:1

T:Marquis of Huntly’s Welcome to the Royal Highlanders, The

L:1/8

M:C

R:Strathspey

B:MacDonald – 3rd Collection of Strathspey Reels  (c. 1792)

Z:AK/Fiddler’s Companion

K:F

c | AFFA/B/ cdcB | A<F c>A BGGB | AFFA/B/ c>dcA | C>FE>G AFF :|

e | f>df>g {f/g/}a>fg>f | c>f b/a/g/f/ e(gg>)a | f>cf>g {f/g/}a>fcA | C>FE>G AFFe |

f>cf>g {f/g/}a>f”tr”g>f | cf b/a/g/f/ egga/b/ | a>fg>e f>dcA | B<d “tr”c>B AFF ||

X:2

T:Marquis of Huntly’s Welcome to the Royal Highlanders, The

L:1/8

M:C

R:Strathspey

B:Stewart-Robertson – The Athole Collection  (1884)

Z:AK/Fiddler’s Companion

K:F

c|A<F FA/B/ c>dc>B|A<F c>A B<G G>B|A<F FA/B/ c>dc>A|

C>FE>G A<F~F:||e|f>cf>g a>fg>f|c>f b/a/g/f/ e<g g>a|~f>cf>g a>fc>A|

C>FE>G F<A F>e|~f>cf>g a>fg>f|c>f b/a/g/f/ e<g ga/b/|a>fg>e f>dc>A|B<dc>B A<FF||

                       

MARQUIS OF LORNE [1], THE. Scottish, English; Hornpipe. G Major. Standard tuning. AABB (Kennedy, Miller & Perron, Raven): AB (Honeyman, Martin). The Marquis of Lorne is the heir to the Dukedom of Argyll. The title of this particular piece may refer to the Marquis of Lorne, son of the Duke or Argyll, who married the Princess Louise in 1871. Louise was the 4th daughter of Queen Victoria, the reigning English monarch, and the wedding caused a stir as it was unheard of for the daughter of a sovereign to marry a subject of the realm.  Lorne was sworn in as the first Governor-General of Canada in 1878.

***

Princess Louise and the Marquis of Lorne

***

See also Irish variants “Dunn’s Hornpipe,” “Flowers of Antrim [1]” and “Sligo Fancy.” Source for notated version: Donna Hinds/Hebert (Amherst, Mass.) [Miller]. Honeyman (Strathspey, Reel and Hornpipe Tutor), 1898; pg. 48. Kennedy (Fiddler’s Tune Book), vol. 2, 1954; pg. 9. Martin (Traditional Scottish Fiddling), 2002; pg. 58. Miller & Perron (Irish Traditional Fiddle Music), 1977; vol. 2, No. 7. Miller & Perron (Irish Traditional Fiddle Music), 2nd Edition, 2006; pg. 118. Raven (English Country Dance Tunes), 1984; pg. 169.

See also listing at:

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

X:1

T:Marquis of Lorne [1]

L:1/8

M:C
R:Hornpipe

S:Honeyman – Strathspey, Reel and Hornpipe Tutor

Z:AK/Fiddler’s Companion

K:G

b>a|g>fg>d B2 e>d|c>Bc>A E2 A>G|F>GA>B c2 d>c|B>AB>c d2 b>a|

g>fg>d B2 e>d|c>Bc>A E2 A>G|F>GA>B c>de>f|g2 g2 g2||

B>c|d>gd>B d>gd>B|d>gd>B d2 c>B|c>af>d c2 A>B|c>af>c c2 B>c|

d>gd>B d>gd>B|d>gd>B d2 c>B|c>ea>g f>de>f|g2 g2 g2||

 

MARQUIS OF LORN [2]. Scottish, Strathspey. D Mixolydian. Standard tuning. AB (Athole): AAB (Gow). The tune was composed by the famous Scots fiddler-composer Niel Gow (1727-1807). The Marquis of Lorn, named after a district and presbytery of Argyllshire, is the courtesy title given to the eldest sons of the Dukes of Argyll. George William Campbell (1768-1839), the Marquis of Lorn acceded 1806 as the 6th Duke of Argyll. The family estate was Inverarey Castle in Scotland. Campbell married Caroline Villiers, eldest daughter of the fourth Earl of Jersey, in 1810 (just three weeks after she divorced Lord Uxbridge, the future Marquis of Anglesey), and died in 1839 without issue. He was a close friend of the Prince of Wales and acted as councilor to the Prince Regent from 1811 to 1820, and he was also a loyal companion to Beau Brummell, a member of the British Fishing Society, and of the exclusive White’s Club of London. White’s was known for its famous (and notorious) Bay Window, which was built in 1811 and quickly became the preserve of Brummell, Campbell (Artyll), and Lords Alvenely, Foley and Sefton. Whist had been voted a dull game by the members, who much preferred hazard, faro, and other games of pure chance. The betting book was always open on the table for bets, even the most trivial, to be laid at any one time. Carlin (The Gow Collection), 1986; No. 135. Gow (First Collection of Niel Gow’s Reels), 1784 (revised 1801); pg. 22. Stewart-Robertson (The Athole Collection), 1884; pg. 120. Rounder 7059, Alex Francis MacKay with Gordon MacLean – “Gaelic in the Bow” (2005).

See also listing at:

Alan Snyder’s Cape Breton Fiddle Recording Index

X:1

T:Marquis of Lorne [2]

M:C|

L:1/8

R:Strathspey

B:Stewart-Robertson – The Athole Collection  (1884)

Z:AK/Fiddler’s Companion

K:D

g|f>de>c d>FD>F|E>=CCE G2 G>g|f>de>c d>FD>F|A>FD>F A2 A>=c|

B>GA>F d>FD>F|G/F/E/D/ =C<E G<cG<E|F<DG<E A<FB<G|

d/c/B/A/ d>F D2D||g|f2 d<f f<d a>f|g<e =c>e g2 g>a|f2 f>a f>g a<f|

a<fd<a f<d a>d|f2 d<a f>g a<f|g>e =c<g e<c g>e|a>fg>e f>de>c| d/c/B/A/ d>F D2D||

 

MARQUIS OF LORN [3]. Scottish, Strathspey. G Major. Standard tuning. AABB. Kerr (Merry Melodies), vol. 4; No. 104, pg. 13.

X:1

T:Marquis of Lorn [3]

M:C

L:1/8

R:Strathspey

S:Kerr – Merry Melodies, vol. 4, No. 104 (c. 1880’s)

Z:AK/Fiddler’s Companion

K:G

(B/c/)|d>GB>g d>GB2|(c/d/e) d>B c<A A(B/c/)|d>GB>g d>G B2|(c/d/e) A>d B<G G:|

|:f|g2 d>g (e/f/g) d>B|(c/d/e) d>B c<A A>f|g2 d>g (e/f/g)d>B|(c/d/e) A>d B<G G:|

                       

MARQUIS OF QUEENSBURY. Scottish, Reel. C Major. Standard tuning. AAB (Athole): AABB' (Kerr). He who is famed for codifying modern boxing rules? Kerr (Merry Melodies), vol. 2; No. 81, pg. 11. Stewart-Robertson (The Athole Collection), 1884; pg. 63.

X:1

T:Marquis of Queensbury

M:C|

L:1/8

R:Reel

B:Stewart-Robertson – The Athole Collection  (1884)

Z:AK/Fiddler’s Companion

K:C

f|ec c/c/c ~c2 ec|fedc Bagf|ec c/c/c ~c2 ac|BGAB c2:|

G|EFGE F2Ac|BcdB c2 eg|afaf gedc|BGAB c2cG|CEGE FGAc|

BcdB cdeg|afaf gedc|BGAB cagf||

                       


MARQUIS OF TULLYBARDINE/TULLIBARDINE [1], THE. AKA and see “Maids of Tulla,” “Merry at the Fair.” Scottish (originally), Canadian; Reel. Canada, Cape Breton. A Major. Standard or AEae (Cape Breton) tunings. One part (Gow, Johnson): AB (Honeyman, Skinner, Skye, Surenne): AAB (Dunlay & Greenberg): AA'BB' (Athole, Kerr): ABCD (McGlashan Collection). A very popular composition, even to modern times, by John Crerar (1750‑1840), the head gameskeeper on the Atholl -estate, who probably knew, and may have had lessons from, the famous Scots fiddler-composer Niel Gow (1727-1807), of Inver. The melody was published in the McGlashan Collection of 1786 as “The Marquis of Tullybardin’s Reel.” The lords of Tullybardine were the