The Fiddler’s Companion
© 1996-2009 Andrew Kuntz
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MISS KA – MISS RU |
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Notation
Note: The tunes below are recorded in what
is called “abc notation.” They
can easily be converted to standard musical notation via highlighting with
your cursor starting at “X:1” through to the end of the abc’s, then
“cutting-and-pasting” the highlighted notation into one of the many abc
conversion programs available, or at concertina.net’s incredibly handy “ABC
Convert-A-Matic” at http://www.concertina.net/tunes_convert.html **Please note that the abc’s in the Fiddler’s
Companion work fine in most abc conversion programs. For example, I use
abc2win and abcNavigator 2 with no problems whatsoever with direct
cut-and-pasting. However, due to an anomaly of the html, pasting the abc’s
into the concertina.net converter results in double-spacing. For
concertina.net’s conversion program to work you must remove the spaces
between all the lines of abc notation after pasting, so that they are
single-spaced, with no intervening blank lines. This being done, the F/C
abc’s will convert to standard notation nicely. Or, get a copy of
abcNavigator 2 – its well worth it.
[AK] |
MISS KATHARINE
MILLER’S BIRTHDAY. Scottish,
Air (whole time). D Major. Standard tuning. AAB. Composed by Nathaniel Gow
(1763-1831). Gow (Fifth Collection
of Strathspey Reels), 1809; pg. 14.
X:1
T:Miss
Katharine Miller’s Birthday
M:C
L:1/8
R:Air
N:”Slow”
C:Nathaniel
Gow (1763-1831)
B:Gow – Fifth
Collection of Strathspey Reels (1809)
Z:AK/Fiddler’s
Companion
K:D
“tr”F/>E/|D(B,A,)~D (F/F/)(A/F/) [Fd] (d/D/)|(c/D/)(B/D/) (A/D/)(B/D/) {DE}F[CE][CE] “tr”F/>E/|D(B,A,)~D (F/D/)(A/F/) [Fd] (f/F/)|
(e/E/)
(d/D/) (c/C/) (B/B,/) AFF:||A/d/|f/(a/4g/4) f/4e/4d/4c/4 (.B/.B/) ~B/c/4/d/4
A/B/4c/4 d/4/e/4f/4g/4 a/4d/4e/4f/4 g/4a/4b/4c’/4|
d’/.c’/4.b/4
.a/4.g/4.f/4.e/4 .d/4.c/4/B/4.A/4 .G/4.F/4.E/4.D/4 {DE}F[CE][CE] A/d/|f/a/g/4
f/4e/4d/4c/4 (.B/.B/) ~B/c/4d/4 A/B/4c/4 d/4e/4f/4g/4 a/4d/4e/4f/4
g/4a/4b/4c’/4|
d’/4c’/4b/4a/4
^g/4a/4b/4c’/4 d’/4c’/4b/4a/4 b/4c’/4d’/4b/4 a~f/>-g/
f”tr”d’/>e’/|.f’/.f’/ .f’/d’/4b/4 .e’/.e’/ e’/c’/4a/4 .d’/.d’/ d’/c’/4g/4
.a/.a/ a/f/4d/4|
.b/.b/
b/g/4e/4 (3a/f/d/ (3b/g/d/ {de}f[ce][ce] “tr”f/>e/|d(BA)~d (f/d/)(a/f/) d’
f’/f/|(e’/e/) (d’/d/) (c’/c/) (b/B/) [Aa][Ff][Ff]||
MISS
KATHERINE STEWART FORBES (STRATHSPEY--OF ACHMEDDEN). Scottish, Strathspey. F Major. Standard tuning. AAB. Composed by William Marshall (1748-1833). Moyra Cowie (The Life and Times of William Marshall,
1999), thinks Miss Katherine was a relation of Sir William Forbes of Pitsligo
Castle, a grandson of the 4th Laird who forfeited his entire
holdings after Culloden, and who was sustained for a time on the kindness of
his tenantry and friends, while he lived in caves disguised as a beggar. Sir
William was a banker who was able to purchase the forfeited estate of
Achmeddan. Marshall, Fiddlecase Edition,
1978; 1822 Collection, pg. 57. Stewart-Robertson
(The Athole Collection), 1884; pg.
242.
X:1
T:Miss Katherine Stewart Forbes
M:C
L:1/8
R:Strathspey
B:Stewart-Robertson – The Athole Collection (1884)
Z:AK/Fiddler’s Companion
K:F
a|F<F F>A G>AB>d|F<F F>A cd/e/ ~f>c|d<fA<f G>A B<d|~c>f e/f/g/e/ ~f2f:|
a|c<fA<f G<(g g)>a|c<fA<f c<fA<f|B<gA<f G>AB>d|~c>f e/f/g/e/ ~f2 f>a|
c<fA<f
G<(g ~g)>a|c<fA<f c<FA<F|B>dc>A G>AB>d|c>f
e/f/g/e/ f2 f||
MISS KATIE HALL’S REEL. See “Miss
Ketty Hall.”
MISS KATHY GORDON. Scottish. Part of this air shows up in "Caledonian Hunt [1]" and
Bayard's Pennsylvania‑collected "Moniemusk" (a floating title).
MISS KATY TROTTER. See "Miss Katty Trotter."
MISS
KATTY GORDON OF EARLSTON(‘S REEL). Scottish, Strathspey. D Major.
Standard. AABB'. John Glen (1891) finds the earliest appearance of this tune in
print in John Riddell's 1782 collection
(pg. 24). Glen (The Glen Collection of
Scottish Music), vol. 1, 1891; pg. 4.
X:1
T:Miss Katty Gordon of Earlston’s
Reel
M:C
L:1/8
R:Strathspey
S:Glen Collection, vol. 1 (1891)
Z:AK/Fiddler’s Companion
K:D
(D/E/F/G/ A)F dFA(F|BG)AF
E(DEF)|(D/E/F/G/ A)F dFAF|Bgfe d/d/d d:|
|:(d/e/f/g/ a)d fdad|cAeA fAeA|1
(d/e/f/g/ a)f fdad|Adce d/d/d d2:|2
DEFG ABdB|Agfe d/d/d d2||
MISS KATTY MAXWELL(‘S
REEL). Scottish, Strathspey. C Major.
Standard tuning. AAB. John Glen (1891) finds the earliest appearance of this
tune in print in John Riddell's 1782
collection (pg. 30). Glen (The Glen
Collection of Scottish Music), vol. 1, 1891; pg. 10.
X:1
T:Miss Katty Maxwell’s Reel
M:C
L:1/8
R:Strathspey
S:Glen Collection, vol. 1 (1891)
Z:AK/Fiddler’s Companion
K:C
e|c2 (e/d/c/B/) cGEG|c2 (e/d/c)
dDDe|c2 (e/d/c/B/) cGEC|FAF(F EC) C:|
e|gage cdec|daag add(e/f/|g)agf
edcG|A(agf) ecce|
gage cdec|daag add(e/f/|g)aeg
decG|A(agf) ecc||
MISS KATTY TROTTER. Scottish, Reel. G Major. Standard tuning. AAB. Composed by fiddler Robert 'Red Rob' Macintosh (born c.
1745), who doubtless was awarded his nickname because of having red hair. John
Glen (1891) finds the earliest printings of this tune in Neil Stewart's 1761 collection (pg. 59)
and Macintosh's own 1783 collection (pg. 31). Glen (The Glen Collection of Scottish Music), vol. 1, 1891; pg. 9.
X:1
T:Miss Katty Trotter
M:C
L:1/8
R:Reel
S:Glen Collection, vol. 1 (1891)
Z:AK/Fiddler’s Companion
K:G
c|BABG DGBd|cBAG F(AAc)|BGBd
cAce|fadf gGG:|
g|f2 dg BgdB|ceBd A(aag)|(f/g/a)
d>f gdBG|ceAc BGGg|
f2 (dg) BgdB|ceBd A(aag)|fagb
afgc|BdAc BG[B,G]||
MISS KELLY'S. AKA and see “Around the World [1],”
“Highland Man that
Kissed his Grannie [1],” “Jolly Seven.”
Irish, Reel. D Major ('A' part) & B Minor ('B' part). Standard tuning.
AABB. Cole (1000 Fiddle Tunes), 1940;
pg. 32. Ryan’s Mammoth Collection,
1883; pg. 57.
X:1
T:Miss Kelly’s
M:C|
L:1/8
R:Reel
S:Ryan’s Mammoth Collection (1883)
Z:AK/Fiddler’s Companion
K:D
d2 (ad) (fd)(ad) | daaf ecAc | d2
(ad) (fd)(ad) | b^gaf ecAc | d2 (fd) (ad)(fd) |
d2 (ad) ecAc | def^g a2(ga) | bgaf
ecAc :: .d.f.B.f d.f.B.f | .d.f.B.f .e.c.A.c |
defg a2(ga) | bgaf ecAc | dfBf dfBf
| dfBf ecAc | defg a2(ga) | bgaf ecAc :|
MISS KELLY'S FAVOURITE (Rogha Iníon Uí Cheallaigh). AKA and see “Autumn Leaves,” "Ginley's Fancy," "Handsome Sally [1]," “The Man of the House,” “The Merry Thatcher,” “The New Potatoes,” "Old Tom,” “Paddy Carthy’s Reel [2],” "Sally Grant," “Through the Heather." Irish,
Reel. E Dorian. Standard tuning. AB. Breathnach (1976) says the tune is known
as “The Merry Thatcher” in north Dublin. An untitled tune in Stanford-Petrie
(914) is the same in the first part although Breathnach thinks the second part
is faulty and does not relate to the tune. Source for notated version: fiddler
Mickey Doherty, 1965 (Stranorlar, Co. Donnegal, Ireland) [Breathnach].
Breathnach (CRÉ II), 1976; No. 235,
pg. 122.
MISS KENWICK'S REEL. Scottish, Reel. A Major. Standard tuning. AABB. Carlin (Master Collection), 1984; No. 117, pg.
75.
MISS KETTY ALLAN. Scottish. John Glen (1891) finds the earliest appearance of this tune
in print in William Marshall's 1781 collection (pg.
3).
MISS KETTY HALL. Scottish, Jig. D Major.
Standard tuning. AA’BB’CC’AA’DD’AA’EE’AA’FF’AA’BB’. A two-part tune with four
variation sets, in between which Gow directs the playing of the first part of
the melody. Gow’s notation seems to indicated that a drone ‘A’ note be played
at various times throughout the tune, esp. in the 2nd (‘B’) part.
The variation sets printed by Gow are attributed to Sir Alexander Don and Mr.
Nisbet of Dirleton. Aird (Selection of
Scotch, English, Irish and Foreign Airs), c. 1780 (appears as “Katie Hall’s
Reel”). Gow (Second Collection of Niel
Gow’s Reels), 1788; pg. 27 (3rd ed.)
X:1
T:Miss Ketty Hall
M:6/8
L:1/8
R:Jig
N:”The 1st Strain to be
play’d after each Var: And the 1st and 2nd Strains after
the last Var.”
B:Gow – 2nd Collection of Niel Gow’s Reels, 3rd ed.,
pg. 27 (orig. 1788)
Z:AK/Fiddler’s Companion
K:D
f||:{c}d2(A A)FA|AFD Dfe|({c}d2)A
({B}A)GF|”tr”E>FE “tr”c2e|{c}d2(A A)FA|
AFA AFD|GBG FAF|1 (E>FE)
“tr”c2e:|2 (E>FE) “tr”G2E||:(DED) “tr”(FEF)|
DED “tr”F2E|(DED) “tr”(FEF)|(EFE) “tr”G2E|(DEF)
“tr”(FEF)|(FEF) “tr”(FEF)|
GBG AFA|1 (EFE) G2E:|2 (EFE) Efe||
“variation 1”
L:1/8
M:2/4
D/A/F/A/ D/A/F/A/|(3DED
“tr”F>E|D/A/F/A/ D/A/F/A/|(3EFE “tr”G>E|D/A/F/A/ D/A/F/A/|
D/A/F/A/ D/A/F/A/|D/G/B/G/
D/A/F/A/|1 (EFE “tr”G>E:|2 (EFE) Efe||
“variation 2”
L:1/8
M:6/8
.D(FA) .D(FA)|.D(GB) .DGB)|.D(FA)
.D(FA)|.E(GA) .E(GA)|.D(FA) .D(FA)|
.D(GB) .D(GB)|.D(GB) .D(FA)|1 (EFE)
“tr”G2E:|2 (EFE) Efe||
“variation 3”
L:1/8
M:2/4
D/A/F/A/ D/A/F/A/|D/B/G/B/
D/G/B/G/|D/A/F/A/ D/A/F/A/|E/A/G/A/ E/A/G/A/|
D/A/F/A/ D/A/F/A/|D/B/G/B/
D/B/G/B/|D/B/G/B/ D/A/F/A/|1 E/A/G/A/ E/A/G/A/:|2 (EFE) Efe||
“variation 4”
(D/F/)(A/F/) (D/F/)(A/F/)|[D2G2B2]
[D2G2B2]|[D2F2A2] [D2F2A2]|[C2E2A2] [A,2E2A2]|
[D2F2A2] [D2F2A2]|[D2G2B2]
[D2G2B2]|[D2G2B2] [D2F2A2]|1 [C2E2A2] [A,2E2A2]:|2 [C2E2A2] A,f/e/||
X:2
T:Katie Hall’s Reel
M:6/8
L:1/8
R:Jig
B:Aird – Selections, vol. 1, c. 1780
K:D Mixolydian
d2B AFA|AFA Afe|d2B AFD|EFE efe|d2B
AFA|
AFA AGF|GAB AGF|EFE efe::def fgf|def
f2e|
def fgf|efe g2e|def fgf|fgf fgf|gab
agf|efe f2e||
MISS KETTY TROTTER. AKA and see “Katie Trotter.”
MISS KINLOCH OF
GILMERTON. Scottish, Reel. D Major. Standard
tuning. AA'B. Composed by William Shepherd. Glen (The Glen Collection of Scottish Music), vol. 2, 1895; pg. 12.
X:1
T:Miss Kinloch of Gilmerton
M:C|
L:1/8
R:Reel
S:Glen Collection, Vol. 2 (1895)
Z:AK/Fiddler’s Companion
K:D
G|FE/D/ AF BGAG|FDAF GEEG|FE/D/ AF
BGAF|1 Aceg fdd:|2 Egec dDD||
g|fdad bdad|fd b/a/g/f/ geeg|fdad
bdad|~ceag fdda|fdad bdad|fd b/a/g/f/ geeg|
fdcd Bc/d/ AF|Gbag fdd||
MISS KINLOCH'S MINUET. Scottish, Minuet. E Flat Major. Standard tuning. AABB. Composed by
Johann Georg Christoph Schetky (1737‑1824). The German musician Schetky
wrote this minuet soon after coming to Edinburgh in 1772 to take a position as
the Musical Society's principal cellist. Although he seems not to have written
dance music prior to this he wrote 12 minuets for upper‑class girls;
Johnson (1984) thinks this tune the equal of the composer's finest chamber
music. E Flat was a key gaining much favor on the Continent in the mid‑18th
century for orchestral music as it was ideal for arranging the various
orchestral instruments. Source for notated version: Stewart's Newest and Best Minuets, pg. 82. Johnson
(Scottish Fiddle Music in the 18th
Century), 1984; No. 64, pg. 158.
X:1
T:Miss
Kirsp’s Reel
M:C|
L:1/8
R:Reel
S:John Rook
music manuscript (Cumbria, 1840)
K:D
A|dD
(3F/G/A/ d2 AF|GEBE GEBE|ED F/G/A defd|cdeg fdd:||
f|dcdA
FAdA|GBed cAAc|dcdA FAFD|GEAG FDDc|
ecdA
FAdA|FBed cAAc|dfeg fdAF|GBeg fdd||
MISS KIRSTY JAMIESON. Scottish, Reel. Scotland,
Shetland Islands. A Major. Standard tuning. AABB. Composed by Shetland fiddler
and composer Ronnie Jamieson. Miller (Fiddler’s
Throne), 2004; No. 217, pg. 134. Attic Records
ATCD040, Ronnie Jamieson and friends – “Aald Noost” (1994). SHIELCD007, Ron Kerr (and His Scottish Dance Band) – “St.
Andrews Ball” (2000).
MISS
L. JOHNSTON'S COMPLIMENTS TO NIEL GOW. See “Miss Lucy Johnston’s
Compliments to Niel Gow.”
MISS L. MONTGOMERIE OF
SKERMORLIE. Scottish, Slow Strathspey. B Flat
Major. Standard tuning. AAB. Carlin (The
Gow Collection), 1986; No. 149. Gow (Third
Collection of Niel Gow’s Reels), 1792; pg. 17 (3rd ed.). Stewart-Robertson
(The Athole Collection), 1884; pg.
284.
X:1
T:Miss L. Montgomrie of Skermorlie
M:C
L:1/8
R:Strathspey
B:Stewart-Robertson – The Athole Collection (1884)
Z:AK/Fiddler’s Companion
K:B_
D|B,2 B,>B B>AG>F|G>FG>B c<C C>D|B,2 B,>B B>AG>F|G/A/B c/d/e d<B~B:|
d/e/|f>Bf>d f>Bg>f|f>Bf>d d<c cd/e/|f<B f>d f>Bg>B|F>B cB/c/ d<B Bd/e/|
f>Bf>d
f>Bg>f|f>Bf>d d<c cd/e/|B,2 B,>B B>AG>F|G/A/B c/d/e
d<B~B||
X:2
T:Miss L. Montgomery of Skermorlie’s
Strathspey
M:C
L:1/8
R:Strathspey
N:”Slow”
B:Gow – 3rd Collection of Niel Gow’s Reels, 3rd ed.,
pg. 17 (orig. 1792)
Z:AK/Fiddler’s Companion
K:B Flat Major
D|B,2 B,>B (BAG)F|”tr”G>FGB
cCCD|B,2 B,>B (BAG)F|G/A/B c/d/e dBB:||d/e/|
f>B”tr”f>d
f>B}tr}g>f|fBf>B ({B/c/}d)ccd/e/|(f<B)f>d (f>B)g>B|F>B
{d}cB/c/ {c}dBBd/e/|
f>B”tr”d>d
fB”tr”g>f|fBf>d ({B/c/}d)ccd/e/|B,2 “tr”B,>B BAGF|G/A/B c/d/e dBB||
MISS L. STEWART OF THE ISLAND OF JAVA. Scottish. The title is a renaming
of one of William Marshall's earliest tunes, "Lord George Gordon's Reel,"
though with a second part that John Glen (1895) thinks is a "much better
one."
MISS LACEY'S HORNPIPE. AKA and see “Mona’s Delight.”
Irish, Hornpipe. The tune bears some resemblance to an untitled Pennsylvania‑collected
reel (Bayard {Dance to the Fiddle},
1981; No. 100, pg. 59). Breathnach (CRÉ
IV), 1986; No. 214 (appears as untitled hornpipe). Roche Collection, 1982, vol. 2, No. 226.
MISS LAMONT OF LAMONT. Scottish, Strathspey. G Major. Standard. AB. Composed by William
Shepherd. Glen (The Glen Collection of
Scottish Music), vol. 2, 1895; pg. 13.
X:1
T:Miss Lamont of Lamont
M:C
L:1/8
R:Strathspey
S:Glen Collection, vol. 2 (1895)
Z:AK/Fiddler’s Companion
K:G
D | G>ABG c>dec | B>c
e/d/c/B/ A/G/F/E/ FD | G>B EF/G/ A>c B>C|
A,>c B/A/G/F/ GDG,D | G>ABG
c>dec | B>c e/d/c/B/ A/G/F/E/ FD |
B,>GC>A D>BE>c |
A,/c/A/F/ G/D/E/C/ B,G,G, ||
d|g>ab>g f>ga>d |
e(3e/f/g/ Bg/f/ e/d/c/B/ c>A | g>ab>g f>ga>d |
B>g/e/ f/d/e/^c/ d2 d=c/B/|
c>a AB/c/ B>g GA/B/ | c>EA>G F>EF>D |
G>B EF/G/ A>c B,>C |
A,/c/A/F/ G/D/E/C/ B,G,G, ||
MISS LANE'S FANCY. AKA and see “Anderson’s (Reel) [2],” "The Five Mile Chase [2]," “My Love is on the Ocean [1],"
"The New Mown Meadows," "The Old Silver Spear," "The Silver Tip [1]," "The Silver Spear," "Sliabh Bana," "The
Threepenny Bit," "The
Top of (the) Cliff.”
MISS LANGFORD (Inion Langfort). AKA and see “The Lass of Carracastle [1].”
Irish, Reel. D Major. Standard tuning. AB (Cranitch): AA'B (Breathnach).
Popularized by County Sligo fiddler James Morrison, who recorded the tune in
New York in 1935. Morrison, who also played the tin whistle, was nicknamed “The
Professor” for his teaching and his formal musical skills. The alternate title
“Lass of Carracastle” comes from Morrison’s contemporary, another Sligo fiddler
by the name of Paddy Sweeney, who had recorded the tune a year prior to
Morrison, again in New York. There is a related, untitled, reel in Breathnach’s
CRÉ V (1999, No. 201, pg. 96).
Sources for notated versions: whistle player Johnny Maguire, 1966 (Co. Cavan
and Belfast, Ireland) [Breathnach]; Jimmy McGettrick (b. 1909, Aughris,
Rathmullen, Ballymote) [Flaherty]. Breathnach (CRÉ II), 1976; No. 144, pg. 77. Ceol,
I, 2, pg. 4. Cranitch (Irish Fiddle Book),
1996; pg. 111. Flaherty (Music from Sligo),
1990; pg. 138 (appears as “Unknown”). Rounder 1123,
James Morrison - “Milestone at the Garden” (Morrison originally recorded the
melody in 1935). Tara CD 4011, Frankie Gavin – “Fierce Traditional.”
X:1
T:Miss Langford
L:1/8
R:Reel
K:D Major
A2dB AFFA|B2AF GFDE|FFDF A2FA|Bdeg
fdd2:||:
fgaf gfef|gefd eAA2|1 fgaf g2fg|afge
fdd2:|2 BABd cBce|d2eg fdd2||
MISS LATON’S HORNPIPE.
AKA and see “Long Odds.”
MISS LAURA ANDREW. Scottish, March or Air (4/4 time). E Major. Standard tuning. AAB.
Composed by the great Scottish fiddler and composer J.
Scott Skinner (1843-1927). Source for notated version: Winston Fitzgerald
(1914-1987, Cape Breton) [Cranford]. Cranford (Winston Fitzgerald), 1997; No. 226, pg. 90. Henderson (Flowers of Scottish Melody), 1935.
Hunter (Fiddle Music of Scotland),
1988; No. 40. Skinner (Harp and Claymore
Collection), 1904; pg. 22. Olympic 6151, Florence
Burns ‑ "Scottish Traditional Fiddle Music" (1978).
|
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:Miss Laura Andrew
M:C
L:1/8
R:”Pastoral” air (sometimes a march)
N:”Slowly and sweetly.”
S:Skinner – Harp and Claymore (1904)
Z:AK/Fiddler’s Companion
K:E
B | ({d}e2) (g/f/).e/.d/
({d}e).E.G.B | cA BG ({G}A>)F .D.B | ({d}e2) (g/f/).e/.d/ ({d}e).E.G.B |
c/B/A/G/ ({E/G/}F>)E (E2E :| g/a/
| b>g eb gb (ee’) | f>d .B.f .d.f (Ba) | b>g eb gb (ee’) |
({A}c’/)b/a/g/ ({e/g/}f>)e e2
e.g/.a/ | b>g eb gb ee’ | f>d Bf dfBd | ({d}e2) (g/f/).e/.d/ ({d}e).E.G.B
|
({A,/E/}c/)B/A/G/ ({E/G/}F>)E E2
E ||
MISS LENOYS MINUET. Scottish, Minuet. The melody appears in the Gillespie Manuscript of Perth (1768).
MISS LESLIE OF ST.
ANDREWS.
AKA and see “Leslie,” “Miss Annie Livingston.”
Scottish, Reel. Composed by Donald Grant and published by him around 1820.
MISS LESLIE’S RANT. American (?), Reel. D Major.
Standard tuning. AABB. From 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.
X:1
T:Miss Leslie’s Rant
M:C|
L:1/8
R:Reel
S:Henry Livingston’s manuscript
copybook, late 18th century
Z:AK/Fiddler’s Companion
K:D
(A/4B/4c/4) | dB AD GE2G | (F/E/)D
(F/E/)D | A2 Ac | dBAF GE2g |
(f>a)ec d2d :: g | (f>d.f).a
(e>c.e).g | (f>d.f).a be2g | f>d.f.a e>c.e.g | agfe d2.d2 :|
MISS LEXIE SMITH. Canadian, Strathspey. Canada, Cape Breton. B Flat Major. Standard
tuning. AB. Composed by Cape Breton fiddler and composer Dan R. MacDonald
(1911-1976). Source for notated version: Winston Fitzgerald (1914-1987, Cape
Breton) [Cranford]. Cranford (Winston
Fitzgerald), 1997; No. 109, pg. 45. CX 34, Winston
Fitzgerald.
MISS LILLIE RITCHIE. Scottish. John Glen (1891) finds the earliest appearance of this tune
in print in John Riddell's 1782
collection (pg. 36).
MISS LINDSAY. Scottish. John Glen (1891) finds the earliest appearance of this tune
in print in Daniel Dow's c. 1775
collection (pg. 36).
MISS LOONEY'S REEL. Irish, Reel. D Major. Standard tuning. AB. Roche Collection, 1982, vol. 1; No. 171, pg. 67.
MISS LOUDON. Scottish, Reel. B Flat Major. Standard tuning. AAB. Composed by Robert
Lowe, the brother of Joseph, the editor of the Lowe Collection of Scottish music. Hunter (The Fiddle Music of Scotland), 1988; No. 273.
MISS LOUISA CAMPBELL'S
DELIGHT. AKA and see "Lady Mary Menzies Reel,” “Lucy Campbell’s [1]." Scottish,
Strathspey. D Major. Standard tuning. AABBCCDDEEFF. John Glen (1891) finds the
earliest appearance of this tune in print in Alexander McGlashan's 1780
collection. McGlashan (Collection of
Strathspey Reels), c. 1780; pg. 2.
X:1
T:Miss Louisa Campbell’s Delight
M:C|
L:1/8
R:Strathspey
S:McGlashan – Strathspey Reels (c. 1780)
Z:AK/Fiddler’s Companion
K:D
B|A<DA<F
A<DB<F|A<DA<F B<EEF|A<DA<F d>ef>e|d>B A/B/d/F/
ADD:|
|:f|d>BA>F
d>ef>e|d>BA>F eEEe|d>B AF d>ef>e|d>B d/B/A/F/ AD D:|
|:B|AD A/G/F AD A/G/F|AD A/G/F
BEEF|AD A/G/F d>ef>e|d>B A/B/d/F/ AD D:|
|:f|d>fA>f
d>fA>f|d>fA>f eEEe|d>fA>f defe|d>B A/B/d/F/ AD D:|
|:A|A,>D F/E/D AD F/E/D|A,>D
F/E/D BEEF|A,>D F/E/D AD F/E/D|d>B A/B/d/F/ ADD:|
|:f|a>baf d>efd|e>fd>f
eEEf|a>b a/b/a/f/ d>ef>e|d>B A/B/d/F/ AD D:|
MISS LOUISA DUFF. AKA and see "Miss Gordon of
Glastirum's Reel." Scottish, Reel. G Minor. Standard tuning. AABB'.
Composed by William Marshall (1748-1833). Marshall, Fiddlecase Edition, 1978; 1845
Collection, pg. 2 (also appears in the 1781 Collection, pg. 6, under the title
"Miss Gordon of Glastirum's Reel"). Stewart-Robertson
(The Athole Collection), 1884; pg.
198.
X:1
T:Miss Louisa Duff
M:C|
L:1/8
R:Reel
B:Stewart-Robertson – The
Athole Collection (1884)
Z:AK/Fiddler’s Companion
K:Gmin
~B2 GB DGBG|A2 Fc AFcA|~B2 GB DGBG|AG^FA G/G/G G2:|
dgga
bgaf|cffg afge|1 dgga bgaf|ag^fa g/g/g g2:|2 defg fdcB|AG^FA G/G/G G2||
MISS LOUISA JOHNSTON’S
FANCY.
Scottish, Country Dance Tune (2/4). G Major. Standard tuning. AABCCB.
Composition credited to “the late Sir R. Sinclair” by Gow. It was dedicated to
the incomparable Lucy Johnston (for more of whom see "Miss Johnston of Hilton's Fancy").
Gow (Second Collection of Niel Gow’s
Reels), 1788; pg.31 (3rd ed.).
X:1
T:Miss Louisa Jonston’s Fancy
M:2/4
L:1/8
B:Gow – 2nd Collection of Niel Gow’s Reels, 3rd ed.,
pg. 31 (orig. 1788)
Z:AK/Fiddler’s Companion
K:G
c2 cB|(g/a/b/g/)
dB|”tr”c>dee|(e2d2):||BB/c/ Bd|cc/d/ cd|
B”tr:BdB|({B}A2) Ac|BB/c/ Bc|cc/d/
ce|.B.B.A.A|G2 Gd||
|:”tr”gb/g/ “tr”fa/f/|eg/e/
dB|”tr”c>dee|(e2 d)d:||BB/c/ Bd|cc/d/ cd|
”tr”BBdB|({A}A2) Ac|BB/c/ Bd|cc/d/
ce|.B.B.A.A|G2G2||
MISS LOVE'S WALTZ. English, Waltz (3/8 time). G Major. Standard tuning. AABBCC. Trim (Thomas Hardy), 1990; No. 15.
MISS LUCIA CAMPBELL. AKA and see "Ball Na
Grandach." Scottish, Strathspey. D Major. Standard tuning.
AABBCCDDEEFF. The Gows printed the tune as “Ball na Grandach.” It appears as
“Miss Mucia Campbell’s Delight” in Joshua Campbell’s A Collection of New Reels and Highland Strathspeys (1786). Jones
[Ed.] (Complete Tutor Violin), c.
1815; pg. 3.
X:1
T:Miss Lucia Campbell's Strathspey.
R:strathspey
M:C
L:1/8
B:Complete Tutor Violin (c. 1815)
Z:Dr. Evan Jones, 2005
K:D
N:1st full bar after first repeat, replaced third note which was written as a quaver
(B | A)<DA>F A<DA>F | A<DA>F BE-E>F | A<DA>F Td>ef>e | d>B A/B/d/F/ ADD :||:
f | d>BA<F Td>ef>e | d>BA<F eEE>e | d>BA<F Td>ef>e | d>B A/B/d/F/ AD D :||:
B | AD (A/G/F) AD (A/G/F) | AD (A/G/F) BETE>F | AD (A/G/F) Td>ef>e | d>B A/B/d/F/ AD D :||:
f | d>fA>f d>fA>f | d>fA>f eEE>e | d>fA>f Td>ef>e | d>B A/B/d/F/ AD D :||:
F | A,>D (F/E/D) A>D (F/E/D) | A,>D (F/E/D) BE-E>F | A,>D (F/E/D) A>D (F/E/D) | d>B A/B/d/F/ AD D :||:
f/g/ | (a>ba>f) ~d>ef>d | e<fd>f eE-E>e | ~a>b a/b/a/f/ Td>ef>e | d>B A/B/d/F/ AD D :|]
MISS LUCY CAMPBELL. AKA and see "Lucy
Campbell's Strathspey [4]," "The Pass of
Kilicranke/Kelecrankie." Scottish, Strathspey. D Major (Kerr, Skye): A
Major (Glen). Standard tuning. AABB (Glen, Kerr): AABBCCDDEEFFGG (Skye).
Composed by Neil Gow. John Glen (1891) finds the earliest appearance of a tune
by this title in print in Neil Stewart's
1761 collection (pg. 51); a different variant is to be found in Kerr. The tune
has proved popular as both a strathspey (in Cape Breton as well as Scotland)
and a popular reel (in Ireland), under the title “Lucy Campbell.” Glen (Glen Collection of Scottish Music), vol.
1, 1891; pg. 2. Kerr (Merry Melodies),
vol. 3; No. 9, pg. 4. MacDonald (The Skye
Collection), 1887; pg. 36.
X:1
T:Miss Lucy Campbell
M:C|
L:1/8
R:Strathspey
S:Glen Collection, vol. 1 (1891)
Z:AK/Fiddler’s Companion
K:A
e|c>AE>A
c>AE>e|e>cA>c d>BB>d|c>A A/A/A e>af>A|(a/g/f/e/
a>)e cA [CA]:|
|:g|a>ef>e
a>ef>e|f(bb>a) b>ff>g|a>ef>e a>ef>e|(c/d/e) (B>d)
cA [CA]:|
MISS
LUCY JOHNSTON'S COMPLIMENTS TO NIEL GOW. Scottish, Slow Strathspey or Reel.
C Major. Standard tuning. AB (Gow): AAB (Evans, Hunter). Composed by Lucy
Johnston of Hilton (1765‑1797), who was "one of a number of
aristocratic amateur composers of the late 18th century. A noted belle of the
Edinburgh Dance Assembly, she was much admired by the Gows, Burns and Robert Mackintosh, who dedicated his
second collection to her" (Hunter, 1979). See note for "Miss Johnston of Hilton's Fancy"
for biographical information. Carlin (The
Gow Collection), 1986; No. 148. Gow (Third
Collection of Niel Gow’s Reels), 1792; pg. 5 (3rd ed.). Hunter (The Fiddle Music of Scotland), 1988; No.
2. Jones [ed]. (Complete Tutor Violin),
c. 1815; pg. 2.
X:1
T:Miss L. Johnston's Compliments to Niel Gow.
M:C
L:1/8
B:Complete Tutor Violin (c. 1815)
Z:Dr. Evan Jones [Ed.]
K:C
U:T=!trill!
%%graceslurs false
G| c3 G/2E/2 {G}TF>G ({B}A)G/2F/2 | E>F {A} GF/2E/2 FDDG |
c3 G/2E/2 {G}TF>G {FG} AG/2F/2 | (E/2F/2)G/2E/2 (D/2E/2)F/2D/2 ({D/2}E)CC :[]:
G| c2 {e} g>e {f} a>fg>e | c>e a/2g/2f/2e/2 dd/2c/2 BG |c2 {e} g>e {f} a>fg>c |
B>f e/2d/2c/2B/2 {B} c2 c>G |c>egc' {c'} ba/2b/2 c'>Tg | f>de>c (d/2c/2)TB/2A/2 (G/2F/2)TE/2D/2 |
EcFd GeAf | ({f}e)d/2c/2 E/2F/2G/2F/2 ECC |]
X:2
T:Miss L. Johnston’s Compliments to Niel Gow
M:C
L:1/8
N:”Slow”
C:”Miss Johnston of Hilton”
B:Gow – 3rd Collection of Niel Gow’s Reels, 3rd ed., pg. 5 (orig. 1792)
Z:AK/Fiddler’s Companion
K:C
G|c3 G/E/ {G}”tr”F>(G {B}A)G/F/|E>F {A}GF/E/ FDDG|c3 G/E/ {G}”tr”F>G {F/G/}AG/F/|
(E/F/)G/E/ (D/E/)F/D/ ({D}E)CC:||G|c2 {e}g>e {f}a>f g>e|c>e a/g/f/e/ dd/c/ BG|c2 {e}g>e {f}a>f g>c|
A>f e/d/c/B/ {B}c2 c>G|c>egc’ {c’}ba/b/ c’>”tr”g|f>de>c (d/c/)”tr”B/A/ (G/F/)”tr”E/D/|
Ec Fd Ge Af|({f}e)d/c/ (E/F/)G/F/ “tr”ECC||
MISS LUCY LONG.
American, Air (2/4 time). C Major. Standard tuning. One part. A minstrel-era
song popular in the early 19th century. Various sets of words were
published to it. One version begins:
***
Now I am come
afore you
To sing a littel song
I play upon de banjo,
An' dey call it Lucy Long.
***
Chorus:
Oh, take time, said Lucy,
Oh, Miss Lucy Long;
Den take time, said Lucy,
Oh, Miss Lucy Long.
***
Howe (Complete Preceptor for the Accordeon),
1843; pg. 34.
X:1
T:Miss Lucy
Long
M:2/4
L:1/8
R:Air
S:Howe – Complete Preceptor for the Accordeon
(1843)
Z:AK/Fiddler’s Companion
K:C
(c/d/) | .e.e .c.c | .Bd ze | .f.f B.B | c2 z (c/d/) | .e.e .c.c | Bg z g/g/ | ff AB |
c2 z c/d/ | .e.e
.c.c | B>d ze | ff AB | c2 z c/d/ | .e.e .c.c | B>d ze | ff AB | c2 z :|
MISS LYALL [1]. AKA ‑ "Miss Lyle." AKA and see “Bonnie Lassie,” “The Cat that Kittled in
Jamie’s Wig” (Donegal), “File-na-mBan,” “File na Mon,” “Faill na Mban,” “Paddy Stack’s Fling,” “Panmure House.” Scottish (originally),
Canadian; Strathspey. Canada; Cape Breton, Prince Edward Island. A Minor.
Standard tuning. One part (Hunter, Martin & Hughes): AB (Athole, Honeyman,
Kerr, Perlman, Skye): AA’BB’ (Kennedy). Hunter (1988) states Cameron's version
is a development of a "fine old strathspey named after Mrs. Grant of
Laggan (1755‑1838)." “Miss
Lyall,” strathspey and reel, are Cape Breton standards and are often played as
the first and last of a set with “King George IVth('s
Welcome) [1]” and “The King’s Reel.”
In County Donegal, Ireland, the tune is set as a highland and known as “The Cat
the Kittled in Jamie’s Wig.” See also the County Donegal variant “Old Cameronian.” Caoimhin Mac Aoidh
has said that “Miss Lyall” is the basis of the reel “Mooney’s Reel” or more popularly in
Ireland as O’Neill’s “Paddy Ryan’s
Dream [1],” although Paul de Grae believes that “Miss Lyall [2]” is the
source for those tunes, not “Miss Lyall [1].” Sources for notated versions:
Angus Cameron (Scotland) [Hunter]; Peter Chaisson Jr. (b. 1942, Bear River,
North-East Kings County, Prince Edward Island) [Perlman]. Honeyman (Strathspey, Reel and Hornpipe Tutor),
1898; pg. 17 (appears as "Miss Lyle"). Hunter (Fiddle Music of Scotland), 1988; No. 67. Kennedy (Traditional Dance Music of Britain and
Ireland: Reels and Rants), 1997; No. 135, pg. 32. Kerr (Merry Melodies), vol. 1; Set 5, No. 1,
pg. 5. MacDonald (The Skye Collection),
1887; pg. 103. Martin & Hughes (Ho-ro-gheallaidh),
1990; pg. 24. Perlman (The Fiddle Music
of Prince Edward Island), 1996; pg. 192. Stewart-Robertson
(The Athole Collection), 1884; pg.
41. AMI 92 EMI 94, Ashley MacIssac - “Close to the
Floor” (1992). Atlantica Music 02 77657 50222 26, Ashley MacIssac - “Atlantic
Fiddles” (1994). Green Linnet SIF 1035, Brian Conway & Tony DeMarco ‑
"The Apple in Winter" (1981. Learned from the Rounder recording of
Cape Breton fiddler Joe Cormier, though "substantially adapted" by De
Marco). Green Linnet SIF‑1101, Brian Conway & Tony DeMarco ‑
"Playing with Fire: the Celtic Fiddle Collection" (1989). Rounder
7001, Joe Cormier ‑ "Scottish Violin Music from Cape Breton
Island" (1974). Rounder 82161-7032-2, Bill Lamey – “From Cape Breton to
Boston and Back: Classic House Sessions of Traditional Cape Breton Music
1956-1977” (2000). Shanachie 14001, "The Early Recordings of Angus
Chisholm" (Cape Breton).
X:1
T:Miss Lyall [1]
M:C
L:1/8
R:Strathspey
B:Stewart-Robertson – The
Athole Collection (1884)
Z:AK/Fiddler’s Companion
K:Aminor
c/B/|A<A, A,>B, C>DE>^F|G2 B>A G2 Gc/B/|A<A, A,>B, C>DE>A|
c>AB>^G A2 Ac/B/| A<A, A,>B, C>DE>^F|G2 B>A G2 Gc/d/|e>cd>B c>AB>G|
E<A c/B/A/^G/ A2A||c/B/|A<a a>b g>g a/g/^f/g/|e<a a>^f g2 f>g|
e<a a>b g>g a/g/^f/g/|e>cd>B A2 Ac/B/|A<a a>b g>g a/g/^f/g/|e<a a>^f g2 f>g|
(3ag^f
(3gab (3edc (3Bcd|e>cd>B A2A||
MISS LYALL [2]. AKA and see “Humours
of Ennistymon [2],” "Mrs. Grant
of Laggan.” Scottish (originally), Canadian; Reel. Canada; Prince Edward
Island, Cape Breton. A Minor (Hunter, MacDonald, Martin & Hughes,
Stewart-Robertson): A Dorian {’A’ part} & A Mixolydina {’B’ part} (Perlman).
Standard tuning. AAB. Composed by the 19th century Scottish fiddler, compiler
and composer Captain Simon Fraser. The reel version of the strathspey “Miss
Lyall [1]," and there are some nice modal passages in the 'B' part. The
two are often paired as a set. Paul de Grae believes this tune is the ancestor
of O’Neill’s “Paddy Ryan’s Dream
[1].” Sources for notated versions: Angus Cameron (Scotland) [Hunter];
Peter Chaisson, Sr. (b. 1929, Bear River, North-East Kings County, Prince
Edward Island) [Perlman]. Hunter (Fiddle
Music of Scotland), 1988; No. 191. MacDonald (The Skye Collection), 1887; pg. 103. Martin & Hughes (Ho-ro-gheallaidh), 1990; pg. 24. Perlman
(Fiddle Music of Prince Edward Island),
1996; pg. 85. Stewart-Robertson
(The Athole Collection), 1884; pg.
42. AMI 92 EMI 94, Ashley MacIssac - “Close to the
Floor” (1992). Atlantica Music 02 77657 50222 26, Ashley MacIssac - “Atlantic
Fiddles” (1994). Green Linnet GLCD 1145, Wolfstone – “Year of the Dog.”
X:1
T:Miss Lyall [2]
M:C|
L:1/8
R:Reel
B:Stewart-Robertson – The
Athole Collection (1884)
Z:AK/Fiddler’s Companion
K:Aminor
c/B/|AE E/E/E cABG|EGDG B,G,DB,|A,/A,/A, EA, CDEd|cAB^G A/A/A A:|
B|Aaa^g ae^cA|Bgg^f gdBG|Aaa^g ae^fd|e^cdB =cAAB|Aaa^g ae^cA|
Bgg^f
gdBG|AcBd ced^f|ea^g^f ed^cB||
MISS LYLE. AKA and see "Miss Lyall [1]."
MISS LYON'S FANCY (Rogha Iníon Uí Liatháin). AKA and see "The Early Breakfast," “The Green Hills of Kerry,” “Knocknagree Reel,” "Larry Redigans/Redican’s
(Reel) [1]," "Over the Hill,"
“Sonny Brogan’s Favorite,”
"Up Against the Boughalauns."
Irish, Reel. D Major. Standard tuning. AB (Black): AABB' (Breathnach,
Mulvihill). See also the related “Quinn’s Reel
[1].” Sources for notated versions: fiddler James Morrison (County
Sligo/New York) [Black, Breathnach]; Tony Smith (County Cavan & Dublin)
[Mulvihill]. Black (Music’s the Very Best
Thing), 1996; No. 192, pg. 102. Breathnach (CRÉ III), 1985; No. 103, pg. 52. Mulvihill (1st Collection), 1986; No. 31, pg. 8. Shanachie Records 33004, "The Pure Genius of James
Morrison" (1978). Shanachie 78031, James Keane – “Sweeter As the Years
Roll By.”
X:1
T: Miss Lyons' Fancy
S: Mick Moloney
Q: 350
R: reel
Z:Transcribed by Bill Black
M: 4/4
L: 1/8
K: D
D2 FA D2 FA | defd eB (3BBB | d2 cA (3Bcd AF | GBAG (3FED EC |
D2 FA D2 FA | defd eB (3BBB | d2 cA (3Bcd AF | GBAG FD D2 ||
a2 fd faaf | gfed efge | a2 fd faaf | gbag fddf |
a2
fd faaf | gfed efge | fdec dBAF | GBAG FD D2 ||
MISS M. ROSS. Scottish, Reel. E Dorian. Standard tuning. AB. Stewart-Robertson
(The Athole Collection), 1884; pg.
265.
X:1
T:Miss M. Ross
M:C|
L:1/8
R:Reel
B:Stewart-Robertson – The Athole Collection (1884)
Z:AK/Fiddler’s Companion
K:E Minor
B|e(EE)F GAB^c|dABG FDAF|e(EE)F GABg|afbf g(ee)B|
e(EE)F GAB^c|dABG FDAF|GEAF BGcA|BAGF GEE||
B|e/e/e ge bege|dAfd afdf|e/e/e ge bege|dfBa geef|
e/e/e ge bege|dAfd afdf|geaf bgaf|gef^d e/e/e e||
MISS MACDORMACK. 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.
MISS MACDERMOTT. AKA and see "The Princess
Royal [1]."
MISS MACDONALD'S [1]. See listings for several tunes by this name under the spelling "Miss McDonald."
MISS MACDOUGALL OF
WALLASTON. Canadian, Reel. Canada; Cape
Breton, Prince Edward Island. D Mixolydian (‘A’ part) & D Dorian (‘B’
part). Standard tuning. AA’B. Composed by the late Cape Breton musician Gordon
MacQuarrie. Source for notated version: Emmett Hughes (b. 1921, Dromore,
Queen’s County, Prince Edward Island) [Perlman]. Perlman (The Fiddle Music of Prince Edward Island), 1996; pg. 76.
MISS
MACDOWAL GRANT'S STRATHSPEY--OF ARNDILLY. Scottish, Strathspey. C Minor.
Standard tuning. AAB. Composed by William Marshall
(1748-1833). Miss McDowell Grant was the daughter of David McDowell Grant of
Arndilly, a land improver, according to Moyra Cowie (The Life and Times of William Marshall, 1999). They lived at
Arndilly House at the foot of Ben Aigan in a wooded area. Her grandfather was
Colonel Alexander Grant Chief of Grant, at Arndilly. Marshall, Fiddlecase Edition, 1978; 1822
Collection, pg. 27. Stewart-Robertson (The
Athole Collection), 1884; pg. 272.
X:1
T:Miss MacDowal Grant of Arndilly
M:C
L:1/8
R:Strathspey
B:Stewart-Robertson – The Athole Collection (1884)
Z:AK/Fiddler’s Companion
K:C Minor
g|G<G c>d e2 e>g|f<bd<f B>c d<B|G<G c>d e2 e>g|f>b g/f/e/d/ c2c:|
g/a/|b<cg<c b<c g>a|b>gf>b d>Bf>d|b<cg<c b<c g>a|b>gf>d c2 cg/a/|
b<cg<c
b<c g>a|b>g f<b d>bf>d|G<G c>d e2 e>g|f>b
g/f/e/d/ c2 c||
MISS MACGREGOR’S. Canadian, Pipe Jig. Canada, Cape Breton. A Major. Standard tuning.
AABB. Traditional. Cranford (Jerry
Holland’s), 1995; No. 200, pg. 57. Miller (Fiddler’s Throne), 2004; No. 78, pg. 58. Boot
Records, Jerry Holland - “Master Cape Breton Fiddler” (1982).
MISS
MACINNES FANCY. AKA – “Miss McInnes’ Fancy.”
Scottish, Strathspey. A Major. Standard tuning. AB. Composed by William Marshall (1748-1833). Marshall, Fiddlecase Edition, 1978; 1845
Collection, pg. 26.
X:1
T:Miss
McInnes’ Fancy
L:1/8
M:C
S:Marshall
– 1845 Collection
Z:AK/Fiddler’s Companion
K:A
c|A,AA>c
A,<A A>c|A,<A AB/c/ ~d2 d>e|f<d d>B e<c c>A|B>c
d/c/B/A/ F2 F>c|
A,<A
A>c A<A A>c|A,<A AB/c/ d2 d>e|f<d d>B e<c B>A|B>c
e/d/B/A/ F2F||
f|e>f
e>c a<e ec/d/|e>f e<c a2 ef/g/|agf>e d>cBA|G<B B>c d2
d>e|
e>f
e<c ae ec/d/|e>f e<c a2 ef/g/|a/g/f/e/ f/e/d/c/ d/c/B/A/ G/F/E/D/|
E<B G>E A2A||
MISS MACINNES('
REEL--DANDALEITH). Scottish, Reel. F Major. Standard
tuning. AAB. Composed by William Marshall
(1748-1833). Marshall, Fiddlecase Edition,
1978; 1822 Collection, pg. 55. Stewart-Robertson
(The Athole Collection), 1884; pg.
243.
X:1
T:Miss MacInnes
M:C|
L:1/8
R:Reel
B:Stewart-Robertson – The Athole Collection (1884)
Z:AK/Fiddler’s Companion
K:F
d|cF F/F/F dcBA|GABc dGBd|cF F/F/F dcBA|cfeg fFB:|
d|cfAf cfaf|egba gGBd|cfAf Bfcf|dfeg fFBd|dfAf cfaf|
egba
gGBd|bgaf agfe|gfed cFB||
MISS MACINTYRE'S. Scottish, Strathspey. The piece was composed by Duncan MacIntyre, and
expatriate Scots dancing master in London at the end of the 18th century.
MacIntyre spent some years in India and died about 1806.
MISS MACKAY. Scottish, Reel. A Major. Standard tuning. AAB. MacDonald (The Skye Collection), 1887; pg. 8.
X:1
T:Miss MacKay
M:C|
L:1/8
R:Reel
S:MacDonald - Skye Collection (1887)
Z:AK/Fiddler’s Companion
K:A
a|A/A/A cA eAcA|Bffe fBBa|A/A/A cA
eAcA|EFAB cA A:|
a|faea da c2|Bffe fBBa|faea
dacA|EFAB cAAa|
faea daca|dffe fBBg|afbg afed|EFAB
cA A||
MISS MACKENZIE OF COUL. Scottish. John Glen (1891) finds the earliest appearance of this tune
in print in Robert Ross's 1780
collection (pg. 27).
MISS MACKENZIE OF
GAIRLOCH. AKA and see "C(h)aillach Oidche" ("The Owl"). Scottish (originally), Canadian; Reel
or Strathspey. Canada, Cape Breton. A Mixoldian or A Mixolydian ('A' part)
& A Dorian/Mixolydian ('B' part). Standard tuning. AAB (Kerr, Lerwick,
Stewart-Robertson): AA’B (Cranford). Cranford (Jerry Holland’s), 1995; No. 34, pg. 10. Kerr (Merry Melodies), vol. 1; Set 9, No. 5, pg. 7. Lerwick (Kilted Fiddler), 1985; pg. 28. Stewart-Robertson
(The Athole Collection), 1884; pg.
49. Fiddlesticks cass., Jerry Holland - “A Session
with Jerry Holland” (1990).
X:1
T:Miss MacKenzie of Gairloch [2]
M:C
L:1/8
R:Strathspey
B:Stewart-Robertson – The
Athole Collection (1884)
Z:AK/Fiddler’s Companion
K:Aminor
B|A/A/A B>d e>de>g|G/G/G B>d g>ed>B|A/A/A B>d e>de>g| G/G/G B>d e>AA:|
|:^g|a^fea ed^cA|g>ed>g d>cB>G|1 a^fe>a
e>d^c>A|G/G/G B>d e>AA:|2
A>Bc>d e>de>g|G/G/G B>d e>AA||
MISS MACLEAN. AKA – “Miss McLean of Inverscadle’s Reel.” Scottish, Reel. G Minor.
Standard tuning. AAB (Athole, MacDonald): AABB' (Kerr). The melody appears in
the 4th collection of Malcolm
MacDonald of Dunkeld, a volume dedicated to the Countess of Breadalbane.
Kerr (Merry Melodies), vol. 3; No.
184, pg. 21. MacDonald (A Fourth
Collection of Strathspey Reels), 1797; pg. 10. Stewart-Robertson
(The Athole Collection), 1884; pg.
191.
X:1
T:Miss MacLean of Inverscadle’s Reel
M:C|
L:1/8
R:Reel
B:MacDonald – 4th
Collection of Strathspey Reels (1797)
Z:AK/Fiddler’s Companion
K:G Minor
c | BGDG BGdB | AFCF AFcA | BGDG BGdB | cAFA BGG :|
d | gabg dgBg | fgfc AFcA | gabg dgBg | cAdc BGGd | gabg dgBg |
fgfc
AFcA | GABc dBfd | cAFA ~BGG ||
MISS MACLEAN OF DUART. Scottish. Composed by Daniel Dow
and first appearing in his c. 1775 collection (pg. 19). Gow in his 1788
collection appears to have used the second strain of this melody for his
composition "Mrs.
Donaldson's Strathspey [2]."
MISS MACLEOD OF AYR. AKA and see "Mrs.
MacLeod (of) Raasay," "Miss
McLeod's/MacLeod's Reel [1]." English, Scottish; Strathspey. A Major.
Standard tuning. AABB. The famous "Miss McLeod's Reel." The English
novelist Thomas Hardy mentions the tune in his book The Mayor of Casterbridge:
***
Farfrae was footing a quaint little dance with Elizabeth‑Jane ‑
an
old country thing, the only one she knew, and though he
considerately toned down his movements to suit her demurer
gait, the pattern of the shining little nails in the soles of his
boots became familiar to the eyes of every bystander. The
tune had enticed her into it; being a tune of a busy, vaulting,
leaping sort – some low notes on the silver string of each fiddle,
then a skipping on the small, like running up and down ladders –
'Miss McLeod of Ayr' was it name, so Mr. Farfrae said, and that
it was very popular in his own country.
***
Trim (Thomas Hardy), 1990; No. 4.
MISS MACLEOD OF
COLBECK. AKA – “Miss McLeod of Colbeck.” AKA
and see "Mrs. Captain Stewart."
Scottish, Strathspey. F Major. Standard tuning. AAB. The melody appears in Malcolm McDonald's c. 1792 3rd Collection, dedicated to Miss
Drummond of Perth. Under the title "Mrs. Captain Stewart’s
Strathspey," it appears in Robert Petrie's 1st Collection (1790). Glen (The
Glen Collection of Scottish Music), vol. 1, 1891; pg. 38 (appears as “Miss
McLeod of Colbeck). MacDonald (A Third
Collection of Strathspey Reels), c. 1792; pg. 9. Stewart-Robertson
(The Athole Collection), 1884; pg.
303.
X:1
T:Miss
MacLeod of Colbeck
M:C
L:1/8
R:Strathspey
B:Stewart-Robertson
– The Athole Collection (1884)
Z:AK/Fiddler’s Companion
K:F
f | c<F
c>A c<F c>A | d<G d>c d<G G>f | c<F c>A f>gf>c
| d/c/B/A/ G>B A<FF :|
c |
~f>ga>f cf/g/ a>f | b>ag>f e<cg<c | ~f>ga>f
c>fa>f | b/a/g/f/ c>f a<f ~f>c |
~f>ga>f
cf/g/ a>f | b>ag>f e<c g>c | d<fc<f B<fA<c |
d/c/B/A/ G>B A<FF ||
X:2
T:Miss
McLeod of Colbeck’s Strathspey
M:C|
L:1/8
R:Strathspey
S:MacDonald
– 3rd Collection of Strathspey
Reels (c. 1792)
Z:AK/Fiddler’s Companion
K:F
f | c<F
”tr”c>A c<F “tr”c>A | d<G “tr”d>c dGGf | c<F “tr”c>A
f>gfc | d/c/B/A/ GB AFF :|
c |
f>gaf cf/g/ af | bagf ecgc | f>gaf cfaf | b/a/g/f/ cf affc | f>gaf
cf/g/ af | bagf e<cg<c |
d<fc<f
B<fA<c | d/c/B/A/ GB AFF ||
MISS MACLEOD'S REEL. AKA and see "Miss McLeod's Reel,"
"Miss MacLeod of Ayr."
MISS MACMURDO'S
FAVORITE. Scottish, Slow Strathspey. E Minor.
Standard tuning. AAB. Perhaps Jean or Philadelphia (Phillis) McMurdo,
celebrated in several of Robert Burns’ songs. They were daughters of the poet’s
friend, John McMurdo of Drumlanrig, factor of the Duke of Queensberry. Carlin (The Gow Collection), 1986; No. 150. Gow
(Third Collection of Niel Gow’s Reels),
1792; pg. 25 (3rd ed.).
X:1
T:Miss Macmurdo’s Favorite
M:C
L:1/8
R:Strathspey
N:”Slow”
B:Gow – 3rd Collection of Niel Gow’s Reels, 3rd ed.,
pg. 25 (orig. 1792)
Z:AK/Fiddler’s Companion
K:E Minor
B|e>f e^d {d}e2 Be|”tr”d>efg
(f<a)gf|e>fe^d {d}e2 B>A|”tr”G>ABB, E3:||d|
“tr”B>cdB “tr”c>Bag|(fg)ef
Bbgf|e>fe^d e2 “tr”A>B|”tr”G>ABB, E3d|
B>cdB ~c>Bag|(fg)(ef) (^db).g.f|(eg)(fa)
(gb)(eg)|(GB)(B,^D) E3||
MISS MACMURRAY. Irish, Planxty (6/8 time). C Dorian. Standard tuning. AB. Composed by
blind Irish harper Turlough O'Carolan (1671-1738). Complete Collection of Carolan's Irish Tunes, 1984; No. 90, pg. 71.
MISS MACNIELL. Scottish. John Glen (1891) finds the earliest printing of this tune in Robert Ross's 1780 collection (pg. 23).
MISS
MACPHERSON GRANT OF BALLINDALLOCH. Scottish, Strathspey. F Major.
Standard tuning. AABB'. Stewart-Robertson
(The Athole Collection), 1884; pg.
214.
X:1
T:Miss MacPherson Grant of Ballndalloch
M:C
L:1/8
R:Strathspey
B:Stewart-Robertson – The
Athole Collection (1884)
Z:AK/Fiddler’s Companion
K:F
a|c<c c>B A<c ~f2|d<d d>c d>fg>a|f>FA>F A<c ~f2|d>g f/e/d/c/ ~f2 f:|
|:g|a>f a/g/f/e/ f>c ~f2|b>g b/a/g/f/ e/f/g/a/ gf/g/|1 a>f a/g/f/e/ f>c d<f|
~c>f
e/f/g/e/ ~f2f:|2 b/a/g/f/ g>e f>c d<f|~c>f e/f/g/e/ ~f2f||
MISS
MACPHERSON GRANT'S JIG--OF BALLINDALLOCH. Scottish, Jig. A 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 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; 1822 Collection, pg, 21.
X:1
T:Miss MacPherson Grant’s Jig—of
Ballindalloch
M:6/8
L:1/8
R:Jig
S:Marshall – 1822 Collection
Z:AK/Fiddler’s Companion
K:A
E|E2A A2F|GAB Bcd|c2E (AG)A|~B3
E3|E2e e2c|dcd Bcd|cde fed|cBA GFE|
E2A A2F|GAB Bcd|c2E (AB)A|~B3 E3|E2e
e2c|dcd Bcd|cBA EFG|A3 A2||E|
C2E A2=G|FEF D2F|d2c BcA|~G3 E2E|FGA
Bcd|cde fga|gfe Bc^d|e3 e2z|
F2D fed|e2c ecA|FGA BcA|~G3 E3|F2d
E2c|D2B C2e|cBA EFG|A3 A,2||
MISS MACPHERSON'S REEL--EDINBURGH. Scottish, Reel. B Flat major.
Standard tuning. AAB. Composed by William Marshall
(1748-1833). MacDonald (The Skye
Collection), 1887; pg. 129. Marshall, Fiddlecase
Edition, 1978; 1822 Collection, pg. 12.
X:1
T:Miss MacPherson’s Ree—Edinburgh
M:C|
L:1/8
R:Reel
S:Marshall – 1822 Collection
Z:AK/Fiddler’s Companion
K:B_
E|D2 B,D FDBF|DB,FD ECCE|D2 B,D
FDBF|ecdA BB,B,:|
e|d>efd gefd|ecdB e(cc)e|d>efd
gefd|gabf d(BB)e|d>efd gefd|
ecdB e(cc)d|DB,FD GEBG|Fdec dBB||
MISS MACQUEEN'S REEL. Scottish, Strathspey. F Major. Standard tuning. AABB'. Composed by William Marshall (1748-1833), first appearing in his
1781 collection (pg. 5). 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 and Duchess were enthusiastic supporters and patrons of
Marshall’s music. Miss McQueen lived at Strathdown, now called Strathavon
(Cowie, 1999). Marshall, Fiddlecase Edition, 1978; 1781
Collection, pg. 5.
X:1
T:Miss McQueen’s Reel
M:C
L:1/8
R:Strathspey
S:Marshall – 1781 Collection
Z:AK/Fiddler’s Companion
K:F
F>G (B/A/)(G/F/) c<Ad<B|f>dc>A G/G/G G2|F>G (B/A/)(G/F/) c<Ad<B|
f>dc>A F/F/F F2:|
|:f>g (b/a/)(g/f/) c<fa<f|b>ga>f g/g/g g2|1 f>g (b/a/)(g/f/) c<fa<f| b>ga>e f/f/f f2:|2
c>f
(d/c/)(B/A/) d<fd<B|c>BA>G F/F/F F2||
MISS MACQUEIR. Scottish. John Glen (1891) finds the earliest appearance of this tune
in print in John Riddell's 1782
collection (pg. 24).
MISS MAHANY’S POLKA. Irish, Polka. D Major. Standard tuning. AABB’. Composed by Kansas City
musician Mike Dugger. Black (Music’s the
Very Best Thing), 1996; No. 231, pg. 124.
X:1
T: Miss Mahany's
C: M. Dugger
Q: 275
R: polka
Z:Transcribed by Bill Black
M: 2/4
L: 1/8
K: D
A/ | dd B/c/d | AF DF | ec Ac | de fe |
dd B/c/d | AF DA | ec Ac | d2-d-d/ :|
e/ | f>e f/g/a | bg ed | c/B/A Bc | de fe |
f>e f/g/a | bg ed |1 cB/A/ Bc | d2-dd/ :|
|2
cB/A/ | Bc | d2 d2 ||
MISS MALCOLM'S
HORNPIPE. Scottish, Hornpipe. E Flat Major
(Marshall): D Major (Miller). Standard tuning. AB (Marshall): AABB (Miller).
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; 1822 Collection, pg. 22. Miller (Fiddler’s
Throne), 2004; No. 299, pg. 177.
X:1
T:Miss Malcolm’s Hornpipe
M:C|
L:1/8
R:Hornpipe
S:Marshall – 1822 Collection
Z:AK/Fiddler’s Companion
K:Eb
E2 GE BEGE|F2 AF cFAF|~G2 ag
fedc|BAGF EDCB,|E2 GE BEGE|F2 AF cFAF|
GbeG Acfe|dBcd e2 e2||eEGB egfe|dBdf
bfdB|c=Bcd ec_BA|GEDE FDCB,|
EB,GE FB,AF|GEBG AA,cA|GbeG
Acfe|dBcd e2e2||
MISS MALEY EDMONSTONS
MINUET. Scottish, Minuet. The melody
appears in the Gillespie Manuscript of
Perth, 1768.
MISS MALLY
MONTGOMERIE'S MINUET. Scottish, Minuet. The melody
appears in the Gillespie Manuscript of Perth,
1768.
MISS MANNER’S HORNPIPE. AKA and see "Back of the Haggard," “Black’s Hornpipe [2],” “Duke’s Hornpipe,” “Kershaw’s Hornpipe,” "Lady Flashdash Hornpipe,"
“Loyalist Hornpipe.”
MISS MANNING’S REEL.
American (?), Reel. D Major. Standard tuning. AABCBC. Howe (1000
Jigs and Reels), c. 1867; pg. 48.
X:1
T:Miss
Manning’s Reel
M:2/4
L:1/8
R:Reel
S:Howe – 1000 Jigs and Reels (c. 1867)
Z:AK/Fiddler’s Companion
K:D
|: A/d/A/d/
B/d/B/d/ | e/d/e/f/ a/f/e/d/ | A/d/A/d/ B/d/B/d/ | e/d/e/f/ d ||
a | a/a/a/f/ d/f/d/f/ | g/b/f/a/ ee
| a/b/a/f/ d/f/d/f/ | A/g/f/e/ d :|
MISS MANNS REEL. English, Reel. G Major/Mixolydian. Standard tuning. AABB. Huntington (William Litten's), 1977; pg. 10.
MISS MARGARET BLACK OF
FORESTHILL. Scottish, Strathspey. Composed by
Archibald Duff, c. 1812.
MISS MARGARET BROWN. AKA and see “Maggie
Brown’s Favorite.” AKA – “Miss Margaret Brown, Now Lady Camden.” Scottish,
Irish, Jig.
MISS
MARGARET CAMPBELL (OF SADDELL'S). Scottish, Reel. A Major. Standard
tuning. AAB. Composed by Robert
Mackintosh. Glen (The Glen Collection
of Scottish Dance Music), vol. 2, 1895; pg. 2. Stewart-Robertson
(The Athole Collection), 1884; pg.
37.
X:1
T:Miss Margaret Campbell (Saddell)
M:C|
L:1/8
R:Reel
B:Stewart-Robertson – The
Athole Collection (1884)
Z:AK/Fiddler’s Companion
R:Reel
K:A
c|AecA ecae|fdec dBBc|AecA ecae|fdBe cAA:|
e|agae cAec|Bbba bffg|agae cAec|dfed cAAe|
agae
cAec|Bbba bffg|afbg afed|ceBe cAA||
MISS MARGARET CHISHOLM. 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.
49.
MISS MARGARET GORDON
OF LESSMORE. Scottish, Reel. G Major. Standard tuning.
AAB. Composed by John MacGlashan. Glen (The
Glen Collection of Scottish Dance Music), vol. 2, 1895; pg. 16.
X:1
T:Miss Margaret Gordon of Lessmore
M:C|
L:1/8
R:Reel
S:Glen Collection, vol. 2 (1895)
Z:AK/Fiddler’s Companion
K:G
c|BG B/c/d cBAG|FDAG FDDc|BG B/c/d
gfed|e/f/g df gGG:|
g|bgba gfed|edgB cAAc|dbba
gfed|e/f/g f/g/a bgga|bgba gfed|
edgB cAAc|B/c/d Ac BGDB, CEDF G2
[B,G]||
MISS
MARGARET GRAEME/GRAHAM OF INCHBRAKIE. Scottish, Strathspey. G Minor.
Standard tuning. AAB. Composed by Niel Gow (1727-1807), and published in his First Collection, 2nd edition, 1801. The
second section appears quite similar, but not identical to, William Marshall's
"Marquis
of Huntly's Reel, A Strathspey," published in 1781. Margaret Graeme,
born in 1756, was the second daughter of Patrick Graeme and his wife Margaret
Oliphant, a Jacobite family. She remained unmarried, and resided with her
parents as long as they lived. Gow composed other tunes for the family: see
“Major Graham of Inchbrakie.” Gow (The
First Collection of Niel Gow’s Reels), 1784 (revised 1801); pg. 15.
MacDonald (The Skye Collection),
1887; pg. 134. Stewart-Robertson
(The Athole Collection), 1884; pg.
192.
X:1
T:Miss Margaret Graeme of Inchbrakie
M:C
L:1/8
R:Strathspey
B:Stewart-Robertson – The
Athole Collection (1884)
K:Gmin
g|d<G d>c d>G G<f|c<F c>A c>F A<f|d<G d>c d>G G<g|f>dc>A G2G:|
d|g<a b>g a>^fg>d|f>d c<f A<F c>A|g>ab>g a>^fg>d|f<c f>A G2 G>d|
g>ab>g
a>^fg>d|f>d c<f A<F c>A|G<BA<c
B<dc<g|f>dc>A G2G||
MISS MARGARET GRAHAM
OF GARTMORE'S. Scottish, Strathspey. Composed by
fiddler Robert 'Red Rob' MacIntosh
(born c. 1745), whose nickname was awarded doubtless because of having red
hair.
MISS
MARGARET GRAHAM OF GARTMORE'S FAVOURITE. Scottish, Reel. B Flat Major.
Standard tuning. AAB. Attributed by Hunter to William
Marshall (1748-1833). Hunter (Fiddle
Music of Scotland), 1988; No. 274.
X:1
T:Miss Margaret Graham of Gartmore’s
Favourite
M:C
L:1/8
R:Reel
C:William Marshall
K:Bb
{B}b2 (fd) g(edc)|f2 (dB) AcAF|{B}b2
(fd) g(edc)|dfAc (dB) B2:||
DFBF EGcB|Acfe dbfd|DFBF EGcB|AcFe
(dB)B(F|
DF)BF EGcB|(Ac)fe dfbf|gedc
fdcB|(A/B/c) Fe (dB) B2||
MISS MARGARET
MACKERACHER. Scottish, Strathspey. G Major.
Standard tuning. AAB. Composed by D. MacKeracher. MacDonald (The Skye Collection), 1887; pg. 92.
X:1
T:Miss Margaret Mackeracher
M:C
L:1/8
R:Strathspey
S:MacDonald – Skye Collection
(1887)
Z:AK/Fiddler’s Companion
K:G
D|G>AB>c dBB>g|Bdd>B
cee>g|GABc dBg>e|dGc>B A2G:|
f/g/|abea g2 d>g|bgfg
dgBg|bgd>g ecg>e|dGcB A2 Gf/g/|abea g2 dg|
bgfg dgBg|b>gd>B
ecg>e|(3gfe (3dcB (3ced (3cBA||
MISS MARGARET
McLACHLAN. Scottish, Jig. D Major. Standard
tuning. AA’B.
X:1
T:Miss Margaret McLachlan
B:The Piper's Assistant (1877)
N:Slightly amended by Nigel Gatherer
Z:Nigel Gatherer
M:6/8
L:1/8
K:D
e[|:Add dcd|e>de fef|gfg
B>cd|e>cA GFG|Add dcd|e>de fef|
Bgf edc|1d3 dcB:|]2d3 d2|]f/g/|afa
ded|faf def|gfg Bcd|ecA Afg|
afa ded|faf def|gfg ecA|d3 dfg|afa
ded|faf def|
gfg Bcd|efd cBA|Add dcd ede fef|Bgf
edc|d3 d2|]
MISS MARIA CARR. Scottish, Slow Air. Composed in 1927 by Aberdeenshire fiddler and
composer J. Murdoch Henderson (1902-1972), named in honor of a famed blind
pianist of Aberdeen. Henderson (Flowers
of Scottish Melody), 1935.
MISS MARIA DUNDAS. Scottish, Reel. G Major (Athole, Kerr): F Major (Athole, Gow, Little).
Standard tuning. AAB (Athole, Gow, Little): AABB (Kerr). Attributed to Nathaniel
Gow (1763-1831) in the Fourth Collection (1800). The Maria Dudas
(1787-) of the title perhaps the Maria who was the 2nd daughter of
West Lothian landowner George Dundas, 24th of Dundas, and Christian
Stirling. She married Robert Cunnyngham. Her father was a captain on an East
Indiaman, but was lost off the coast of Madagascar in 1793 when his ship
foundered. Gow (Fourth Collection of Niel Gow’s Reels), 2nd
ed., originally 1800; pg. 21. Kerr (Merry
Melodies), vol. 2; No. 125, pg. 15. Little (Scottish and Cape Breton Fiddling in New Hampshire), 1984; pg. 7. Stewart-Robertson
(The Athole Collection), 1884; pgs.
168 & 235.
X:1
T:Miss Maria Dundas
M:C|
L:1/8
R:Reel
B:Stewart-Robertson – The
Athole Collection (1884)
Z:AK/Fiddler’s Companion
K:G
g|dG G/G/G d2Bd|egfg dBBg|dG G/G/G d2Bd|egdB A/A/A A:|
a|g/a/b ab geeg|dgBg dBBd|g/a/b ab geeg|dgdB A/A/A a2|
g/a/b ab geeg|dgBg GABd|gbab gaeg|dBgB A/A/A A||
X:2
T:Miss Maria Dundas
M:C|
L:1/8
R:Reel
B:Stewart-Robertson – The Athole Collection (1884)
Z:AK/Fiddler’s Companion
K:F
f|cF F/F/F c2 Ac|dfef cAAf|cF F/F/F c2 Ac|dfcA G/G/G G:|
g|f/g/a ga fddf|cfAf cAAc|f/g/a ga fddf|cfcA G/G/G Gg|
f/g/a
ga fddf|cfAf cAAc|faga fgdf|cdAf G/G/G G||
MISS MARIA STEWART’S
JIG.
Scottish, Jig. F Major. Standard tuning. AABB. Rooster
Records RSTR 122, Laurie Andres – “Fantastic Hornpipe” (1983. Appears as “Miss
Marie Stewart’s Jig.”
X:1
T:Miss Maria Stewart’s Jig
L:1/8
R:Jig
Z:AK/Fiddler’s Companion
K:F
c | f2c f2c | fga gfe | d2f c2A |
BGG G2c | f2c f2c | fga gfe |
d2f c2B | AFF F2 :: B | AFF cFF |
dFF cFF | d2f c2A |
BGG G2c | fef gab | agf efg | f2d
c2B | AFF F2 :|
MISS MARIANNE OLIPHANT (ROSSIE). Scottish, Strathspey. G Major/Mixolydian. Standard tuning. AAB.
Composed by Robert Mackintosh in
the late 18th century. Gatherer (Gatherer’s
Musical Museum), 1987; pg. 36. Glen (The
Glen Collection of Scottish Dance Music), vol. 2, 1895; pg. 13. Mackintosh,
Third Collection (1796). Rounder 7059, Alex Francis MacKay with Gordon MacLean –
“Gaelic in the Bow” (2005).
X:1
T:Miss Marianne Oliphant (Rossie)
M:C
L:1/8
R:Strathspey
K:G
D|G,>B,D=F EC
C>B,/4C/4|D>FA>c BG G>F/4G/4|G,>B, D<=F Ecc<e|
Dc/B/ cB/A/ [B,2G2] [B,G]:|
g/a/|b>ggb a<df<a|gf
a/g/f/e/ fB Bc/d/|c>e g<c B>d g<B|AedF g2 G,g/a/|
b/a/g g/a/b a<df<a|g>f
a/g/f/e/ f<B B>d|c>c’ a<c B>d g<B|c<a d>f g2G||
MISS MARIE MACEACHERN. Canadian, Reel. Canada, Cape Breton. C Major. Standard tuning. AB.
Composed by Cape Breton fiddler and composer Dan R. MacDonald (1911-1976).
Cameron (Trip to Windsor), 1994; pg.
15.
MISS MARION LAMEY. Canadian, Hornpipe. Canada, Cape Breton. G Major. Standard tuning. AB.
Composed June 16, 1968, by Cape Breton fiddler and composer Dan R. MacDonald
(1911-1976). Cameron (Trip to Windsor),
1994; pg. 72.
MISS MARION CAMPBELL
OF ARDMORE. Reel.
MISS MARY ANNE ROBERTSON. Scottish, Reel. D Major.
Standard tuning. AB. Surenne (Dance Music
of Scotland), 1852; pg. 129.
X:1
T:Miss Mary Anne Robertson
M:C
L:1/8
R:Reel
S:Surenne – Dance Music of Scotland, pg. 129
(1852)
Z:AK/Fiddler’s Companion
K:D
A | FDDD FDFA | BGAF GEEA | FDDD
FDFA | dABG FDDA | FDDD FDFA |
BGAF GEEA | FDDD FDAF | dABG FDD ||
A | defg abaf | gefd edBc |
Defg abaf | geag fddc | defg abaf |
gefd edBd | AdFA BcdB | AFGE FDD ||
MISS MARY BALFOUR’S STRATHSPEY.
Scottish, Strathspey. E Minor. Standard tuning. AB. Composed by John Gow
(1764-1826), youngest son of famed Scots fiddler-composer Niel Gow (1727-1807).
John, along with his older brother Andrew, established a branch of the Gow
family publishing business in London in 1788. They were the English
distributors of the Gow publications, but also published independently. Gow (Fifth
Collection of Strathspey Reels), 1809; pg. 31.
X:1
T:Miss Mary Balfour’s Strathspey
M:C
L:1/8
C:John Gow (1764-1826)
B:Gow – Fifth Collection of
Strathspey Reels (1809)
Z:AK/Fiddler’s Companion
K:Emin
G/F/|E E2 E2E2 E|E E2 E D>E
(G/F/)E/D/|E E2 E2 E2 G|(Fc)B^D E3 G/F/|E E2 E2E2 E|E E2 E D>E (G/F/).E/.D/|
E(g/f/) (g/f/)(g/f/) g(e/^d/)
e(B/^A/)|B(G/F/) G(E/^D/) E3||g/f/|(e/f/g/a/) b>g (e/f/g/a/)
b>g|(e/f/g/a/) b>g (d/e/f/g/) {fg}ag/f/|
(e/f/g/a/) b>g e/f/g/a/
bg|(fc’)b^d ~e3 g/f/|(e/f/g/a/) b>g (e/f/g/a/) b>g|(e/f/g/a/) bg
(d/e/f/g/ {b}ag/f/|
e(b/^a/) (b/a/)(b/a/) b(g/f/)
g(e/^d/)|e(B/^A/) B(G/F/) E3||
MISS MARY BEATON. Canadian, Jig. Canada, Cape Breton. A Major. Standard tuning. AABB’.
Composed by Cape Breton fiddler and composer Dan R. MacDonald (1911-1976) for a
member of the Beaton family of Mabou, famous for numerous Cape Breton style
musicians. Cameron (Trip to Windsor),
1994; pg. 42.
MISS MARY DAPHNE
MACLEAN'S REEL. Canadian, Reel. Canada, Cape
Breton. Composed by Cape Breton fiddler and composer Dan R. MacDonald
(1911-1976). Rounder 7011, "The Beatons of Mabou:
Scottish Violin Music from Cape Breton" (1978).
MISS MARY DOUGLASS’S
REEL.
Scottish, Reel. B Flat Major. Standard tuning. AABB’. Composed by James
Macdonald, according to Gow. Gow (Second
Collection of Niel Gow’s Reels), 1788; pg. 31 (3rd ed.).
X:1
T:Miss Mary Douglass’s Reel
M:C
L:1/8
R:Reel
C:James Macdonald
B:Gow – 2nd Collection of Niel Gow’s Reels, 3rd ed.,
pg. 31 (orig. 1788)
Z:AK/Fiddler’s Companion
K:Bb
f|dBfB ({e}d2) “tr”(cB)|cFdB
A(cd>)e|dBGc ecAc|gecf dBB:|
|:F|(DF)BF (DF)”tr”BA|GF”tr”(ED)
C(cc)d|1 (DF)BF (DF)BA|
GFED B,(BB):|2 (DF)BF DFBd|”tr”cAFA
BB,B,||
MISS MARY GARDEN (DELGATY’S) REEL. Scottish, Reel. D
Major. Standard tuning. AB. One of several tunes composed by Kirkmichael,
Perthshire, fiddler and composer Robert
Petrie (1767-1830) for the Garden family. His Second Collection of Strathspey Reels and Country Dances (1796), in
which this melody appears (pg. 15), was dedicated to his patron and employer,
Mrs. Garden of Troup, Banffshire. The Delgaty estate in Aberdeenshire had come
into the hands of the Garden family in the 1760’s.
X:1
T:Miss
Mary Garden (Delgaty's) Reel
C:R.
Petrie
S:Petrie's
Second Collection of Strathspey Reels and Country Dances &c.
Z:Steve
Wyrick <sjwyrick'at'astound'dot'net>, 6/11/04
N:Petrie's
Second Collection, page 15
L:1/8
M:C
R:Reel
K:D
f|eAcA
aAcA|Bgdg BGdB|eAcA aecA|dfed cAAf|
eAcA
aAcA|Bgdg BGdB|AAcA dBcA|afea cAA||
^g|(Ta^ga)e
ceaf|gfgd BGdB|(Ta^ga)e ceaf|gdBe cAA^g|
(Ta^ga)e
ceaf|gfgd BGdB|cAdB ecaf|gdBe cAA|]
MISS MARY GRANT. Scottish. John Glen (1891) finds the earliest appearance of this tune
in print in Angus Cumming's 1780
collection (pg. 20).
MISS MARY L. ROBERTSON. Scottish, Reel. C Major. Standard tuning. AABB'. 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. 14.
X:1
T:Miss Mary L. Robertson
M:C
L:1/8
R:Reel
S:Marshall – 1845 Collection
Z:AK/Fiddler’s Companion
K:C
F|E(GG)A c2 (ce)|defe dDDF|E(GG)A c2 (ca)|gefd c/c/c c:|
|:f|(ef/g/) (cg) egcg|(fg) a/(g/f/e/) fddf|1 (ef/g/) (cg) egcg|
fdge cc/c/ c:|2 ecdB (dc)(BA)|GcGE C/C/C C||
MISS MARY LEE'S
DELIGHT. Scottish, Hornpipe. Composed by Abraham Mackintosh.
MISS MARY LUMSDANE'S FAVORITE. Scottish, Slow Air (3/2 time). G Major. Standard tuning. AABB. Composed by Nathaniel Gow (1763-1831), son of renowned Scots fiddler-composer Niel Gow (1727-1807). Nathaniel was a popular Edinburgh fiddler, music publisher, composer, and bandleader. Carlin (The Gow Collection), 1986; No. 581. Gow (Fifth Collection of Strathspey Reels), 1809; pg. 30. Jones [Ed.] (Complete Tutor Violin), c. 1815; pg. 3.
X:1
T:Miss Mary Lumsden's Favorite.
M:3/2
L:1/4
B:Complete Tutor Violin (c. 1815)
Z:Dr. Evan Jones, 2005
K:G
U:w=!wedge!
(DG).G.G(FA) | (GB).B.B(ce) | (dB)wBwG(FG) | (AB)wcEF2 | (DG)wGwG(FA) | (GB)wBwA(ce) | (dB)BG(A/c/)(B/d/) | cEFG3 :||
wd(gf)(gd)wB | (AB)wcdc2 | wd(gf)(gf)wg | (eb)wa^cd2- | (d=fe)(dcB) | (ce)AGF2 | (dB)wBF (A/c/)(B/d/) | wc wE wF G3 :|]
MISS MARY MACDONALD OF
CLANRANALD. Scottish, Reel. D Minor. Standard
tuning. AAB. Composed by Robert
Mackintosh. Glen (The Glen Collection
of Scottish Music), vol. 2, 1895; pg. 42.
X:1
T:Miss Mary MacDonald of Clanranald
M:C|
L:1/8
R:Reel
S:Glen Collection, vol. 2
(1895)
Z:AK/Fiddler’s Companion
K:Dmin
A|d/d/d Ad FDD^c|dfA=c ECC^c|~d2 Ad
FAdf|egAa fdd:|
e|fdad Aafd|ecgc Gceg|fdad Aafd|egAa
f(dde)|
fdad Aafd|ecgc Gceg|fdge afbg|afge
f(dd)||
MISS MARY MACDONALD('S
REEL). Scottish, Reel. G Mixolydian.
Standard tuning. AABB. Gatherer (Gatherer’s
Musical Museum), 1987; pg. 5. Gow (Second
Collection of Niel Gow’s Reels), 1788; pg. 31 (3rd ed.). Stewart-Robertson
(The Athole Collection), 1884; pg.
185.
X:1
T:Miss Mary MacDonald
M:C|
L:1/8
R:Reel
B:Stewart-Robertson – The
Athole Collection (1884)
Z:AK/Fiddler’s Companion
K:G Minor
B|GGBG AFFA|GGBG AGBG|EGBG AFFA|GcBA G3:|
|:B|GGgB A=FFA|GGgd gagd|fgfc AFFA|GcBA G2G:|
X:2
T:Miss Mary Macdonald’s Reel
M:C
L:1/8
R:Reel
B:Gow – 2nd Collection of Niel Gow’s Reels, 3rd ed., pg. 31 (orig. 1788)
Z:AK/Fiddler’s Companion
K:G
B|G<GBG A=FFA|G<GBG
AGBG|D>GBG A=FFA|(GcBA) G3:|
|:B|G<Gg_B A=FFA|G<Ggd
gagd|=fgfc A=FFA|(GcBA) G3:|
MISS MARY STEPHANIE
MACLEAN. Canadian, Reel. Canada; Cape
Breton, Prince Edward Island. D Major. Standard tuning. AABB. Composed by Cape
Breton fiddler and composer Dan R. MacDonald (1911-1976). Source for notated
version: Allan MacDonald (b. 1950, Bangor, North-East Kings County, Prince
Edward Island) [Perlman]. Perlman (The
Fiddle Music of Prince Edward Island), 1996; pg. 76.
MISS
MARY STEWART/STUART OF DERCULICH. Scottish, Reel. D Major/Mixolydian.
Standard tuning. AA'BB'. Composition credited to Robert Petrie by James Stewart-Robertson.
Stewart-Robertson
(The Athole Collection), 1884; pg.
101. Atlantica Music 02 77657 50222 26, Carl MacKenzie
- “Atlantic Fiddles” (1994). CLM Records, Carl MacKenzie - “Celtic Ceilidh”
(1986).
X:1
T:Miss Mary Stewart of Derculich
M:C|
L:1/8
C:R. Petrie
R:Reel
B:Stewart-Robertson – The
Athole Collection (1884)
Z:AK/Fiddler’s Companion
K:D
A|d2df e2eg|fdgf eEEe|1 d2df e2eg fdec dDD:|2 defd efga|fdec dDD||
|:f|abaf
dfaf|abaf geef|1 abaf dfaf|geag fdd:|2 dfeg fagb|afge fdd||
MISS MARY WALKER [OF
PETERHEAD]. Scottish, Reel. B Flat Major.
Standard tuning. One part. Composed by the great Scottish fiddler and composer J. Scott Skinner (1843-1927). Hunter (Fiddle Music of Scotland), 1988; No.
269.
MISS MAULE OF PANMURE. Scottish, Reel. A Minor. Standard tuning. AB (Surenne): AAB (Athole,
Gow): AABB' (Kerr). Composed by Scottish fiddler, composer, music publisher and
band- leader Nathaniel
Gow (1763-1831), for another member of the influential Maule family, for
who he composed a number of melodies (see “Mr.
Maule’s Frolick” for more). Carlin (The
Gow Collection), 1986; No. 288. Gow (Fourth Collection of Niel Gow’s
Reels), 2nd ed., originally 1800; pg. 16. Kerr (Merry Melodies), vol. 3; No. 130, pg.
16. Stewart-Robertson
(The Athole Collection), 1884; pg.
75. Surenne (Dance Music of Scotland),
1852; pg. 96.
X:1
T:Miss Maule of Panmure
M:C|
L:1/8
R:Reel
B:Stewart-Robertson – The
Athole Collection (1884)
Z:AK/Fiddler’s Companion
K:C
c|A/B/c d/c/B/A/ GEE>c|GcEc GEEc|A/B/c d/c/B/A/ GEEc|GEcE EDD:|
f|e/f/g g>f ecce|A/B/c Gc EcGc|e/f/g g>f ecce|d>B cE EDDf|
e/f/g g>f ecce|A/B/c Gc EcGc|egfd ecdB|cBcE EDD||
MISS MAULE’S REEL. AKA and see “Sheep Shanks.”
MISS MAULE('S
STRATHSPEY). Scottish (originally), Canadian;
Strathspey. Canada; Cape Breton, Prince Edward Island. A Major. Standard
tuning. AAB. An 18th century composition by Robert ‘Red Rob’ MacIntosh. The melody
is among the more popular of MacIntosh’s compositions on Cape Breton Island.
See note for “Mr. Maule’s Frolick” for
more on the Maule’s. Source for notated version: Francis MacDonald (b. 1940,
Morell Rear, North-East Kings County, Prince Edward Island) [Perlman]; Winston
Fitzgerald (1914-1987, Cape Breton) [Cranford]. Cranford (Winston Fitzgerald), 1997; No. 68, pg. 31. Hunter (Fiddle Music of Scotland), 1988; No.
145. MacDonald (The Skye Collection),
1887; pg. 181. Perlman (The Fiddle Music
of Prince Edward Island), 1996; pg. 194. Breton
Books and Records BOC 1HO, Winston “Scotty” Fitzgerald - “Classic Cuts”
(reissue of Celtic Records CX 17). RC2000,
George Wilson – “The Royal Circus” (2000).
X:1
T:Miss Maule’s Strathspey
M:C
L:1/8
R:Strathspey
S:MacDonald – Skye Collection (1887)
Z:AK/Fiddler’s Companion
K:A
E|{AB}c2 A>E F>A E<C|{AB}c2
A>E F<B B>d|c>B A<E F>A E<C|
D>FE>G A/A/A A:|
e|c>ea>e f>a
e<d|c>ea>c {Bc}d<B B>d|c>ea>e f<a e>c|d<f e>d
c<A A>e|
c>ea>e f>a
e<d|c>ea>c {Bc}dBB(c/d/)|c>ed>f e<ag<b|a>fe>d cAA||
X:2
T:Miss
Maule's Strathspey
C:"By
R. Mackintosh"
S:Petrie's
Second Collection of Strathspey Reels and Country Dances &c.
Z:Steve
Wyrick <sjwyrick'at'astound'dot'net>, 6/5/04
N:Petrie's
Second Collection, page 3
L:1/8
M:C
R:Strathspey
K:A
E|({AB}c2)
A>E F<AE<C|({AB}c2) A>E F(BBd)|Tc>B A>E
F<AE<C|D>FE<G [C/E/A/][C3/2E3/2A3/2][CEA]:|
E|c<ea>e
f>ae<d|c<ea>c ({Bc}d)<(BBc/)d/|c<ea>e f>ae<c|d<fTe>d c<(AA>e)|
c<ea>e
f<ae<d|c<eac ({Bc}d)(BBc/)d/
|c<ed<f e<ag<b|a<fe>d
cAA |]
MISS MAXWELL. Scottish (originally), Canadian; Marching Air (4/4 time). Canada;
Prince Edward Island, Cape Breton. D Major. Standard tuning. AA’B (Cranford/Hollan):
AA’BB’ (Perlman). Composed by William Shepherd, a business partner of Nathaniel Gow
(1763-1831) who published two collections of original dance pieces in the late
18th century. Source for notated version: Allan MacDonald (b. c. 1950, Bangor,
North-East Kings County, Prince Edward Island) [Perlman]. Cranford (Jerry Holland’s), 1995; No. 113, pg. 33.
Rounder Records, “Jerry Holland” (1976).
MISS MAXWELL’S FANCY. Scottish, Jig. F Major.
Standard tuning. AABB’. “Miss Maxwell’s Fancy” was printed in John and Andrew
Gow’s A Collection of Slow Airs,
Strathspeys and Reels (London, c. 1795). Andrew (1760-1803) and younger
brother John (1764-1826) established a publishing business in London in 1788
and were the English distributors for the Gow family musical publications. S. Johnson (A Twenty
Year Anniversary Collection), 2003; pg. 26.
X:1
T:Miss Maxwell’s Fancy
M:6/8
L:1/8
R:Jig
S:John & Andrew Gow – A Collection of Slow Airs, Strathspeys and Reels (c. 1795)
K:F
C|F2f cAF|F2F {B/c/}d3|cAF F2A|GEC CDE|F2F cAF|F2F
{f/g/}a2a|
gaf efd|{=B}c3 c2::c2c gec|c2c c2a|b2g a2f|gaf edc|1 c2c
gec|
c2c b3|agf cde|f3 F3:|2 f3 cAc|d3 B2d|cba gfe|f3 F2||
MISS MAY HAY. Scottish, Rant. E Minor. Standard tuning. AABB. The piece meets the
criteria for a rant, though the word does not appear in the title. John Glen
(1891) finds the earliest printing of this tune in print in Daniel Dow's c. 1775 collection (pg. 20).
Emmerson (Rantin’ Pipe and Tremblin’
String), 1971; No. 39, pg. 134. Stewart-Robertson
(The Athole Collection), 1884; pg.
255.
X:1
T:Miss May Hay
M:C|
L:1/8
R:Reel
B:Stewart-Robertson – The
Athole Collection (1884)
Z:AK/Fiddler’s Companion
K:Emin
F|E/E/E GA B2 Ee|dBAd FDDF|E/E/E GA B2 Ad|FADF BE E:|
|:B|egfe
dBeg|fdAd FDDB|egfe dBeg|fdFA BEE:|
MISS MAYDELL ARMSTRONG. English, Hornpipe. England, Northumberland. D Major. Standard tuning.
AABB. Composed by Tom Clough. Hall & Stafford (Carlton Memorial Tune Book), 1974; pg. 30.
MISS McCLOUD. See “Miss McLeod.”
MISS McDONALD{'S} [1] ("Ingean Uí/Ni Mic Domnall" or "Iníon
Mhic Dhónaill"). Scottish, Irish; Reel. G Major. Standard tuning. AB (Tolman): ABCD
(Cole): AABBCCD (O'Neill): AA’BBCCDD’ (Kennedy): AA'BB'CD (O'Neill/1850 &
1001): ABB’CC’D (Vallely). Directions for the dance to this tune were written
down in 1752 by John McGill, a dancing master in Girvan, for his students. Cole
(1000 Fiddle Tunes), 1940; pg. 7.
Kennedy (Traditional Dance Music of
Britain and Ireland: Reels and Rants), 1997; No. 136, pg. 33. O'Neill
(Krassen), 1976; pg. 98. Tolman (Nelson
Music Collection), 1969; pg. 7. O'Neill (Music of Ireland: 1850 Melodies, 1903/1979; No. 1210, pg. 228.
O'Neill (Dance Music of Ireland: 1001
Gems), 1907/1986; No. 486, pg. 93. Ryan’s
Mammoth Collection, 1883; pg. 27. Vallely (Armagh Pipers Club Play 50 Reels), 1982; No. 46, pg. 22. Coleman Music Center CHC 009, fiddler Jim Rawl (Co. Leitrim)
– “The Coleman Archive, vol. 2: The Home Place” (2005. Various artists). Topic
12TS422, Flying Fish 263, Boys of the Lough - “In the Tradition” (1981).
Shanachie 79083, Mary Bergin - “Feadoga Stain, vol. 2” (1989).
|
See also listings at: Jane Keefer’s Folk Music Index: An
Index to Recorded Sources Alan Ng’s Irishtune.info |
X:1
B:O'Neill MOI, no. 1210
M:4/4
L:1/8
K:G
dc |: BG (3GGG BGdG | BG (3GGG g2 fg
| aA (3AAA AcBA |1
(3Bcd ef gedc:|2 (3Bcd ef gedB ||
|: GFGD EDEF|GFGD B,G,B,D | GFGD
EDEG|1 (3efg dB BAAB:|2 (3efg dB BAAf ||
|| g>d (3ddd gagf|edef gdBd | g>d
(3ddd gagf|edef (3ggg ga | gdBd gdBd | edef gdBd |
g2 gf gbag | edef gbaf || e2 dB BAAB
| GBdB GBdg | e2 eB cABA | GEDE G2 g2 |
(3efg dB
cABA | GBdB GBdg | (3efg dB cABA | GEDE G2 ||
X:2
T:Miss
McDonald’s [1]
M:2/4
L:1/8
R:Reel
S:Ryan’s Mammoth Collection (1883)
Z:AK/Fiddler’s Companion
K:G
d/c/ |
B/G/F/G/ A/G/F/G/ | B/d/e/f/ gf/g/ | a/A/A/B/ c/B/A/^G/ | A/B/c/d/ f/e/d/c/ |
B/G/F/G/
A/G/F/G/ | B/d/e/f/ gf/g/ | a/A/A/B/ c/B/A/^G/ | A/.B/c/d/ ed/c/ ||
GG/D/
E/D/B,/D/ | GG/D/ B,/D/B,/D/ | GG/D/ E/G/g/f/ | .d/.G/(c/4B/4A/4G/4)
.B/.A/.A/.B/ |
GG/d/
E/D/B,/D/ | GG/D/ B,/D/B,/D/ | GG/D/ E/G/g/e/ | .d/.G/(c/4B/4A/4G/4) B/A/A ||
e/^d/e/f/
g(f/g/) | e/^d/e/f/ g/d/B/d/ | e/^d/e/f/ g(f/g/) | (3e/f/g/ (3f/g/a g/d/B/d/ |
e/^d/e/f/
g(f/g/) | e/^d/e/f/ g/d/B/d/ | e/^d/e/f/ g/f/g/d/ | (3e/f/g/ (3f/g/a/ g/d/e/f/
||
g(d/B/)
B/A/A/B/ | (3G/G/G/ (G/e/) d/B/B/d/ | (3e/f/g/ (d/g/) B/A/A/B/ | E/G/F/A/
G/g/f/a/ |
g(d/B/)
B/A/A/B/ | (3G/G/G/ (G/B/) d/B/B/d/ | (3e/f/g/ (d/g/) B/A/A/B/ | E/G/F/A/ G ||
MISS MACDONALD’S [2]. AKA and see “Lady Forbes,” “Lady Harriet Hope,” “Monday Morning [2],” “Victory [2].” Irish, Reel. G Major. Standard
tuning. AB. The tune is the “Victory Reel,” for some reason called “Miss
McDonald’s" in CRÉ III. O’Neill
prints the tune as “Monday Morning [2].”
Source for notated version: accordion player Jackie Daly (Ireland)
[Breathnach]. Breathnach (CRÉ III),
1985; No. 134, pg. 63. Green Linnet SIF 3002, Jackie
Daly & Kevin Burke – “Eavesdropper.”
X:1
T:Miss MacDonald [2]
T:Monday Morning
B:O'Neill MOI, no. 1525
M:4/4
L:1/8
R:Reel
K:G
GBdg edcB|g2 (3bag aAAB|GBdg
edcB|cedc BG G2||
MISS McDONALD’S [3]. AKA and see “Lady Belhaven('s),” “Miss Pensy MacDonald,” “The Spinning Wheel [2]."
Scottish, Reel.
MISS MACDONALD’S
(REEL) [4]. AKA and see “Charlie if you would only
come,” “Charlie’s Welcome,” “Thearlaich na’n Tigeadh Tu,” “Flora MacDonald.” “MacDonald’s Quickstep,” “MacDonald’s Reel [2],” “Miss Flora McDonald’s Reel,”
“Miss Macdonald’s Rant.” Scottish, Reel. E Dorian. Standard tuning. AB. McGlashan (A Collection of Reels), c. 1786; pg. 29.
X:1
T:Miss MacDonald’s Reel
M:C|
L:1/8
R:Reel
S:McGlashan – Reels (c. 1786)
Z:AK/Fiddler’s Companion
K:Edor
F|E2 EF BEEF|E2 EF dFDF|E2 EF
EFGA|B/c/d AG FDDF|E2 EF BEEF|
E2 EF dFDF|E2 EF EFGA|BGAG
FED||F|Eeed eEEF|Eeec dDDF|Eeed Bcdc|
Bgfe dDDF|Eeed eEEF|Eeec dDDF|Eeef
Bedf|Bgfe dDD||
MISS McGUINNESS [1] (Iníon Mhic Aonghusa). Irish, Reel or
Hornpipe. G Major/A Dorian. Standard tuning. AB (Breathnach, Flaherty): AAB
(Taylor). Sources for notated versions: piper Tommy Reck/Tomás Riabhach
(Ireland) [Breathnach]; flute player and piper Tommy Hunt (b. 1908, Lissananny,
Ballymote, County Sligo) [Flaherty]; set dance music recorded at Na Píobairí Uilleann, late 1980’s [Taylor]. Breathnach (CRÉ I),
1963; No. 121, pg. 50. Breathnach (CRÉ
III), 1985; No. 178 (appears as “Gan Ainm/No title”). Flaherty (Trip to Sligo), 1990; pg. 128. Taylor (Music for the Sets: Blue Book), 1995;
pg. 27. Green Linnet SIF 3041, Matt Molloy –
“Stony Steps.”
MISS McGUINNESS [2] (Iníon Mhic Aonghusa). Irish, Reel. A Dorian. Standard
tuning. AB. This “Miss McGuinness” is not the usual tune that goes by this
name. Source for notated version: from the playing of James McMahon (County Fermanagh)
collected in the mid-20th century by Liam Donnelly (County Tyrone and Belfast)
[Breathnach]. Breathnach (CRÉ IV),
1996; No. 172, pgs. 80-81.
MISS McGUINNESS [3]. AKA
and see “Dan Backus’ Favorite,”
“Jim Coleman’s [1],” “Liverpool Jack’s,” “Take Your Choice,” “Terence’s Ramble.” Irish, Reel.
MISS McINNES’
REEL—DANDALEITH. Scottish, Reel. F Major. Standard
tuning. AAB. Composed by William Marshall
(1748-1833). Margaret McInnes of Dandelieth was Marshall’s grand-daughter, according
to Moyra Cowie (The Life and Times of
William Marshall, 1999). Marshall (Fiddlecase
Edition), 1978; 1822 Collection, pg. 55.
X:1
T:Miss McInnes’ Reel—Dandaleith
L:1/8
M:C|
S:Marshall – 1822 Collection
Z:AK/Fiddler’s Companion
K:F
d|cF F/F/F dcBA|GABc dGBd|cF F/F/F
dcBA|cfeg fFB:| d | cfAf cfaf | egba gGBd |
cfAf Bfcf | dfeg fFBd | cfAf cfaf |
egba gGBd | bgaf agfe | gfed cFB ||
MISS McLAUCHLAN. Scottish, Reel. A Major. Standard or AEae tunings. AAB. The melody
appears in John Bowie's A Collection of Strathspey Reels and Country
Dances (1789). Glen (The Glen
Collection of Scottish Music), vol. 1, 1891; pg. 28. Martin (Traditional Scottish Fiddling), 2002;
pg. 28.
X:1
T:Miss McLauchlan
M:C
L:1/8
R:Reel
S:Glen Collection, vol. 1 (1891)
Z:AK/Fiddler’s Companion
K:A
B|A<AeA cAAc|BFBA GEEG|Aaed
cAAc|BFBG A2 A,:|
B|ceae cAAc|BFBA GEEf/g/|agae
cAAc|BFBG A2 A,d|
ceae cAAc|BFBA GEEB|ceae dfdB|c/d/e
EG A2A,||
MISS McLEAN OF
INVERSCADLE. Scottish, Reel. G Minor. Standard
tuning. AAB. The melody appears in Malcolm
McDonald's 1797 4th Collection.
Glen (The Glen Collection of Scottish
Music), vol. 2, 1895; pg. 38.
X:1
T:Miss McLean of Inverscadle
M:C|
L:1/8
R:Reel
S:Glen Collection
Z:AK/Fiddler’s Companion, vol. 2 (1895)
K:Gmin
c|BGDG BGdB|AFCF AFcA|BGDG BGdB|cAFA
BGG:|
d|gabg dgBg|fgfc AFcA|gabg dgBg|cAdc
BGGd|gabg dgBg|
fgfc AFcA|GABc dBfd|cAFA BGG||
MISS McLEOD OF COLBECK. See “Miss MacLeod of Colbeck.”
MISS
McLEOD'S FAVORITE. Scottish, “Slow” Strathspey. D
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, employed as the Steward of his Household, and it is
fortunate that the Duke was an enthusiastic supporter and patron of Marshall’s
music. Gow (Complete Repository), Part 4, 1817; pg.
16.
X:1
T:Miss McLeod’s Favorite
M:C|
L:1/8
R:Strathspey
S:Gow – 4th Repository
(1817)
Z:AK/Fiddler’s Companion
N:”Slow”
K:D
B,|(A,<D) D>E
{DE}F>EFD|(B,<E) E>F {F}~G3A|(B>c/4d/4) (B/A/)(G/F/) E>DEF|
A,>DCE {E}D2D:|
(A/4B/4c/)|{c}d>Adf {c}d>Adf|{c}d>A (d/e/f/g/) fe ef/e/|
{c}d>B (B/A/)G/F/ A>d
{d}f>e| {e}d>B {B}A>F FEEB|A<d d>e {de}f>efd|
B<e e>f {f}~g3a|bc’/d’/
{b}ag/f/ e>def| A<d c>e d3||
MISS McLEOD’S POLKA (Polca Iníon Mhic Leoid).
Irish, Polka. D Major. Standard tuning. ABC. Source for notated version:
from a manuscript attributed to the Pigott family, east Kerry, written in the
early 20th century in various hands. Editor Jackie Small (CRÉ V) believes it may have been copied
from a printed source [Breathnach]. Breathnach (CRÉ V), 1999; No. 90, pg. 47.
MISS
McLEOD'S/MacLEOD'S REEL [1]
(“Cor Ingean Ni Mic Leod” or “Cor Mhic Leoid”). AKA and "Billy Boy [2]," "The Cake's All Dough," "Did You Ever See
the/a Devil Uncle Joe?" “Enterprise
and Boxer,” “The Enterprising Boxer,” "The Girl with the Handsome Face,”
"Green Mountain,"
"Hop Up Ladies," "Hop High Ladies
(the Cake's all Dough)," "Hop Light Ladies," "John Brown [2]," "May Day [1]," "Miss MacLeod of
Ayr," "MacLeod's Reel," "McLeod's Reel," "Miss
McCloud," "Misses McCloud's Reel," "Mistress McCloud's
Jig," "Mr. McLaw'd." ""Mrs. MacLeod (of) Raasay,”
“Mrs. MacLeod Raasay,” "N....r
in the Woodpile [2]" (Pa.), "Old Mammy Knickerbocker"
(Pa.), "The Virginia Reel [5],”
"Walk Jaw Bone [1]." Irish,
Scottish (originally), American, Old‑Time; Reel and Breakdown. G Major
(most versions): A Major (Ashman, Roche, Songer): F Major (Harding’s). Standard
tuning. AABB (most versions): AA’BB’ (Harker/Rafferty). A universal favorite in
the British Isles and North America. Apparently the tune was first printed in
Gow's Fifth Collection of Strathspey
Reels of 1809 (pg. 36), with the note "An original Isle of Skye Reel.
Communicated by Mr. McLeod (of Raasay)." It is possible that the “Miss
McLeod” referred to was one or both of MacLeod of Raasay’s sisters. These
sisters raised their niece, the Countess of Loudoun, Flora Charlotte Campbell,
after the death of her mother and suicide of her father. The family maintained
a residence on St. John’s Street, Edinburgh, which Chambers and Wallace (Life
and Works of Robert Burns, 1896) refer to in this passage:
***
Possibly Burns was introduced to the
(MacLeod) family by Gavin Hamilton who was factor of
the Loudoun estates. A Perthshire
lady used to tell how she met Burns at an evening-party in
the house of MacLeod of Raasay at
the St. John Street, where he seemed to be on easy terms.
‘He had been on the previous night
to a ball in Dunn’s Rooms (now the National Bank, St.
Andrew Square) and he spoke in high
terms of the beauty of the ladies, as well as the witchery
of the music. His manner, however,
was not prepossessing—scarcely manly or natural. It
seemed as if he affected a rusticity
or landertness,
so that when he said the music was “bonie,
bonie,” he spoke almost like a
child.’ [pg. 137]
***
“Miss MacLeod” was popular as long
ago as 1779 in Ireland as its playing is mentioned in an account by a foreign
visitor named Berringer or Beranger of a "cake" dance (i.e. where the
prize was a cake) he participated in while visiting in Connacht. O’Neill (1913)
relates Beranger’s observations somewhat differently and gives that it was one
of six tunes played by Galway pipers in 1779 for the entertainment of the
traveller. In modern times in Ireland the tune was included in a famous set of
the late Donegal fiddlers, brothers Mickey and John Doherty, who played it
as the last tune after “Enniskillen
Dragoons” and “Nora Criona” (Wise Nora),
though sometimes they substituted “The
Piper of Keadue” for “Miss McLeod’s.” The whole set was played in the rare
AAae tuning, which required playing in position (Caoimhin MacAoidh). See also “The Foxhunter’s (Reel) [1]” and “The Grey Plover” for a related tunes in
O’Neill.
***
The title “Peter Street” appears in
a list of tunes in his repertoire brought by Philip Goodman, the last
professional and traditional piper in Farney, Louth, to the Feis Ceoil in
Belfast in 1898 (Breathnach, 1997). At another Feis, this time in Munster in
1906 it was the only tune played all day long for the dancing competition
(James Kelly, 1996). The reel was mentioned in an account of one of the old
pipers of County Louth, a man named Cassidy, as recorded by William Carleton in
his Tales and Sketches of the Irish
Peasantry, published in 1845. Breathnach (1997) believes the first name of
this piper was Dan, and that he was blind. Carleton, born in 1794, was a
dancing master who taught in the 1820’s, and was engaged to teach the children
of the ‘dreadful’ Mrs. Murphy. It seems that Carleton:
***
having spent several nights at piper Cassidy’s
house weighing up the local
dancers …was impelled by vanity to show them
how good a dancer he was
himself. He asked one of the handsomest girls
out on the floor, and, in
accordance with the usual form, faced her
towards the piper, asking her to
name the tune she wished to dance to. Receiving
the customary reply, ‘Sir,
your will is my pleasure,’ Carleton called for
the jig Polthogue. He next
danced Miss McLeod’s Reel with his partner, and then called for a hornpipe,
a single dance, this is, one done without a
partner. It was considered
unladylike for girls to do a hornpipe. The College Hornpipe was his choice
for this dance. (pg. 59)
***
Charlie Piggott, in his book Blooming Meadows (1998) written with Fintan Vallely, relates that accordion player Johnny O’Leary was at the deathbed of his mentor, the famed Sliabh Luachra fidder Pádraig O’Keeffe, in St. Catherine’s Hospital, Tralee. O’Keeffe was lucid until the end, and engaged in witty repartee with O’Leary:
***
‘You know two great
reels,’ he said. ‘Don’t ever forget them.’
‘What are they?’ said
I.
‘”Miss McCloud” and
“Rolling in the Ryegrass”,’ he said.
‘You see, “Miss
McCloud” is a great reel,’ he said, ‘but we’re playing
it wrong.’
‘How do you mean it?’
says I.
‘I’m at it now,’ he
says, ‘but I suppose I won’t be left alive to do it—
play it backwards.
And,’ he says, ‘you’ll never in your life hear a nicer
reel.’
Whether ‘tis right or
not, I don’t know. He was just going to do it when
he died. He said he
had a sister that had the first part of it done backwards
with a concertina and,
Pádriag said, ‘twas double nicer than the way we’re
playing it. He was a genius, you know. He
was a genius.
***
The melody has had a long history in
America and has proved enduringly popular with fiddlers (as well as flute
players and fifers) in many regions. It was printed by William Williams in his New
and Compleat Preceptor for the Fife (Utica, N.Y., 1826). Cauthen (1990)
notes the tune's mention in the Marion Standard of April 30, 1909, which
reported its having been played at a housewarming in Perry County, Alabama, in
1827. Bronner collected the tune from central New York fiddlers, who also knew
it under the title "Virginia Reel" and, from one source, the
“inter-changeable title” of "Campbells are Coming," a jig. Some
confusion in his sources seems to stem from the inter-changeability of many
triple and duple meter tunes under the "Virginia Reel" moniker, but
Bronner states that versions of "Miss McLeod" in 12/8 time were
"not uncommon" in his collecting experience. Samuel Bayard (1981)
also wondered if "Miss McLeod" was a reworking of some set of the 6/8
time "The Campbells Are
Coming," a family which includes (among others) “The Burnt Old Man [1]” and “Hob or/and Nob.” O’Neill (1913) has no
doubts and states unequivocally that the ‘McLeod’ and ‘Campbell’ tunes either
had a common origin or that the former was derived from the latter (or its
Irish equivalent, “An Seanduine”). The title appears in a list of the
repertoire of Maine fiddler Mellie Dunham (the elderly Dunham was Henry Ford's
champion fiddler in the mid‑1920's) and it was cited as having commonly
been played for Orange County, New York, country dances in the 1930's (Lettie
Osborn, New York Folklore Quarterly).
Arizona fiddler Kenner C. Kartchner remembered the tune being played in the
Flagstaff‑Williams (Ariz.) area in 1903 (Shumway). The title (as
"MacLeod's Reel") appears in a list of traditional Ozark Mountain
fiddle tunes compiled by musicologist/folklorist Vance Randolph, published in
1954. A rendering of the tune under the title "Mistress McCloud's Jig"
was recorded by him for the Library of Congress from fiddlers in that region in
the early 1940's. Bayard (1981) noted that the tune was usually played in the
British Isles with the parts ending on the second of the scale, resulting in an
"endless" or "circular" tune, while fiddlers in the
Americas usually ended on the tonic. Also in the repertoire of Uncle Jimmy
Thompson (Texas, Tennessee) as "McLeod's Reel."
***
Novelist and fiddler Thomas Hardy,
of Devonshire, England, knew the tune and worked it into his novel The Mayor of
Casterbridge (1886):
***
Farfrae was footing a quaint little dance with Elizabeth-Jane--an old
country thing, the only one she knew, and though he considerately toned
down his movements to suit her demurer gait, the pattern of the shining
little nails in the soles of his boots became familiar to the eyes of
every
bystander. The tune had enticed
her into it; being a tune of a busy,
vaulting, leaping sort--some low notes on the silver string of each
fiddle,
then a skipping on the small, like running up and down ladders--'Miss
McLeod of Ayr' was its name, so Mr. Farfrae had said, and that it was
very popular in his own country [Scotland].
***
Words are sometimes set to the tune,
especially in American variants. These
words were collected in Scotland:
***
Macaphee turn yer cattle roon loch o' Forum (3 times)
Here and there and everywhere the kye are in the corn.
***
Waitin' at the shielin' o Mhaire bhan mo chroi (pronounced: varie van ma cree)
Waitin' at the shielin' o faur awa' tae sea
Hame will come the bonny boats Mhaire bhan mo chroi
Hame will come the bonny boys, Mhaire bhan mo chroi.
***
A curious alternate title for
“McLeod’s,” called “The Enterprising Boxer,” is a miss-hearing of the name
“Enterprise and Boxer,” which refers to a naval engagement between two ships of
those names.
***
The title is among those mentioned
in Patrick J. McCall’s 1861 poem “The Dance at Marley,” the first three stanzas
of which goes:
***
Murtagh Murphy’s
barn was full to the door when the eve grew dull,
For Phelim Moore his beautiful new pipes had brought to charm them;
In the kitchen thronged the girls - cheeks of roses, teeth of pearls -
Admiring bows and braids and curls, till Phelim’s notes alarm them.
Quick each maid her hat and shawl hung on dresser, bed, or wall,
Smoothed down her hair and smiled on all as she the bawnoge entered,
Where a shass of straw was laid on a ladder raised that made
A seat for them as still they stayed while dancers by them cantered.
***
Murtagh and his
vanithee had their chairs brought in to see
The heels and toes go fast and free, and fun and love and laughter;
In their sconces all alight shone the tallow candles bright -
The flames kept jigging all the night, upleaping to each rafter!
The pipes, with noisy drumming sound, the lovers’ whispering sadly drowned,
So the couples took their ground - their hearts already dancing!
Merrily, with toe and heel, airily in jig and reel,
Fast in and out they whirl and wheel, all capering and prancing.
***
“Off She Goes,”
“The Rocky Road,” “The Tipsy House,” and “Miss McLeod,”
“The Devil’s Dream,” and “Jig Polthogue,” “The Wind that Shakes the Barley,”
“The First o’May,” “The Garran Bwee,” “Tatther Jack Welsh,” “The River Lee,”
-
As lapping breakers from the sea the myriad tunes at Marley!
Reels of three and reels of four, hornpipes and jigs galore,
With singles, doubles held the floor in turn, without a bar low;
But when the fun and courting lulled, and the dancing somewhat dulled,
The door unhinged, the boys down pulled for “Follow me up to Carlow.”
***
One of the first sound recordings of
the tune (as “Mrs. McCloud’s Reel”) was by New York uilleann piper James C.
McAuliffe who recorded it on a wax cylinder for Edison in 1899 (McAuliffe
recorded some 14 sides for Edison between 1899 and 1903).
***
Sources for
notated versions: Michael Coleman (Co. Sligo/New York) [DeMarco and Krassen],
John McDermott, (New York State, 1926) [Bronner], 8 southwestern Pa. fiddlers
[Bayard]; a c. 1837-1840 MS by Shropshire musician John Moore [Ashman];
accordion player Johnny O’Leary (Sliabh Luachra region of the Cork-Kerry
border), recorded at Na Piobairi Uilleann, October, 1984 [Moylan]; New Jersey
flute player Mike Rafferty (born in Ballinakill, Co. Galway, 1926), who had it
from Micheal Raglaidh and/or Marcas O Murchú [Harker]. Adam, No. 20. Allan's Irish Fiddler, No. 69, pg. 17.
American Veteran Fifer, 1927; No. 6.
Ashman (The Ironbridge Hornpipe),
1991; No. 25a, pg. 6 (appears as "Mr. Mc Law'd a Popular Dance").
Bayard (Dance to the Fiddle), 1981;
No. 249A‑H, pgs. 211‑213. Brody (Fiddler’s Fakebook), 1983; pg. 192. Bronner (Old Time Music Makers of New York State), 1987; No. 4, pg. 26
(appears as 1st tune of "Virginia Reel Medley"). Burchenal (American Country Dances, vol. 1), 1918;
pgs. 10‑11 (appears as "Virginia Reel" [2]). Cazden (Dances from Woodland), 1945; pg. 24.
Cazden (Folk Songs of the Catskills),
pg. 29. Cole (1000 Fiddle Tunes),
1940; pg. 29 (appears as "Miss McCloud's"). DeMarco and Krassen (Trip to Sligo), 1978; pgs. 38, 52, 66.
Gale, No. 30. Harding’s All Round
Collection, 1905; No. 183, pg. 58. Harding’s
Original Collection and Harding
Collection, No. 36. Harker (300 Tunes
from Mike Rafferty), 2005; No. 138, pg. 42. Howe (Diamond School for the Violin), 1861; pg. 44. Howe, 1951; pg. 34.
Jarman (Old Time Fiddlin' Tunes), No.
or pg. 10. S. Johnson (The Kitchen
Musician No. 4: Collection of Fine Tunes), 1983 (revised 1991, 2001); pg.
15. Kennedy (Fiddlers Tune Book),
vol. 1, 1951; No. 48, pg. 24 (appears as "May Day"). Kerr (Merry Melodies), vol. 1; pg. 5. Lyth (Bowing Styles in Irish Fiddle Playing,
vol. 1), 1981; 17 & 18. Mattson & Walz (Old Fort Snelling... Fife), 1974; pg. 71. Miller & Perron (New England Fiddlers Repertoire), 1983;
No. 109. Moylan (Johnny O’Leary),
1994; No. 143, pg. 84. O’Farrell (Pocket
Companion, vol. IV), c. 1810; pg. 137. O'Malley, pgs. 10 & 22. O'Neill
(O’Neill’s Irish Music), 1915/1987;
No. 275, pg. 140. O'Neill (Krassen), 1976; pg. 134. O'Neill (Music of
Ireland: 1850 Melodies), 1903/1979; No. 1418, pg. 263. O'Neill (Dance
Music of Ireland: 1001 Gems),
1907/1986; No. 655, pg. 117. Robbins, No. 96. Roche Collection, 1982, vol. 1; No. 148, pg. 59. Ruth (Pioneer Western Folk Tunes), 1948; No.
112, pg. 39. Ryan’s Mammoth Collection,
1883; pg. 55. Smith (Scottish Minstrel), vol. 4, pg. 50.
Songer (Portland Collection), 1997;
pg. 136. Surenne, pg. 11. Sweet (Fifer’s
Delight), 1965/1981; pg. 32. Trim (Thomas
Hardy), 1990; No. 4 (appears as "Miss MacLeod of Ayr"). Tubridy (Irish Traditional Music, vol. 1), 1999;
pg. 19. White's Excelsior Collection,
pg. 42. White’s Unique Collection,
1896; No. 170, pg. 32. Biograph 6003, The Bogtrotters‑
"The Original Bogtrotters" (appears as "Hop Up Ladies").
Brunswick (78 RPM), John McDermott (N.Y. state), 1926 (appears as 1st tune of
"Virginia Reel Medley"). Capelhouse Records, James Kelly –
“Traditional Irish Music” (1996). CCF2, Cape Cod Fiddlers – “Concert Collection
II” (1999). County 201, The Old Virginia Fiddlers‑ "Rare
Recordings" (appears as "Hop Light Ladies"). Davis Unlimited
33015, Doc Roberts‑ "Classic Fiddle Tunes" (appears as
"Did You Ever See the Devil, Uncle Joe"). Gael-Linn Records 78 RPM, Tommy Reck (c. 1957). Gael-Linn CEF 045, “Paddy
Keenan” (1975. Appears as “McLeod’s Reel/Cor Mhic Leoid”). Glencoe 001, Cape
Breton Symphony‑ "Fiddle." Globestyle Irish CDORBD 085, The
Kerry Fiddle Trio - “The Rushy Mountain” (1994. Reissue of Topic recordings).
Green Linnet 1023, Joe Shannon and Johnny McGreevy‑ "The Noonday
Feast." Green Linnet SIF1122, Kevin Burke - "Open House" (1992).
John Edwards Memorial Foundation JEMF‑105, Uncle Joe Shippee ‑
"New England Traditional Fiddling" (1978). June Appal 007, Thomas
Hunter‑ "Deep in Tradition." Larraga MMR112000, Mike and Mary
Rafferty – “The Road from Ballinakill” (2001). Nimbus NI 5320, Ciaran Tourish
et al. - “Fiddle Sticks: Irish Traditional Music from Donegal” (1991). Rounder
0057, Frank Dalton and George Wood‑ "Old Originals, vol. 1"
(appears as "Hop Light Ladies"). Rounder 0058, John Patterson‑
"Old Originals, vol. II" (appears as "Did You Ever See the
Devil, Uncle Joe?"). Shanachie 33001, Patrick J. Touhey‑ "The
Wheels of the World." Shanachie 79053, Liz Carroll et al – “Cherish the
Ladies: Irish Women Musicians in America.” Tennvale 001S, Bob Douglas‑
"Old Time Dance Tunes Fron the Sequatchie Valley" (Appears as
"Hop Light Ladies"). Tennvale 003, Pete Parish‑
"Clawhammer Banjo." Topic 12T309, Padraig O’Keeffe, Denis Murphy
& Julia Clifford - “Kerry Fiddles.” Transatlantic 341, Dave Swarbrick‑
"Swarbrick 2." Victor 20537 (78 RPM), Mellie Dunham, 1926 (appears as
1st tune of "Medley of Reels"). Mickey Doherty – “The Gravel
Walks.”
|
See also listings at: Jane Keefer’s Folk Music Index: An
Index to Recorded Sources Alan Ng’s Irishtune.info |
X:1
T:Miss McLeod’s Reel [1]
M:C|
L:1/8
K:G
|:G2 BG dG BG|GB BA Bc BA|G2 BG dG BG|A2AG (3ABc BA|
G2BG dG BG|GB BA Bc d2|(3efg ed Bd ef|ge dB Ac BA:|
|:G2 gf ed eg|B2BA BcBA|G2 gf ed Bd|ea ag fd ef|g2 gf ef ge|
dB BA Bc d2|(3efg ed Bd ef|ge dB Ac BA:|
X:2
T:Miss MacLeod’s
M:4/4
L:1/8
Q:240
S:Liz Carroll
R:reel
D:Cherish the Ladies, Shanachie 7905
Z:Philippe Varlet
K:G
G,B,DG c2BA|DGBA BcBG|G,B,DG B2AG|AFDF AdBA|
GABG dGEG|cGDG BGdG|c2Bd cded|Bd{e}dB AdBA:||
GBdb ageg|dB{e}BA B2AB|GBdb aged|eaga gedB|
GBdb
ageg|dB{e}BA B2GB|edcB cded|Bd{e}dB AdBA:||
MISS McLEOD'S REEL [2]. American, Jig (12/8 time). USA, New York State. D Major. Standard
tuning. AB. Source for notated verison: Les Weir, 1976 (central New York State)
[Bronner]. Bronner (Old Time Music Makers
of New York State), 1987; No. 30, pg. 119.
MISS McLEOD’S (REEL)
[3]. English, Country Dance Tune or
Reel. D Major. Standard tuning. AB. No relation to the famous Scottish “Miss
McLeod’s” [1]. Irregular parts--the ‘A’ part is four measures long, and the ‘B’
part is twice as long. Knowles (A
Northern Lass), 1995; pg. 28.
MISS McQUEEN’S REEL. See “Miss MacQueen’s Reel.”
MISS McQUIRE'S REEL. English, Jig. England, Northumberland. G Minor. Standard tuning. AABB.
Vicker's original MS. title is "Miss Bane (or Benne) McQuire's Reel."
Seattle (William Vickers), 1987, Part
3; No. 518.
MISS MENAGER'S
HORNPIPE. AKA – “(Miss) Menage’s Hornpipe.”
English, Hornpipe. G Major. Standard. AABB. A Major. Standard. AABB. The tune
appears in several printed collections from the early 19th century,
including Norfolk, Virginia, publisher Thomas Ball’s Gentleman’s Amusement (book 1, 1815 and 1830), New York published
E. Riley’s Flute Melodies vol. 2
(1817, pg. 35, as “Menage’s Hornpipe”) and New York publisher I. Paff’s The Gentleman’s Amusement No. 1 (1812,
as “Miss Menage’s Hornpipe”). It also appears in the music manuscript
collections of Lawrence Leadley (Yorkshire, as “Miss Menager’s Hornpipe”),
Beaumont (?) and William Clarke (c. 1820-58, Feltwell, Norfolk) [Callaghan,
2007]. An untitled hornpipe in the 1850 music manuscript book of fiddler
William Winter (West Bagborough, Somerset) is a version of “Miss
Menage(r)’s.”
***
Mary Menage (note spelling) was born
in 1778. By the age of 13 she was already dancing on stage at London’s Pantheon
Opera House in the early 1790’s. She was a popular dancer and featured stage
performer at London’s Theatre Royal, Drury Lane, and other venues at the end of
the 18th and beginning of the 19th centuries. Miss Menage
is listed as the performer for the song “See brother see on yonder bough” in
Longman & Broderip’s printed edition of The
Children in the Wood (1793), a ballad opera by Thomas Morton and Dr.
Arnold. She is also listed as one of the performers (along with Master Walsh
and Miss De Camp) for the song “And will you soothe my anguish” in The Prisoner (1792), authored by J. Rose
and Thomas Attwood, again published by in London by Longman & Broderip. The
part of Frizaletta in Kane O’Hara’s “burlesque burletta” Tom Thumb was played by Miss Menage. Source for notated version: an
MS collection by fiddler Lawrence Leadley, 1827-1897 (Helperby, Yorkshire)
[Merryweather & Seattle]. Burgess & Monteith (The Coleford Jig). Callaghan (Hardcore
English), 2007; pg. 21. Merryweather & Seattle (The Fiddler of Helperby), 1994; No. 33, pg. 37. EFDSSCD13, Pheonix –
“Hardcore English” (2007. Various artists). Firebird FBR01, Phoenix – “After
the Fire.”
X:1
T:Miss Menager’s Hornpipe
M:4/4
L:1/8
R:Hornpipe
S:Paff’s – Gentleman’s Amusement, pg. 4 (1812)
Z:AK/Fiddler’s Companion
K:G
dc|BcAB GGAB|cdBc AABc|Bded
Aded|cdBc A2 dc|….
MISS MENZIES. AKA and see “Miss Gordon
of Park.” Canadian, Jig. The title is the name of Cape Breton Fiddler
Winston’s Fitzgerald’s (1914-1987) setting of William Marshall’s (1748-1833)
melody “Miss Gordon of Park.” Cape
Breton’s Magazine, Issue 39. Celtic CX34, Winston
Fitzgerald.
MISS MENZIES OF
CULDARE(S) [1]. AKA and see "Mrs. Menzies of Culdare(s),"
"Braes of
Glendochart." Scottish, Reel. A Major. Standard tuning. AABB.
Composition claimed by Niel Gow (1727-1807) in his First Collection, 2nd edition, 1801, however, the tune also appears
in McGlashan's 1786 Third Collection as "Braes of
Glendochart." Gow wrote other tunes for the family: see also “Mr. Menzies
of Culdare(‘s Reel).” Kerr (Merry
Melodies), vol. 1; Set 25, No. 2, pg. 15. Stewart-Robertson
(The Athole Collection), 1884; pg. 1.
X:1
T:Miss
Menzies of Culdares [1]
L:1/8
B:Stewart-Robertson – The Athole Collection (1884)
Z:AK/Fiddler’s Companion
e|a2ae
fece|a2ae fBBg|a2ae fece|faec eAA:|
|:B|A/A/A ec acec|A/A/A ec fBBa|A/A/A
ec acec|faec eAA:|
MISS MENZIES OF CULDAR [2]. Scottish, Reel. D Major. Standard tuning. AAB. The tune was composed by Malcolm McDonald. It does not appear to be related to version #1. MacDonald paired the tune with his “Inch of Garth” on the page in his publication. Glen (The Glen Collection of Scottish Dance Music), vol. 1, 1891; pg. 30. MacDonald (A Collection of Strathspey Reels, vol. 1), pg. 4.
X:1
T:Miss Menzies of Culder [2]
M:C
L:1/8
R:Reel
S:Malcolm MacDonald – A Collection of Stathspey Reels, vol. 1
Z:AK/Fiddler’s Companion
K:D
AFDF A(dcB) | dfeg e/e/e e2 | AFDF
A(d”tr”cA) | BdAF D/D/D D2 :|
f/g/ | afdf abaf | geaf e/e/e
(ef/g/) | afdf abaf | geaf d/d/d (df/g/) | afdf abaf |
geaf e/e/e eg | fdec dBAF | GBAF
D/D/D D2 ||
MISS
MENZIES OF MENZIES. Scottish, Reel. B Flat Major.
Standard tuning. AB. Composition credited to William McLeish by James
Stewart-Robertson in The Athole
Collection. The tune was also played by Cape Breton fiddlers Little Jack
MacDonald and Angus Chisholm (Cranford, 1997). Source for notated version:
Winston Fitzgerald (1914-1987, Cape Breton) [Cranford]. Cranford (Winston Fitzgerald), 1997; No. 101, pg.
42. Stewart-Robertson
(The Athole Collection), 1884; pg.
292. Rounder CD 11661-7033-2, Natalie MacMaster – “My
Roots are Showing” (2000). Rounder 7059, Alex Francis MacKay with Gordon
MacLean – “Gaelic in the Bow” (2005).
X:1
T:Miss Menzies of Menzies
M:C|
L:1/8
R:Reel
S:Stewart-Robertson – The Athole
Collection (1884)
Z:AK/Fiddler’s Companion
K:Bb
g | fB B/B/B {B/c/}d2 (cB) | GBFD
ECCg | fB B/B/B {B/c/}d2 (cB) | GBFE DB,B,g |
fB B/B/B {B/c/}d2 (cB) | GBFD ECCE | FDFB GEGe | dfce dB~B ||
g | fBdf Bfdg |
fBdB (Ac)”tr”(cg) | fBdf bfdf | ecAf
dBBg | fBdf Bfdg | fBdB (Ac)(cB) | GEGB FDFe | dfce dB~B ||
MISS MEYNELL. Scottish, Strathspey. C Major. Standard tuning. AABBCCDD. John Glen (1891) finds the earliest appearance of this tune in print in Robert Ross's 1780 collection (pg. 12). Jones [Ed.] (Complete Tutor Violin), c. 1815; pg. 3.
X:1
T:Miss Meynell's Strathspey.
R:strathspey
M:C|
L:1/8
B:Complete Tutor Violin (c. 1815)
Z:Dr. Evan Jones, 2005
K:C
U:T=!trill!
C(ccB) (BA)(AG) | gece Tdcde | C(ccB) (BA)(AG) | GEDE C/C/C C2 :||:
GcGc AcAc | defa gede | GcGc AcAa | gede c/c/c c2 :||:
g>age cece | f(a/f/) e(g/e/) dcde | g>age cece | (Afed) c/c/c c2 :||:
(AG)(GF) (FE)(ED) | (C/D/E/F/) (GE) DCDE | (AG)(GF) (FE)(ED) | FAGE C/C/C C2 :|]
MISS MILLER OF DALSWINTON. Scottish, Strathspey. D Major. Standard tuning. AAB. Composed by Robert Riddel. Glen (The Glen Collection of Scottish Dance Music),
vol. 2, 1895; pg. 10.
X:1
T:Miss Miller of Dalswinton
M:C
L:1/8
R:Strathspey
S:Glen Collection, vol. 2 (1895)
Z:AK/Fiddler’s Companion
K:D
f | D/D/D AF AD Af D/D/D AF E2 Ef | D/D/D AF AD fe | dB
d/B/A/F/ D3 :|
f/e/ | dAFA DAA,A | FdAF E3 f/e/ |
dAFA DAA,A | GEAF D3f/e/ |
dAFA DAA,A |FDAF E3f/e/ | dfeg faeg
| fdaf d3 ||
MISS MILLIKEN’S REEL.
Scottish, Strathspey. F Major. Standard tuning. AAB. Composition credited to William Marshall (1748-1833) by Alexander McGlashan. McGlashan (A Collection of Reels), Vol. 3, c. 1786; pg. 2.
X:1
T:Miss
Milliken’s Reel
M:C|
L:1/8
R:Strathspey
C:William
Marshall
S:McGlashan
– Collection of Reels (c. 1786)
K:F
F<CF<A
F>G A<f|c<A G>F D/D/D D2|F<CF<A F>G A<f|c<A f>A
F/F/F F2:|
f<cf<a
f<cf<a|g<c b>a g/g/g g2|f<cf<a f>c d<f|c>BA>G
F/F/F F2|f<cf<a f<cf<a|
g<c b>a g/g/g g2|f<ac<a
B<gA<f|c>BA>G F/F/F F2||
MISS MILL’S STRATHSPEY. Scottish, Strathspey. D Major.
Standard tuning. AABB. Barnes (English
Country Dance Tunes, vol. 2), 2005; pg. 93 (appears as “Nowton Park”, the
title of a dance by Ron Coxall set to the tune).
MISS MINA’S. Canadian, Strathspey. Canada,
Cape Breton. A Minor. Standard tuning. AAB. Source for notated version: fiddler
Brenda Stubbert (b. Point Aconi, Cape Breton, Nova Scotia). Cranford (Brenda Stubbert’s), 1994; No. 26, pg.
10. Brenda Stubbert - “House Sessions” (1992).
English, Reel. F Major. Standard
tuning. AABB. Seattle (William Vicker’s),
1987, Part 3; No. 571.
MISS MINERS REEL. English. England, Northumberland. One of the "missing tunes"
from William Vickers’s 1770 Northubrian dance tune manuscript.
MISS/MRS. MINZIES OF
CULDARE. See "Miss Menzies of Culdare(s) [1]."
MISS MOLLY DAKER. Scottish. John Glen (1891) finds the earliest appearance of this tune
in print in Neil Stewart's 1780
collection (pg. 65).
MISS MOLLY GRANT. Scottish. John Glen (1891) finds the earliest appearance of this tune
in print in Robert MacIntosh's 1783
collection (pg. 33).
MISS MONA(G)HAN('S
REEL) {"Ingean Uí
Muineacan," "Iníon Uí Mhuimhneacháin" or "Ingean Ni
Muineacain"}. AKA and see "The Barrow Castle,"
"Belles of Tipperary [2],”
"The Blea‑berry Blossom,"
"Connacht Lasses," "The Connacht Star," "The Dandy Girl/Lass/Lasses," "The Four Courts of Dublin,"
"Green Fields to America,"
"Jackson's Welcome to
Cork [1]," "Johnny
Shooting in the Glen," “Kerry Star,”
“Lamont’s Reel,” “Mel Roddy’s Tune,” “The New Policeman,” "O'Connell in Clare," “Shannon’s Shores,” "Stormy Weather [1]," "The White‑haired Piper.” Irish,
Reel. D Major. Standard tuning. ABC (O'Neill): AABB (most versions): AA’BB’
(Armagh Pipers): ABCDEF (Breathnach). “Miss Monaghan’s” is one variant of a
large family of inter-related tunes that share melodic themes (see alternate
titles) and general contour. The earliest appearance of the tune under this
title appears to be in Church of Ireland cleric James Goodman’s (1828-1896)
mid-19th century music manuscript collection. Goodman, an Irish
speaker and uilleann piper, collected in tradition in County Cork and elsewhere
in Munster, although he also obtained tunes from manuscripts and printed
sources. Fintan Vallely, in his book Blooming
Meadows (1998), relates that the famous piper and collector Séamus Ennis
particularly relished playing this tune, as his mother was from County
Monaghan. Some see similarities between this reel and the American tune “Johnny, Don’t Come Home
Drunk.” “Connaught Lasses” is a related tune. Sources for notated versions: Chicago
police patrolman, piper and flute player John Ennis, originally from County
Kildare [O’Neill]; Joe Shannon
and Johnny McGreevy [Brody]; piper Seamus Ennis (Ireland) [Breathnach]; fiddler
Kathleen Morris (Corlisheen, Ballyrush, Co. Sligo) [Flaherty]; Seattle
harmonica player Mark Graham [Songer]; set dance music recorded at Na Píobairí
Uilleann in the 1980’s [Taylor]. Allan's
Irish Fiddler, No. 50, pg. 12. Armagh Piper’s Club (Play 50 Reels), 1982; No. 12, pg. 7. Breathnach (CRÉ III), 1985; No. 93, pgs. 46‑47.
Brody (Fiddler’s Fakebook), 1983; pg.
193. Cotter (Traditional Irish Tin
Whistle Tutor), 1989; 65. Flaherty (Trip
to Sligo), 1990; pg. 58. Giblin (Collection
of Traditional Irish Dance Music), 1928; 43. Mallinson (Essential), 1995; No. 49, pg. 21.
O'Neill (O’Neill’s Irish Music),
1915/1987; No. 284, pg. 144. O'Neill (Music
of Ireland: 1850 Melodies), 1903/1979; No. 1312, pg. 246. O'Neill (Dance Music of Ireland: 1001 Gems),
1907/1986; No. 575, pg. 106. Roche Collection,
1982, vol. 1; No. 158, pg. 62. Shields (Tunes
of the Munster Pipers), 1998; No. 101, pg. 43. Songer (Portland Collection), 1997; pg. 136. Taylor (Music for the Sets: Yellow Book) , 1995; pg. 4. Cló Iar-Chonnachta CICD 167, Peter Horan & Gerry Harrington
– “The Merry Love to Play” (2007. Peter Horan plays Michael Coleman’s version).
Coleman Music Center CHC 009, whistle player Dominic Rushe (Gorthaganny, Co.
Mayo, d. 1994) – “The Coleman Archive, vol. 2: The Home Place” (2005). Green
Linnet 1020, Brenden Mulvihill‑ "The Flax in Bloom." Green
Linnet 1023, Joe Shannon and Johnny McGreevy‑ "The Noonday
Feast." Green Linnet SIF 1000, Seamus Ennis ‑ "Forty Years of
Irish Piping" (1977). Front Hall FHR‑024, Fennigs All‑Star
String Band ‑ "Fennigmania" (1981. Learned from the McCusker
Brothers Ceili Band). Green Linnet GLCD1182, The Tannahill Weavers - “Choice
Cuts 1987-1996.” Shaskeen - "My Love is in America." Kerry Elkin -
“Soir et Matin” (1990. Played in the key of G Major). “Noel Hill and Tony
Linnane.” “Joe Cooley.”
T:Miss Monaghan’s
M:C|
L:1/8
R:Reel
K:D
D2(3FED FAAd|BcBA FAAB|dedB
ABde|fede fe ~e2|D2FD FAA2|
BcBA FAAB|dedB ABdB|AFEG FD D2:|
|:faaf afdf|g2 fg edBc|dedB
ABde|fede feeg|faaf afdf|
gefd
edBc|dedB ABdB|AFEG FD D2:|
MISS MONCRIEFF OF
PITLOWER. Scottish, Reel. A Major. Standard
tuning. AAB. Composed by Alexander Leburn. Glen (The Glen Collection of Scottish Music), Vol. 2, 1895; pg. 6.
X:1
T:Miss Moncrieff of Pitlower
M:C|
L:1/8
R:Reel
S:Glen Collection, Vol. 2
(1895)
Z:AK/Fiddler’s Companion
K:A
F|E2 Ed cBAc|ecec fBBF|E2 Ed
cBAc|dfBd cAA:|
g|a2 ed cBAc|dfBd BGEg|a2 ed
cBAc|dfBd cAAg|
a2 ed cBAc|dfBc BGEB|EBFB GBAc|dfed
cAA||
MISS MONEYPENNY OF
PITMILLY. Scottish, Reel. G Minor. Standard
tuning. AAB. The melody appears in the 4th collection of Malcolm MacDonald of Dunkeld, a volume
dedicated to the Countess of Breadalbane. MacDonald (A Fourth Collection of Strathspey Reels), 1797; pg. 11.
Stewart-Robertson (The Athole Collection),
1884; pg. 201.
X:1
T:Miss Moneypenny of Pitmily’s Reel
M:C|
L:1/8
R:Reel
B:MacDonald – 4th Collection of Strathspey Reels
(1797)
Z:AK/Fiddler’s Companion
K:Gmin
D | G/G/G GA BGAG | FCDF fcAF | BGBd cedg | fd”tr”cA BGG :|
g | bgdg dgbg | afcf AFcA | bgdg dgbg | fdcA BGGg | bgdg dgbg |
afcf
AFcA | BGBd cedg | fd”tr”cA BGG ||
MISS/MRS. MONROE'S JIG (Port Ingean/Ingine Ui Munroe/Mongruaide). AKA and see “John Blessing’s Delight,” “The King,” “Mrs.
Monroe [1],” “Best in the Bag,” “The Happy Mistake,” “King of Jigs,” “Lady Shire’s Favourite,” “Mrs. Spens Monroe.” Irish, Double Jig. G
Major. Standard tuning. AABB. Philippe Varlet remarks the tune is the first two
parts of a 4-part jig he learned
under the title "The King of All Jigs," recorded by Tom Page's Siamsa
Gaedheal Ceilidhe Band in 1931. The original 78 RPM track can be heard Reg
Hall's CD "Past Masters of Irish Dance Music." O'Neill (Krassen), 1976; pg. 56.
O'Neill (O’Neill’s Irish Music),
1915/1987; No. 137, pg. 79. O'Neill (Music of Ireland: 1850 Melodies),
1979; No. 982, pg. 183. O'Neill (Dance Music of Ireland: 1001 Gems), 1986; No. 198, pg. 47. Ryan’s Mammoth Collection, 1883; pg.
111. White's Unique Collection, No.
39. The New Hampshire Fiddlers’ Union - “The Music of
John Taggart: Classic New England Fiddle Tunes” (1989).
X:1
T:Miss Monroe’s Jig
M:6/8
L:1/8
R:Jig
S:O’Neill – Dance Music of
Ireland: 1001 Gems (1907), No.
198
Z:AK/Fiddler’s Companion
K:G
D|G2G AGA|Bcd efg|GFG AGA|BGE
E2D|G2G AGA|Bcd efg|dcB AGA|BGG G2:|
|:f|gfg efg|fdd def|gfg aga|bge
e2f|gfg aga|bge efg|dcB AGA|BGG G2:|
MISS MUNRO'S MINUET. Scottish, Minuet. The melody appears in the Gillespie Manuscript of Perth (1768).
MISS MONTGOMERIE OF
SKELMORLIE. Scottish, Strathspey. F Major.
Standard tuning. AAB. The melody appears in Malcolm McDonald's c. 1792 3rd
collection, dedicated to Miss Drummond of Perth. Glen (The Glen Collection of Scottish Dance Music), vol. 1, 1891; pg. 37.
MacDonald (A Third Collection of
Strathspey Reels), c. 1792; pg. 1.
X:1
T:Miss Montgomerie of Skelmorlie
M:C
L:1/8
R:Strathspey
S:MacDonald – 3rd Collection of Strathspey Reels (c. 1792)
Z:AK/Fiddler’s Companion
K:F
f | c<F “tr”c>A G>AB>d |
c<F “tr”c>A c>df>a | fd”tr”c>A G>AB>d | cFc>A {A}F2F :|
f | F(ff>)a g>fga | F(ff>)a
f>afc | d>f”tr”c>A G>AB>d | c<FcA F2 F>f |
F<(ff)a “tr”g>fga | F(ff>)a
f<afc | d>f”tr”c>A G>AB>d | Ff/g/ af {e}f2 fd ||
MISS MONTGOMERY’S. AKA and see “Lady
Montgomery(‘s Reel) [1].” Irish, Reel. D Major. Standard tuning. AAB.
Recorded by Hugh Gillespie (paired with “Donegal Traveller Reel”). Black (Music’s the Very Best Thing), 1996; No.
193, pg. 102.
X:1
T: Miss Montgomery's
S: Hugh Gillespie
Q: 350
R: reel
Z:Transcribed by Bill Black
M: 4/4
L: 1/8
K: D
dcdA FDFA | dcdA cdec | dcdA FG A2 | Beed cABc :|
d2 ad bdad | d2 ad cdec | d2 ad bdad | gfge cdec |
d2
ad bdad | d2 ad cd e2 | bagf gfed | e2 ed egfe ||
MISS MONTGOMERIE'S
MINUET. Scottish, Minuet. The melody
appears in the Gillespie Manuscript of
Perth (1768).
MISS MONTGOMERY. Scottish, Strathspey. A Mixolydian. Standard tuning. AABB. Kerr (Merry Melodies), vol. 4; No. 1, pg. 3.
X:1
T:Miss Montgomery
M:C
L:1/8
R:Strathspey
S:Kerr – Merry Melodies, vol. 4, No. 1
(c. 1880’s)
Z:AK/Fiddler’s Companion
K:A
f | e<A e>c e<A =g>e |
d<=G d>B d<G f>d | e<A e>c e<A =g>e | d>B=g>B
A<A A :|
|: f | e>ac>a e>f=g>e |
d>=gB>g d>gf>d | e>ac>a e>f=g>e | d>B=g>B A<A
A :|
MISS MOORE. AKA and see "The Hawk of
Ballyshannon."
MISS MOORE’S RANT. American, Reel. G Major.
Standard tuning. AABBCC. A quite popular tune and vehicle for dancing during
and after the American War of Independence. The melody and/or dance figures
appear in numerous musicians’ and dancers’ manuscript copybooks from the era,
including that 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 melody also appears in
the commonplace music books of East Hartford, Connecticut, musician James
Hosmer (1798-1799), Captain George Bush, and Pepperell, Massachusetts musician
Nancy Shepley (with dance figures). It also appears in a manuscript by Aaron
Thompson, fife-major in the 3rd New Jersey Regiment. Kate Van
Winkler Keller (“Fiddle,
Dance and Sing with George Bush”) notes the similarity between Bush and
Thompson’s music and dance figures, and believes it is possible the both
collected dances that may have been performed in the winter encampments at
Morristown, New Jersey (1778-1780).
X:1
T:Miss Moore’s Rant
M:C|
L:1/8
R:Reel
S:Henry Livingston’s manuscript copybook,
late 18th century
Z:AK/Fiddler’s Companion
K:G
Bcde dBgB | dBgB cAAc | Bcde dBgB |
A/G/A B G2G z z :|
|: DEDE GABG | AGAB GEED | DEDE GABG
| dcBA G2G2 :|
|: gecA efgB | A>GAB GE E2 | fdBG
efgB | A[Gc]AB G2G z:|
MISS MORGAN’S HORNPIPE. American, Hornpipe. A Major. Standard tuning. Howe (1000 Jigs and Reels), c. 1867; pg. 51.
X:1
T:Miss Morgan’s Hornpipe
M:2/4
L:1/8
R:Hornpipe
S:Howe – 1000 Jigs and Reels (c. 1867)
Z:AK/Fiddler’s Companion
K:A
(3e/f/g/ | a/>e/c/>e/ A/>c/e/>a/ | f/>dB/>G/ AB/>c/ | d/>fe/>d/ d/>c/B/>A/ |
G/>B/A/>F/ E(e/f/g/ | a/>e/c/>e/ A/>c/e/>a/ | f/>dB/>G/ AB/>c/ | d/>f/e/>d/ d/>c/B/>A/ |
BA A :: e | c/e/A/e/ c/e/A/e/ | d/f/B/f/ d/f/B/f/ | c/e/A/e/ c/e/A/e/ | G/B/e/B/ G/B/e/B/ |
c/e/A/e/
c/e/A/e/ | d/f/B/f/ d/f/B/f/ | B/a/g/f/ e/d/c/B/ | cA A :|
MISS MORISON. Scottish. John Glen (1891) finds the earliest appearance of the tune in
print in Neil Stewart's 1761 collection
(pg. 50).
MISS MOUNTA(I)N'S
HORNPIPE. AKA and see “Chase the Squirrel [2].” New
England, Hornpipe. F Major. Standard tuning. AABB. Tolman calls this tune an
example of the "degenerate period" of composition, by which he means
the highly arpeggiated and ornamented style of writing. Source for notated
verison: Gretchen and Rebecca Koehler [Phillips]. Burchenal (American Country Dances, vol. 1), 1918;
pg. 16 (appears as "Chase the Squirrel"). Cole (1000 Fiddle Tunes), 1940; pg. 106. Phillips (Traditional American Fiddle Tunes), vol. 2, 1995; pg. 208. Ryan’s Mammoth Collection, 1883; pg.
143. Tolman (Nelson Music Collection),
1969; pg. 22. Seamus Connolly – “Here and There”
(1993).
X:1
T:Miss Mountan’s
M:2/4
L:1/8
R:Hornpipe
S:Ryan’s Mammoth Collection (1883)
Z:AK/Fiddler’s Companion
K:F
c/B/ | A/c/f/a/ g/b/e/g/ | f/c/d/c/
B/A/G/F/ | E/G/c/e/ c/B/A/G/ | F/E/G/E/ C>B, |
A,/C/F/A/ c/f/a/f/ | e/d/b/g/
f/e/d/c/ | f/c/d/b/ g/e/c/e/ | fff :: g/a/ | g/e/c/e/ g/e/b/a/ |
g/f/e/d/ ^c/e/A/G/ | F/A/d/f/
A/d/f/a/ | g/f/e/f/ d/e/f/d/ | c/A/G/F/ E/G/C/B, |
A,/C/F/A/ c/f/a/f/ | B/d/g/b/
E/G/c/e/ | fff :|
MISS MUIR MACKENZIES. Scottish, Strathspey. E Major. Standard tuning. AB. Composed by
Perthshire fiddler-composer Niel Gow (1727-1807). Composed for one of the eight
daughters of Alexander Muir-Mackenzie (1764-1835), for whom the baronetcy was
created in November, 1805. Born Alexander Muir of the Muirs of Cassencarie, he
assumed the additional surname Mackenzie when he succeeded to the estates of
his great-uncle, John Mackenzie of Delvine. Alexander married in September,
1787, Jane, the eldest daughter of Sir Robert Murry, 6th Bart. of
Clermont, co. Fife. See also other tunes for the family: “Mr. Muir Mackinzie’s Favorite,”
“Mrs. Muir MacKenzies” “Lady Muir MacKenzie’s
Favorite.” Susan Muir Mackenzie (d. 1852) was the eldest daughter and
married in 1817. The others did not marry. Carlin (The Gow Collection), 1986; No. 151. Gow (Fifth Collection of
Strathspey Reels), 1809; pg. 16. Stewart-Robertson
(The Athole Collection), 1884; pg.
277.
X:1
T:Miss Muir MacKenzie
M:C
L:1/8
R:Strathspey
B:Stewart-Robertson – The
Athole Collection (1884)
Z:AK/Fiddler’s Companion
K:E
g|e>B e<g e>B e<g|f>eg>e c2 c<f|e>B e<g e>B e<g|e>cB>G E2 E>g|
e<Be<g e<Be<g|f<eg<e c2 c<f|e<a g>f e>cB>c|B<G F>G E2E||B|
G>BE>g f>ef>g|e>cB>G F2 F>B|G>BE>g f>ef>g|e>cB>G E2 E>B|
G>BE>g
f>ef>g|e>cB>G F2 F>B|G>BE>g e<a g>f|e>cB>G
E2E||
MISS MURPHY [1]. Irish, Planxty (cut time). C Major. Standard tuning. AB. Composed by
blind Irish harper Turlough O'Carolan (1670-1738). Donal O’Sullivan, in his seminal work on O’Carolan (Carolan: The Life, Times and Music of an
Irish Harper) noted that, in the absence of any words or other information,
it was not possible to identify the “Miss Murphy” of the song. O'Sullivan's
source for the tune is The Hibernian
Muse; a Collection of Irish Airs, including the Most Favourite Compositions of
Carolan, the Celebrated Irish Bard, by S., A. and P. Thompson, London, c.
1786. There is a "similar, but not
identical" setting in John Lee's A
Favourite Collection of the so much admired old Irish Tunes, the original and
genuine compositions of Carolan, the celebrated Irish Bard. Set for the
harpdischord, violin and German-flute, published in Dublin in 1780. Complete Collection of Carolan's Irish Tunes,
1984; No. 105, pg. 79.
X:1
T:Miss Murphy
C:Turlough Carolan
B:Carolan by Donal O'Sullivan, no.
105
N:Allegretto
Z:Transcribed by Paul de Grae
M:4/4
L:1/8
K:C
gf|e2 g2 d2 g2|c2 g2 B2 g2|fedc B2
d2|cB~AG G2 cB|
A2 c2 G2 c2|F2 d2 cBAG|FG A2 D2
G2|{F}E2 ~DC C2 z2 ||
GAGF E2 C2|EF G2 G2 c2|Bc d2
dedc|~B2 G2 G4|
~g2 f2 ~g2 f2|efge de B2|a2 a2 ~g2
f2|fgfe d2 g2|
{f}e2 dc c'2 c2|f2 a2 a2 gf|edec
{e}d2 cB|c2 c2 c2 ||
MISS MURPHY [2]. AKA and see “Bonnie Annie [3],”
"Follow me down to
Carlow [2]," "The Crooked
Reel” (An Ril Cam). Irish, Reel. A Minor. Standard tuning. AABB. The tune
appears under this title in the mid-19th century Goodman Manuscripts at the Library of
Trinity College, Dublin. Goodman (1828-1896) was an uilleann piper, and an
Irish speaker who collected locally in County Cork and elsewhere in Munster. He
also obtained tunes from manuscripts and printed collections. Shields/Goodman (Tunes of the Munster Pipers), 1998; No.
483, pg. 188.
X:1
T:Miss Murphy [2]
M:C
L:1/8
R:Reel
S:James Goodman manuscripts (mid-19th
century)
B:Hugh Shields – Tunes of the Munster Pipers, No.
483 (1998)
K:A Minor
A2 AG EFGE|A2 AB cded|A2 AG
EFGE|efed cA A2:|
|:g2 ge cded|g2 ge gaba|g2 ge
cdef|gfed cA A2:|
MISS MURRAY OF
ABERCARNEY. Scottish, Reel. G Minor. Standard
tuning. AAB. The melody appears in Malcolm
McDonald's 1789 2nd collection, dedicated to the Earl of Breadalbane. Glen
(Collection of Scottish Dance Music,
vol. 1), 1891; pg. 44. MacDonald (A
Second Collection of Strathspey Reels), 1789; pg. 7.
X:1
T:Miss Murray of Abercarney
M:C|
L:1/8
R:Reel
S:MacDonald – 2nd Collection of Strathspey Reels (1789)
Z:AK/Fiddler’s Companion
K:G Minor
G | D(GG)d BAGF | CFAf cFAF | D(GG)A
Bcdf | cA^Fd BGG :|
B | dcBc defd | cBAB deAc | dcBb
dBfd | cA^Fd BGGB | dcBc defd |
CBAB ceAF| DG^FG DBc=f | cA^Fd BGG
||
MISS MURRAY OF AUCHTERTYRE/OCHTERTYRE'S STRATHSPEY. Scottish, Strathspey. F Major. Standard tuning. AAB. Composed by John Bowie (1759‑1815) of Perthshire, and published by him in 1801. Miss Murray of Auchtertyre was Euphemia Murray, She was a composer herself, with at least one composition, a slow strathspey, published by the Gows (Fifth Collection, 1809) –- see “Rosabell.” Poet Robert Burns was struck by her teenage beauty when he visited Sir William Murray at Auchtertyre in 1787 and composed a famous ode in her honor, “Blythe was she.” ‘She’ was not amused, by one report and did not care for it. Beautiful she was, however, and wa