Latest corrections and/ or additions, Aug. 18, 1998
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AN INCOMPLETE INDEX OF SCOTTISH POPULAR SONG AND DANCE TUNES
PRINTED IN THE 18th CENTURY
There is a much more comprehensive index of Scots tunes in
Charles Gore's 'The Scottish Fiddle Music Index', 1994 with theme
code for indentify which titles are for more than one tune, and
which tune have more than one title. However, he didn't cover
some songbooks whose contents are listed here, and a very few
other music works, such as Joseph Mitchell's 'Highland Fair'
1731. He also did not include MSS tunes. I have included here
many that I have not seen but believe to have been identified
correctly by competent scholars. If you find anything of interest
or questionable here check with Charles Gore's index. Check with
Gore's work also for earlier and later copies of the tune in
printed sources. Check also in his theme code index for any
possible appeareance of the tune under any alternative title.
Gore has no cross refrences, (use his theme code index for this)
but I have grouped many alternative titles together here which
may aid in forming a history of a tune.
In addition see also for country dance tunes Carolyn Rabson and
Kate Van Winkle Keller's 'The National Tune Index', 1980, which
gives stressed note and scale degree incipts codes.
An incomplete listing of tunes, airs, or melodies, in books of
Scots music 1700-1790, with gaps and exceptions as noted, and
others undoubtably not noted.
The Index is in the best chronological order I can do at
present. Accounts of manuscripts are as yet too incomplete to be
taken fully into account, but I will add some for which I believe
dates are moderately good, and for which the tunes are identified
by editors I take to be competent authority, primarily John Glen,
from Early Scottish Melodies, 1900, and The Glen Collection of
Scottish Dance Music, I, 1891, and II, 1895, hereafter referred
to as ESM and SDM, respectively. I have retained the dates 1692
for the Blaikie and Leyden MSS, for purposes of identification,
although these dates are too early. The Leyden MS is now thought
to be of about 1700, and the Blaikie MS somewhat more recent. Wm.
Chappell, in Popular Music of the Olden Time suggested about 1745
for it, which I suspect is somewhat too late.
I have not sought to eliminate tunes which are not Scottish,
because I am certainly not competent to do so, and in several of
the works indexed there is specific mention in the title, or on
the title page, that some English or Irish tunes are included,
and again in some works there are tunes specifically labeled as
Irish or Welsh.
I have, after some thought, and with some reluctance, departed
from a strictly title listing. After about 1755 the number of
dance tunes in honor of a person with a prefixed polite form of
address or a title becomes a significant fraction of the total of
dance tunes, and in subsequent reprints such forms tend to get
lost or changed. I have elected to index such by last name, when
the last name is preceded by Miss, Mrs, Mr. or a military rank,
or a royalty title. Captain, Major, and Colonel Montgomery will
then all be found under 'Montgomery/'. Cases exist where one
title is given in one edition of a work and altered to reflect
a promotion in a later one. This system eliminates many cross
references, and though is not without some drawbacks, I have
not thought of any better system.
It has not been possible to compare all tunes cited, and for
some titles, or very similar titles, one may find the tunes are
different. In some works, also, the author mistitled the tune
given, or the author knew the tune by a title different from the
usual one. Commonly found is a old tune being used for a new
song, and the title of the new song becoming a new title for the
tune. This index should be should be considered as a guide to
finding a tune with a particular name, but without assurance that
the name is unique, or that a tune was not known by other
titles.
Titles are taken from the engraved pages whenever possible,
since indices are often carelessly made up, leaving out an
occasional titled tune as well as untitled tunes. On occasion
indistinct print has required the use of index titles to obtain a
word. In a very few cases no engraved title is given and the
title is obtained from the index. Appearance of a version of the
tune in The Scots Musical Museum, hereafter denoted as SMM, is
usually noted. Occasionally I will note tune in SMM even if no
earlier Scots publication of tune is know.
Anything in brackets [] is my addition. Full engraved tune
title stops at semicolon, ;, and source citation begins there and
ends at colon, :. Format for source citation varies depending on
original work. It is usually the number printed on a leaf or page
printed from an engraved plate. In Orpheus Caledonius, 2nd ed.,
1733, tunes are numbered, but do not appear on numbered text
pages, so tune number from engraved music leaf is given in index.
For the 1725 edition, the title page, dedication, four pages
listing 264 subscribers, and index are unnumbered. Songs with
music printed from engraved plates then start with pages
consecutively numbered with one song per page printed on one side
only. I will take the number on the leaf as the page number,
unless otherwise noted.
David Laing's citations of advertisements in the Introduction
to the 1839 and 1851 editions of SMM are invaluable for purposes
of dating of various books. However, the issues he cites relative
to them are often late reissues with title page altered to
reflect a new address, or a new printer, or both. Smith and
Humphrey's various works on the publications of music by the two
John Walshs are valuable for dating several early works.
Usually the engraved music is from the original plates, so
reissues have the same contents as the original, and I have
assumed this to be the case unless other wise noted. There are
exceptions to this, however.
At the present stage of this index I have not yet seen several
books of dance music, and have included most of the tunes from
Glen's list in SDM. Glen usually listed only the earliest
occurrence of a tune under a given title in his list, so he does
not give a complete contents list. He usually gave short titles,
e.g. xxx for xxx's Reel. He folded together books by the same
author, so his page numbers are useful only if you can decide
which book it refers to. Although Glen listed McGlashan's Scot
Measures, 1781, in his sources, he listed no tunes from it.
Davidson Cook in Scots Musical Magazine, Oct. 1925, showed that
Glen never saw the 1st edition of John Riddell's Collection, c
1766-70, so it is the 2nd. edition, c 1782, that is referred to
in Glen's list, and this contains 32 tunes not in the 1st
edition. Modern bibliography has ascertained better dates from
some works than those derived by Glen, specfically for the three
works by McGlashan and the first volume of Airds Airs, so Glen's
chronological listing is inaccurate in places.
I have added a few tunes, evidently or certainly Scottish,
although not known to have been published in Scotland, mostly
from dance collections published in London, and have made a
separate index of Scots tunes in manuscripts of the 17th
century.
Recently a work has become available, The Scottish Fiddle
Music Index, edited by Charles Gore, and published by The
Amaising Publishing House, Ltd., Musselburgh, 1994. This gives
titles and theme codes for Scots instrumental tunes in all Scots
music publications through the 19th century, but includes few
songbooks with music, and not all tunes from the publications
covered are given. Much information, however, can be obtained
about the tunes is some very rare Scots works, such as Aird's
Airs, and an appendix lists the tunes in the first four books of
Walsh's Caledonian Country Dances, while the tunes in the 5th
book are denoted by (W3) in the main listing.
Works Indexed, preceded by abbreviation used for work: [*, not
yet included. @, incomplete from Glen's list, SDM, and not seen.]
OST: 1700: A Collection of Original Scots Tunes, London, Printed
by Henry Playford, 1700, 1701. Latter edition contains four
more tunes, whose titles I do not have. Not seen. Contents
without page numbers from D. Laing, Appendix to Introduction
of 1851 ed. of SMM, p. xc. Corrected, and with page numbers
from Murray Shoolbraid, British Columbia, Canada.
NIT: 1724: A Collection of the Most Celebrated Irish Tunes. John
and William Neal, Dublin. Companion volume to NST, with same
printers, date. Valuable notes by Nicholas Carolan in photo-
facsimile reprint ed., Dublin, 1986.
OC1: 1725-6: Orpheus Caledonius or a Collection of the best
Scotch Songs set to Musick by W. Thomson. London. Engrav'd
and Printed for the Author at his house in Leicester Fields.
Enter'd at Stationers Hall according to Act of Parliament.
Index has note 'The Songs marked thus (*) were composed by
David Rezzio'. I have similarly marked these tunes in the
index below. All tunes are given in settings for the flute on
seven unnumbered pages at the end. Songs are engraved and
printed on one side only on pages about 8 1/2' high and 14'
wide.
SM: c 1726: Musick for Allan Ramsay's Collection of Scots
Songs, Set by Alexr. Stuart & Engrav'd by R. Cooper. Edinbr.
Printed & sold by Allan Ramsay. Pages about 2 1/2' x 4'.
Beautiful engraving by R. Cooper, but with a few errors. In
six sections, each with a dedication. Tunes are on p. 2 - 155
except for a one page index at end of each section, plus
title page for next section. Last index on last page = 156.
Contents from a rare complete copy in Library of Congress.
Gore's source S16.
CST: 1730: Adam Craig, A Collection of the Choicest Scots Tunes,
Adapted For the Harpsicord or Spinnet and within the Compass
of the Voice Violin or German Flute. By Adam Craig.
Edinburgh 1730. R. Cooper fecit. Entered in Stationers Hall.
pp. 45. Contents from copy in Newberry Library, Chicago.
Back of t.p. blank, as is back of dedication page. 45 pages
of tunes, back of last leaf blank. Pages 7 1/2' high, 12'
wide. Glen, ESM, p. 49-50, mentions an earlier edition, which
BUCEM puts at c 1725. Gore's source C29
*ADC: c 1730-35: Aria di Camera. Not seen. Scots tunes from
Davidson Cook's account in Scots Musical Magazine, p. 32,
Oct., 1925. Cook's arguments for a date of c 1726, I can't
accept. Printers Dan. Wright and Dan. Wright, Jr., published
together only 1730-1735 according to Humphreys and Smith's
Music Publishing in the British Isles, 2nd ed. with
supplement, New York, Barnes and Noble, 1970. I will somewhat
arbitrarily put this work at 1730. According to Nicholas
Carolan, in reprint of NIT, the Irish tunes in this were
pirated from NIT, and it remains to be seen if Scots tunes
were pirated from NST. Not indexed by Gore.
MHF: 1731. The Highland Fair: or, Union of the Clans, a ballad
opera written by Mr. Mitchell. J. Watts, London, 1731. pp.
78. Fifty one tunes. Copy in Folger Shakespeare Library.
Not indexed by Gore.
MUN: 1732: A Collection of the best Scots tunes. By A. Munro. It
also contains a title page in French. n.d. [1732, licensing
date] Not seen. Contents from D. Laing, 12 tunes in Appendix
to Introduction of 1853 ed. of SMM, p. xci. Gore's source M14
is apparently a different work.
OC2: 1733: Orpheus Caledonius. By William Thomson. No copies
noted have the final song page with the rest of the text for
Sleepy Body, before the flute settings of tunes at the end of
Vol. II. Text pages are numbered, but these do not include
pages with music. Tunes are numbered as song numbers, and
these are given in this index. Contents from reprint edition,
1962. Gore's source T6 1-2
OS1: 1740: A Curious Collection of Scots Tunes for a Violin,
Bass Viol or German Flute: With a Thorough Bass For the
Harpsichord...., by Iames Oswald, Musician in Edinbr. pp. 42.
n.d. Contents from copy in Newberry Library, Chicago. The
date, June, 1740, seems to be well determined by the
advertisement cited by D. Laing in the Introduction to the
1839 ed. of SMM, p. xlix. Dedication is to the Duke of Perth.
Four pages of subscribers follow on folios 3 and 4. Then on
numbered pages 1 through 28 are tunes, then follows, pp. 29-
31, 'A Sonata of Scots Tunes' containing; O mother what shall
I do, Ettrick Banks, She rose and let me in, Cromlit's Lilt,
and Polwart on the Green. These are left out of the index
below, as are those pp. 32-34, which are; The Master Mason's
Musick set by Mr Oswald, Anthem for three Voices, and The
free Masons Anthem set by Mr Oswald. Tune settings for the
violin or German flute follow on pp 35-42. The index below
contains the 43 tunes not mentioned above. Gore's source O2.
@OS2: 1742: A Collection of Curious Scots Tunes. n.d. [1742]. By
James Oswald. Two Vols. Not seen, and don't have contents
list. Advertisement on title page of BT1, implies Vol. I is
OS1 re-engraved with additions, and possibly deletions. There
is a photo-copy in private hands somewhere in U.S. or Canada,
but I don't know who has it. Gore's sources O3 & O4.
MG1: 1742: A Collection of Scots Tunes. By William McGibbon.
Contents from Edinburgh edition dated 1742, in Library of
Congress. pp. 36. For the second and third collections, see
MG2 and MG3 below. Gore mixed up this and Bremner's edition
in his source list. This work is actually his Mc8v2A
BTn: 1743-5: BT1: Twelve Scotch and Twelve Irish Airs, n.d.
Twelve English and Twelve Irish Airs, BT2. By Burke Thumoth
(Thomond of Burke). Title page of original issue printed by
John Simpson bears advert. for OS2, but no adv. for
Caledonian Pocket Companion, so it is late 1742 at the
earliest and probably not much later. Simpson died in 1749
and his sucessor Cox reissued both volumes c 1750-60. Copy
for this index, is 1st issue for the first volume, and Cox's
reissue for the second volume, all in Library of Congress.
Cox married Simpson's widow in 1751, and stayed in business
to c 1764. Later yet are issues (from re-engraved plates)
printed by Henry Thorowgood, followed by an issue by the
Thompsons. Five tunes in this index are taken from BT2. One
being a Scots tune and the others are in Scots collections.
Tunes in index below labeled as to Thumoth's stated origin,
English, Scots or Irish. (Thorowgood's issue contains "Yemon
o Nock" (Ned of the Hill) replacing "Yemoncanoell".)
Gore's T7, but he doesn't give title of 2nd book, and seems
not to have indexed it.
CPC1: c 1743. Caledonian Pocket Companion, By James Oswald. Book
1. pp. 36. The approximate dates of the volumes, termed
'books' on the originals, are from John Glen, ESM, where they
are scattered throughout the work, and gathered together by
James Dick. Copy examined is a collection bound together by
J. Ritson, now in the Folger Shakespeare Library. The first
two 'books' do not bear J. Simpson's name as printer, so are
not original issues. The 'books' are here indexed separately,
CPC1, CPC2, etc. Oswald's initial printer, John Simpson,
printed the first twenty six pages of CPC1 as part 3 of his
Delightful Pocket Companion for the German Flute, c 1745,
which may be why Oswald and Simpson soon parted company.
Gore's O1A
CPC2: c 1745. Book 2nd. pp. 36. Pages 4-8 contain eleven tunes
for MacBeth, nine composed by Oswald. I have deleted them
from the index, but list them here. Lady McDuffs Lament, Lady
Macbeth's Dream (not Oswald's), The Banks of Tay, Strily
Vale, Banquo's Ghost, Hamilton House, The Bres of Birnam,
The Bres of Ewes, Scoon House, Eske Side, The Banks of
Sligoe. Gore's source O1B
MG2: 1746: A Second Collection of Scots Tunes. By William
McGibbon. Contents from Edinburgh edition dated 1746, Bound
with MG1, in the Library of Congress. This set of first and
second collections was formerly Niel Gow's, then C. K.
Sharpe's. Gore's McV2B, not that in his incorrect source
list.]
CPC3: c 1751. Book III. pp. 28. Gore's source O1C
CPC4: 1751. Book IIII. (Adv. Dec 1751) pp. 32. Gore's source O1D
CPC5: c 1753. Book V. pp. 32. Gore's source O1E
CPC6: c 1754. Book VI. pp. 28. Gore's source O1F
MG3: 1755: McGibbon's third Collection. Not seen. Titles from a
MS listing by C. K. Sharpe in Library of Congress copy of
MG2. Additional titles and page numbers from Gore's list.
Gore's source Mc8v2C, not that in his incorrect source list.
CPC7: c 1755. Book VII. pp. 33. Gore's source O1G
OS3: c 1756. A Collection of Scots Tunes with Variations,
Particularly adapted for the Violin and Harpsicord/
...[dedication to Earle of Bute]... By James Oswald. London
Printed for the Author at his Musick Shop on the pavemt in
St. Martins Church Yard. Adv. follows offering CPC in seven
volumes. pp. 37. Contents from copy in Library of Congress.
CPC8: c 1756. Book VIII. pp. 28. Gore's source O1H
BR1: c 1757: BR1 I: Thirty Scots Songs Adapted for a Voice and
Harpsichord, The Words from Allan Ramsay. Edinburgh, By
Robert Bremner. n.d. BR1 II: A Second Set of Scots Songs.
Words from Allan Ramsay. By Robert Bremner. Edinburgh, nd.
Contents from later London issues by Bremner, in Library of
Congress.
CPC9: c 1758. Book IX. pp. 24. Gore's source O1I
CPC10: c 1759. Book X. pp. 24. Gore's source O1J
CPC11: c 1759. Book XI. pp. 28. Gore's source O1K
CPC12: c 1759. Book XII. pp. 24. Gore's source O1L
CPC 13-15: Not seen
RBR: c 1757-61: A Collection of Scots Reels or Country Dances
with a Bass for the Violoncello or Harpsichord. Edinburgh,
Printed & Sold by Robt. Bremner. n.d. This was issued in
twelve parts of 8 pages each covering pages 1-96, 1757-61. The
Library of Congress copy has these bound together, with 171
tunes and printed index. Part numbers are printed at the lower
left of page 9 (2) and every eighth page thereafter. John Glen
gives dates for tunes in this work and page numbers from which
one may derive the following dates for the parts: Parts 1, 2 &
3, 1757; Parts 4 & 5, 1758; Parts 6 & 7, 1759; Parts 8, 9 &
10, 1760; Parts 11 & 12, 1761. Bremner's Reels, 2nd volume,
1768, with new title, A Second Collection of Scots Reels or
Country Dances. This is below at 1768, RBR2. Gore's source
B15v1.
BR2: 1759: A Curious Collection of Scots Tunes. By Robert
Bremner. Date from D. Laing, Intro. to SMM, p. lvi. This is
not a reprint of OS1.
OS4: c 1761: A Collection of the Best old Scotch and English
Songs. By James Oswald. Copy in the Library of Congress.
@NSR: 1761-3: A Collection of the Newest and Best Reels or
Country Dances. Edinburgh, Neil Stewart. Not seen. Contents,
incomplete, from Glen's list, SDM, supplemented by some tunes
noted by Dick, SRB, and Gore's listing. 9 numbers of 8 pages.
Parts 1 and 2, 1761; Parts 3-6, 1762; 7-9, ? Gore's source
S12v1.
MGBn: c 1759, 1762, 1768: McGibbon's Collection reprinted, with
additions by Robt. Bremner. J. Glen and J. Dick both give
1768 for this undated work, published, they say, in
Edinburgh. The bound set of the first three books in the
Library of Congress has an Edinburgh address for Book 1, and
a London address for Books 2 and 3. D. Laing notes the three
volume collection was advertised in Feb. 1762, in the
Introduction, p. liv, of the 1839 edition of SMM. Laing
later, p. xcvi, noted a London edition of 4 books, the last
with 41 tunes. I have not seen the 4th book, and have taken
the listings from Gore's work, whose corrected source
designation for the four books is Mc8v1A(-D). Gore evidently
indexed from an issue that was continuously paginated.
FP: 1762: Fifty Favourite Scotch Airs For a Violin, German-
Flute and Violoncello, With a Thorough Bass for the
Harpsichord. __ By Francis Peacock, London, Printed for the
Publisher in Aberdeen. n.d. Date of 1762 from Glen and Dick.
Copy in Library of Congress. Gore's source P4.
@RBR2: 1768. See RBR above. Not seen. Contents from Glen, SDM.
Pagination continues from RBR, pages 97-112. Gore's B15v2
NSS: 1772: A Collection of Scots Songs adapted for a Voice and
Harpsichord. By Neil Stewart. Three issues in Library of
Congress all have different addresses in Edinburgh. Printed
and Sold by Neil Stewart at his Shop: (1) Parliament Square,
(2) Millno Square Opposite to the Tron Church, (3) No. 37
South Bridge St. pp. 28. The one apparently oldest is (1),
where an anonymous MS note states it is original ed. of 1772.
Songbook, not indexed by Gore.
DDM: c 1775. A Collection of Ancient Scots Music for the Violin
[etc]....Ports, Salutations Marches or Pibrachs. By Daniel
Dow, Edinburgh, Printed and Sold by the Publisher. n.d. c
1775. Contents from copy in Library of Congress. Several
tunes in this work are ascribed to Rori Dall, and there
are several more which Irish works attribute to Rory Dall
O'Cahan. Gore's D14v2.
@DDRn: Daniel Dow. Temporary listing from Glen's list in SDM,
where contents of two or three books by Dow are evidently
folded together in his tune source listing. DDR1: Thirty
Seven New Reels and Strathspeys. DDR2: Twenty Minuets, and
Sixteen Reels or Country Dances, c 1775. DDR3: New Reels and
Strathspeys? BUCEM does not list a copy of the latter. All
together here as DDR: DDR1 = Gore's source D14v3; DDR2 =
Gore's source D14v1; DDR3 = Gore's source D14v4
@JCR: 1778. Collection of Newest and Best Reels and Minuets, By
Joshua Campbell. Glasgow, J. Aird. Contents from Glen, SDM,
which is incomplete. Gore's source C13v2.
AMR: c 1778, 1781: A Collection of Strathspey Reels With a Bass
for the Violoncello or Harpsichord. By Alexander McGlashan.
Edinburgh. Printed for A.McGlashan and Sold by Neil Stewart
at his Music Shop Parliament Square. Contents list from two
copies bound with other works in Library of Congress. Gore's
source Mc9v1.
AMM: c 1778, c 1781: A Collection of Scots Measures Hornpipes
Jigs Allemands, Cotillions And all the fashionable Country
Dances with a Bass for the Violoncello or Harpsichord. By
Alexander McGlashan. EDINR. Printed for the Publisher and
Sold by Neil Stewart Parliment Square. Where may be had
McGlashan's 2nd Collection of Strathspey Reels. Contents from
two copies in Library of Congress. Dates here from BUCEM.
Gore's source Mc9v2.
@RRR: 1780: A Choice Collection of Scots Reels or Country Dances
or Strathspeys. By Robert Ross. Contents from Glen, SDM, not
complete. Gore's source R11
AMR2: c 1781, 1786. A Collection of Reels, consisting chiefly of
Strathspeys, Athole Reels &c. by Alexander McGlashan.
Edinburgh: printed for the publisher &c by Neil Stewart. pp.
46. Library of Congress. Gore's source Mc9v3
WMR1,2: 1781: A Collection of Strathspey Reels With a Bass for
the Violoncello or Harpsichord. Composed by Wm. Marshall.
Printed for Neil Stewart and Sold at his Music Shop Parliament
Square Edinburgh. Two works with same title page (modified
from that of AMR). The one of 12 pages is here indexed as
WMR1, and the one of 4 pages as WMR2. These are different
works with no common tunes. Contents indexed WMR1 are from the
photo-facsimile reprint, noted following, 1978. Those indexed
WMR2 are from a copy in Library of Congress. BUCEM lists no
copy of the latter, and it is not included in Marshall's
Scottish Melodies, Fiddlecase Books, New Hampshire, 1978.
These are Gore's sources M4v1 & M4v2.
NST:1781: Thirty Scots Songs. Adapted for a Voice and
Harpsicord. The Words by Allan Ramsay. Edinburgh. By Neil
Stewart. Date from John Glen, ESM. Three different
collections with same title. Here designated NST I and NST
II. Contents from copies in Library of Congress. I haven't
yet had an opportunity to see the third book. Newberry
Library, Chicago, has all 3 vols. Songbook not indexed by
Gore.
@JRR2: 1782: A Collection of Scots Reels, Minuets, &c Composed by
John Riddell in Ayre. The Second Edition Greatly Improved.
pp. 60. Contents from Glen's list, SDM. Davidson Cook has
shown that Glen never saw first edition, c 1766-70, and tunes
in his list are from 2nd edition which contains 32 tunes not
in the 1st edition. Gore lists JRR1 and JRR2, but seems to
have indexed only the latter as R5.
DCS: 1783. A New and Complete Collection of the most favourite
Scots Songs Including a few English and Irish... By Sigr.
[Domenico] Corri. 2 vols. Edinburgh. n.d. Title page notes 3
books, but third apparently never printed. Date of 1783 from
Glen, ESM, and Dick, SRB, who state original printers were
Corri and Sutherland. There were several reissues of this
work with title page altered by different publishers.
Contents here from issue by Corri and Coy in Library of
Congress. Library of Congress has two other works by Corri
whose titles note they are collections of Scots tunes. I have
not here reproduced the jumble of capital and lower case
words in tune titles exactly as printed in the book. Also
deleted in index are: (I) The Gentle Shepherd, Cantata in 3
parts. (1), as title, commencing "Speak on, speak on." (2)
Scotch Reel, with song commencing "Cauld be the rebels
cast." (3) Scotch Reel, with song commencing "Were I assured
you'd constant prove." Gore assigns C25 to this but does not
index.
@RMR: 1783. Airs, Minuets, Gavotts and Reels. Composed by Robert
Mackintosh. Edinburgh. Printed for the author. n.d.
Incomplete contents from Glen's list, SDM, given at end.
Gore's source Mc21v1.
GSR1: 1784. A Collection of Strathspey Reels. By Niel Gow at
Dunkeld. Edinburgh Printed for the Author, and Sold by Corri
and Sutherland. n.d. pp. 36. Gore's G10v1.
GSR2: 1788. A Second Collection of Strathspey Reels &c. By Niel
Gow at Dunkeld. Printed for the Author and Sold by &c. n.d.
Works not indexed:
*NST: 1724: A collection of the most celebrated Scotch tunes
proper for the violin, being all different from any yet
printed in London and carefully corrected by the best
masters. John and William Neal, Dublin, nd. Collection
advertised in Aug. 1724. Copy in Library of Queen's
University, Belfast, bound with Irish collection of same
date, NIT.
*JYC c 1727: A Collection of Original Scotch tunes for the
Violin, Published by John Young, London. Not seen. Gore's
source Y1, which he dates 1720.
*CAL: Calliope, or the English Harmony, H. Roberts, 1729.
Not yet seen. A later edition, undated, c 1739-1746, in two
volumes of 200 pages each, printed by J. Simpson, is in the
Folger Shakespeare Library, and Library of Congress, Music
Division. The latter edition contains musical settings for
several songs by Dr. Green and James Oswald, in addition
to many from songs from Tea Table Miscellany set to music.
*BAR: 1742: A Collection of Old Scots Tunes ...., by
Francis [Francesco] Barsanti. Edinburgh, Printed by Alexander
Baillie, & sold by Messrs Hamilton & Kincaid. n.d. Laing's
note of advertisements in Intro. to SMM, p. liii, establishes
date. Not yet seen. Copy BM.f.74. Fol. pp. 15. Gore's source
B5.
*BR3: 1760: Twelve Scots Songs for the Voice or Guitar,
Edinburgh, n.d. By Robert Bremner. Date of May, 1760, from D.
Laing's note of advertisement in Introduction, p. lvi, to
1839 ed. of SMM. Not seen.
*JRR1 c 1766: A Collection of Scots Reels, or Country Dances
and Minuets... Composed by John Riddle at Ayr. Edinburgh. pp.
45. See JRR2, 1782. Glen's list in SDM is from 2nd ed. This
first edition was in possession of Davidson Cook, who
described it in Scottish Musical Magazine, Oct. 1925, but
noted only a few tunes in it. All but one are in 2nd. edit,
which contains 32 additional tunes.
*ACR 1780: A Collection of Strathspeys or Old Highland Reels.
By Angus Cumming. Edinburgh, 1780. 1782: ACR2: A Collection
of Strathspeys or old Highland Reels by Angus Cumming.
Glasgow. Printed & Sold by Jas Aird. Incomplete contents from
Glen's list, SDM. Probably both works folded together in
Glen's list. Gore source C33 lists what is probably ACR2
*MGB4: 1768. See MGBn, above. Not seen. Gore's source Mc8v1D
*CMT: [1772, June]. A Collection of Favourite Scots Tunes... by
..Charles McLean. Edinburgh. Neil Stewart. Dick, SRB, cites
this for a few tunes. Not seen. Gore's source Mc23.
*ARC: 1782: A Collection of the most Favourite Scots Tunes. By
A.[lexander] Reinagle. James Aird, Glasgow. Not seen. Gore's
source R4. Probably same as following. A Selection of the
Most Favourite Scots Tunes. By A. Reinagle. T. Dobson & W.
Young. Philadelphia, 1787. Reinagle moved to New York in
1786, and shortly thereafter moved to Philadelphia. Six of
the eleven tunes in this were reprinted in US several years
ago.
*AA1: c 1778. A Selection of Scotch, English, Irish and Foreign
Airs. Glasgow. Printed and Sold by James Aird. Volume First.
n.d. pp. 74. Title here quoted from Glen, SDM. That which
Glen quoted, however, was not the first issue, which had no
volume number. There is also a third issue of the first
volume. None seen, except reissue of AA4 below. Six total
volumes, see 1782, 1788, 1794, 1797, 1802-3. Vols. 1-3,
formerly in Forbes Library, Northampton, Mass., have been
sold, and I do not know their present location. [I went to
the library to make a contents list and copy some tunes after
having gotten a xerox of one page of volume III from that
library, but the books were not longer there] Gore's source
A1v1.
*AA2: 1782: A Selection of Scotch, English, Irish and Foreign
Airs. Vol II, Printed and Sold by Jas. Aird, Glasgow. Volume
2nd. n.d. pp. 80. Not seen. Gore's source A1v2
*TCM: Thompsons' Caledonian Muse, London, c 1785. Not seen. Not
listed by Gore.
*AA3: 1788. t.p. as AA2, 3rd. Vol, according to Glen, ESM. Not
seen. Gore's source A1v3
*JCR2: 1788. A Collection of New Reels & Highland Strathspeys &c.
By Joshua Campbell. Glasgow, Printed for the Author. Gore's
source C13v1.
*PMA: 1784. A Collection of Highland Vocal Airs. By Patrick
McDonald. Edinburgh: Corri and Sutherland. Not seen. Gore's
source Mc5.
*RRM: 1787. New Music for the Piano-Forte or Harpsichord,
composed by a gentleman (R. Riddell of Glenriddel) consisting
of a Collection of Reels, Minuets, Hornpipes, Marches and Two
Songs. Published by J. Johnson, engraver, Bell's Wynd
Edinburgh. Gore's source R6v1
*WNS1-3: c 1790-91. n.d. A selection of the most favourite Scots
Songs (Vol. I), A selection of original Scot's songs (Vol. 2,
3) By William Napier. London. 3 vols. 1790-94. Supposedly in
Lib. of Congress, but can't be found. Not seen. Gore's source
N1v2.
*USS1-6: 1792-1794. Urbani, Peter (Pietro). Six books of Scots
Songs. First three vols. in Library of Congress. Not listed
by Gore.
*AA4: c 1794. Aird's Selection of Scotch, English, Irish and
Foreign Airs. [Vol.IV] A reissue: Printed & Sold by A.
MacGoun, Glasgow n.d. Copy in Library of Congress Music
Division. vol. number incompletely deleted. This copy
incomplete, missing the last 6 of 200 tunes.
Dance Collections, not included :
*Walsh, John. Caledonian Country Dances. Vol 1: part 1, 1733; 2nd
ed. 1735, 3rd ed. 1736. 2nd book (part 2), c 1736, and 1737;
part 3, c 1740; 4 books, completing Vol. I, 1744. Vol. 2:
part 1, 1748; part 2, 1751; part 3, c 1755; part 4, Jan.
1757. A ninth part, 1762. Dates here from Bibliography of
John Walsh, 1721- 1760, by W. C. Smith and Charles Humphries,
1968. I have not seen any of these. Gore lists contents of
1st 4 books as W3.
*1788: A Collection of Strathspey Reels. by Malcolm McDonald.
Edinburgh. Gore's source Mc4v1.
*1789. A Collection of Strathspey Reels and Country Dances....
By John Bowie. Edinburgh: Neil Stewart. Gore's source B11.
*GSR3: A Third Collection of Strathspey Reels, by Niel Gow.
n.d. [1792]
*GSR4: A Fourth Collection of Strathspey Reels, by Niel Gow. n.d.
[1799 or 1800]
*GCR1: A Complete Repository, 1799.
*GCR2: A Complete Repository, Part Second, 1802.
*GCR3: A Complete Repository, Part Third, 1806.
*GSR5: A Fifth Collection of Strathspey Reels, [1809]
*GSR6: A Sixth Collection of Strathspey Reels, 1822.
*GCR4: A Complete Repository, Part Fourth, 1817.
*WC: Wm. Campbell printed 27 books of Scots and Irish dance
tunes in London, c 1795 -1810.
Works Ignored or not found:
The Scotch Orpheus. c 1731. Davidson Cook's description of his
copy in the Scottish Musical Magazine, Oct., 1925, makes it clear
this was a pirated reprint of the original (1725-6) Orpheus
Caledonius.
Neil Stewart's A Collection of Marches & Airs. With few
exceptions these are unnamed tunes by McGibbon and other
Scotsmen, plus tunes by Handel, Vivaldi, Martini, and Corelli.
Copy in Library of Congress. 2nd. collection of marches, not
seen.
McGibbon, William, Six Sonatas, 1729, 1734, 1740?
Dale's Collection of Reels and Dances, c 1801. I have found
only the 1st section of 4 pages, and have not found his
collection of Scots songs.
There are a few other works of Scots dance tunes by some of
the Gow family, but I have found only one small one by John and
Andrew Gow, c 1800, apparently Gore's G8.
Miscellaneous References, Source and commentary:
Rutherford, David. c 1754. Rutherford's Collection of sixty of
the most celebrated Country Dances. Copy in the Folger
Shakespeare Library, with conjectured date of 1750, following
BUCEM. But one tune in it, "The Haymakers," qv, 1st appeared in
the pantomime of [Harlequin] Fortunatus, in late December,
1753.
SMM: The Scots Musical Museum, 1787-1803 (actually 1804),
reprinted 1839, 1853, 1962. My references numbers to SMM are to
tunes, not necessarily songs, and identifications of these are
almost all from John Glen, ESM, and James Dick, SRB, below.
ESM: Early Scottish Melodies. By John Glen. Edinburgh 1900.
Recently reprinted.
SDM: The Glen Collection of Scottish Dance Music, I, 1891. II,
1895. Introduction, p. xv-xvii, contains contents list of
almost all Scottish reel and strathspey tunes in Scottish
publications from the earliest, 1757 (Bremner's Reels) to 1782.
These are not crossed referenced to tunes in music books or
song books with music, however, and the list does not include
publications of J. Walsh or other London dance music
publishers. Glen, with a few exceptions cited only what he
believed was the earliest copy of a tune. Glen folded all books
by a given editor together, so in many cases one cannot tell
which book contained a given tune.
SRB: The Songs of Robert Burns, by James Dick, 1903, and,
DNRB: Notes on Scottish Song by Robert Burns, 1908. Both
reprinted together, 1962.
DIEM: Beitrage zur Geschite der Schottischen Musik, Leipzig,
1919, By Nelly Diem. She gave translations of six tunes from
the Guthrie MS, c 1675- 80. All of these except "The Shoemaker"
are noted below. Others in the index are in the MS, but not yet
translated to the best of my knowledge. The tunes translated
prove to be very rudimentary. See music for some other Scots
tunes from early sources.
PMOT: Popular Music of the Olden Time, By William Chappell. 2
Vols. London, n.d. [1855-59]. Superceded by Simpson, BBBM, for
broadside ballad tunes prior to 1700, but still very useful for
18th century popular tunes. Citations from reprint ed., Dover,
New York, 1965.
BBBM: The British Broadside Ballad and its Music, by Claude M.
Simpson, 1966. The standard work on 17th century English
broadside ballad tunes. Small, but valuable, supplement, John
Ward. Journal of the American Musicological Society. Vol XX,
1967.
ODNR: Iona and Peter Opie's The Oxford Dictionary of Nursery
Rhymes. This book has little to do with music, but they have
nursery rhyme versions of what are possibly traditional
survivals of lost original songs for a number of tunes, and
their concise bibliographies of other texts are very useful.
HH: Hecht, Hans: Hecht's Herd. Songs from David Herd's
Manuscripts, Edinburgh, 1904.
MMC: 1799-1800. The Merry Muses of Caledonia. I will use
G. Legman's type facsimile edition for reference. It is clear
from comments of Robert Burns and William Stenhouse, that they
considered several songs printed here to be the original songs,
or at least traditional survivals of such, for some Scots
tunes. Perhaps the bawdy nature of the songs has obsured the
fact that this is primarily a collection of traditional songs.
There are some in here that obviously supplied the original
title for tunes later known by other titles, and there are
errors in tune citations. "He tilt and she tilt," for instance,
had its own tune.
SB1: Hill Country Tunes. By Samuel P. Bayard, American Folklore
Society, 1941.
SB2: Dance to the Fiddle, March to the Fife. By Samuel P. Bayard.
1980. Bayard's tunes, 651 of them with many variants of some,
are those collected in Pennsylvania in this century, but his
tune histories are far ranging over the British Isles and
America. Many tunes in this are Scots ones. Bayard takes a wide
view in citing variants of a tune, and points out relationships
among tunes not to be found elsewhere. This is in contrast to
John Glen who usually takes a narrow view. Bayard castigates
Glenn for misciting sources and dates, just as Glen did with
Stenhouse. Bayard has errors, too. There aren't any 'perfect'
works.
JMS: 1924. J. McBain in an article 'Scottish Tunes in the Skene
Manuscript,' The Scottish Musical Magazine, June and July,
1924, adds notes on later variants of Skene MS tunes.
BUCEM: British Union Catalog of Early Music, printed before the
year 1801. 2 Vols. Edited by Edith B Schnapper, 1957. A wealth
of information about editions, dates of published works now
extant in public access libraries in the British Isles, but
some conjectured dates are in greivous error, and some
libraries with important holdings of Scots (and Irish) works
are not covered.
Some Scottish songs with music are also in the following: The
Musical Miscellany, Perth, 1786 [also issued the same year with
different title page as The Edinburgh Musical Miscellany, and is
a predecessor of the one of the same title following, though not
later counted as a 1st edition]; Calliope, or, The Musical
Miscellany, London and Edinburgh, 1788; The Edinburgh Musical
Miscellany, 2 Vols., Edinburgh, 1792; The Musical Repository,
Glasgow, 1799; The Vocal Magazine, 3 Vols, Stewart & Co.,
Edinburgh, 1797, 1798, and 1799: The Yorkshire Musical
Miscellany, C. Jacob, Halifax, 1800: The Edinburgh Musical
Miscellany, 2 vols., 2nd ed., Edinburgh, 1808; The Songster's
Favorite Companion, A. Macgoun, Glasgow, n.d. [c1810. This
contains words and music for "This is the house that Jack
built"].
TITLE INDEX
Abercarney's Reel; AMR 25:
Abercromby/ Miss Abercromby's Reel; WMR1 5:
Aberdeens Scots Measure, The; CPC5 16:
A' Body Love's me; CPC6 16: A' Body looes me; NSR 18:
Acharnac's Reel, or Bal nam Grantich [Glen, SDM, xv, equated this
to Lady Mary Menzies Reel, but not in ESM, p. 149, where he
equates it to Miss Louisa Campbell's Delight, now called Lucy
Campbell, qv.] ACR 2:
Adam/ Miss Adam; DDR 33:
Ailen Aroon; BT1 26-27, as Irish: Aileen a roon; CPC5 21: Ailen a
Roon; OS3 12-13: CMT 28: [Irish tune. Dick, SRB p. 366, notes
tune in McLean's Scots Tunes, 1772. p. 28. The tune appears as
"Ellen a Roon" in the music at the end of the 4th ed. of
Charles Coffey's The Beggar's Wedding, 1729. (There is another
'4th ed.' by different printers, dated 1731.) The Irish Gaelic
song of three verses was printed with phonetic spelling, and
commences "Duccatu non vanutu, Aileen A'Roon," (English- "A
thousand welcomes to you, Aileen A'Roon.") This was sung by
Kitty Clive at the theatre Royal, Drury Lane, on Aug. 3, 1742.
The song was soon after issued as a single sheet song with
music. Copy in Folger Shakespeare Library. It was revived in
1769, and later single sheet editions again published.];
Alack and well a day [Cf. Well a day]; CPC8 27:
Albremarle/ Lord Albremarle; NSR 32:
Aldavaligh, see O're the moor among the Heather.
Aldridge's Allemand; AMM 37:
Aldridge's Hornpipe; AMM 36:
Ale Wife and her Barrel, The; CPC8 22: Ale Wife and her Barrel,
The; NSR 52:
Allan/ Miss Ketty Allan's Reel; WMR2 3:
Allen Water; OST 12: Allan Water; OC2 II #28: Allan Water; MG1
34: Allan Water; CPC4 25: Allan Water; FP 12: Allan Water; MGB3
20: Allan Water [Song, "What numbers shall the muse repeat."];
NSS 6: [SMM #43. Glen, ESM p. 70, notes tune in Blaikie MS,
1692, Atkinson MS, 1694, and Sinkler MS, 1710]
Allemand de gracs; AMM 19:
Alloway House [SMM #238. Claimed by Oswald in CPC.]; OS1 21:
Alloa House; MG1 19: Alloway House; CPC1 24: Alloa House; BR1
II 28: Alloa House; FP 18: Alloa House; MGB1 25: Alloa House;
NST I 10:
Always Pleased; AMR 2:
An the Kirk, see And the Kirk.
An thou were my ain Thing [SMM #2]; OC1 23: Ann thou were my ain
thing; SM 138-139: And thou wert my own thing; CST 10: Wert
thou but my ain Thing; MHF 27: Ann Thow were my Ain thing; OC2
I #23: Ann thou were my ain thing; MG1 14: An thou wert my ain
Thing; CPC2 16: Ann thou wert my ain Thing; BR1 I 12: An thou
were my ain thing; FP 22: Ann thou were my ain thing; MGB3 23:
An thou were my ain thing; NST II 14: An thou were my ain
thing; DCS II 21: [ G. F. Graham's transcript of the tune from
the lost Straloch Lute MS, 1627-29 is in NLS MS Adv. 5.2.18,
p. 18. This was translated and printed by Diem. Graham made a
second copy of his transcript, eventually purchased by Leeds
University. From this second copy when in the possession of Wm.
Taphouse of Oxford, another was made by Frank Kidson, and the
latter was in turn was copied and translated by Alfred Moffat.
The latter, with translations, is in Lib. of Congress MS.]
An ye had been where I had been; MG3 19: If you had been where
I have been: CPC9 18: An ye had been where I had been you would
not been so canty; MGB2 15:
And the kirk would let me be. [SMM # 58]/ The Blithsom Bridal
[Song title.]; OC1 36: And the Kirk woud let me be; SM 42-43:
And the Kirk would let me be; CST 41: An the Kirk wad let me
be; MHF 49: The Blythsome Bridal [Song title.]; OC2 I #36: And
the Kirk would let me be; CPC3 14: Fi lets a to the wedding;
MG3: An the Kirk wad let me be; MGB1 18: The Blithsome Bridal;
Single sheet song with music, London, c 1760, [printed by] R.
Br. [Robt. Bremner]: Wully Honey, H. Fielding's ballad opera An
Old Man taught Wisdom, 1735: [17th century. R. Burns supplied
the title "Auld Glenae" for a short song given in David Herd's
Scots Songs and in H. Hecht's Songs from David Herd's
Manuscripts, 1904, p. 119, where in the latter it is headed
"Gin the Kirk Wad Let Me Be." The first line of the this is "I
am a poor silly auld man." Simpson, p. 638, under the English
title, "The Scotch Wedding," has an extensive discussion of the
tune, and the latter song, citing the text in Watson's Choice
Collection, 1706, as the apparent earliest version. He cited
Herd's and Hecht's works but failed to note the first line, "I
am a poor silly auld man," and its use as a tune title. John
Glen, ESM p. 75, 1900, noted the tune in Walsh's Caledonian
Country Dances, as "Silly old Man." An expanded early version
of "The Blythsome Bridal," of c 1665-76, is entitled "The
Scottish Contract, or, A Marriage agreement betwixt wanton
Willy and mincing Meggy," 'To a delightfull Scoth [sic] Tune,
or I am a silly old man' and is in The Euing Collection of
English Broadside Ballads, #323, University of Glasgow, 1971.
Anderson's Rant; WMR1 7:
Anderson's Farewell; RRR 31:
Andrew and his Cutie Gun [SMM #180. Dick, SRB p. 361, notes two
song books containing tune.]; CPC6 4: Andrew and his Cuttie
Gun; GSR1 23: AA2 37:
Anna, see The Banks of Banna.
Annie and Colin; CPC9 8:
Annon side; CPC12 2:
Annie's Scots Measure [Claimed by Oswald in CPC index.]; CPC6 8:
Anthony Murray's Reel; AMR 15:
Anthy, see Ianthe the lovely.
Antrim/ Lord Antrim's Delight; CPC12 1:
Appie McNabb [Or, Eppie, Effie/ McNab, McKnab. SMM #336. Song,
Herd's MSS, Hecht, p. 113, 286. Dick, SRB p. 394, notes bad
copy in Aird's Airs II #163, 1782.]; CPC6 18: Eppie McKnab;
RBR2 111:
Appin House; AMR 21:
Argyle; The Dancing Master, II, 1728:
Argyle/ Duke of Argyle's Strathspey; GSR1 32:
Dutchess of Argyle, The JCR 78:
Argyll's Bowling Green; RBR 70:
Armstrong's Farewell, see Johnny Armstrong.
Arndilly's Reel, see Canty Body.
Arne's Reel; NSR 60:
Arnot/ Mrs. Arnot; JRR2 60:
Arthur's Seat [I]; CPC9 21:
Arthur's Seat [II. Also in Marshall's 1822 collection, p. 38];
WMR1 1:
Artless Annie; CPC9 17:
As black as a Coal; RBR 60:
As I Went out ae may morning [SMM #397. Song is "The Willing maid
a day too young," in A Choice Garland, and was traditional in
US.]
Athole/ Duke of Athole's Delight, The; GSR1 33-4:
Duke of Atholes Forrest, The; AMR2 16:
Duke of Athol's Forrest Lodge Glen Tilt; AMR2 42:
Duke of Athole's Rant; NSR 31: The Duke of Athole's Rant; AMR
32:
Duke of Athol's Strathspey; GSR2 28:
Dutchess of Athol, see Let's to the Ard.
Dutchess of Atholl; DDR 25:
Dutchess of Athol's Delight, The; GSR2 20:
Dutchess of Athole's Strathspey; GSR1 1:
Athol Cummers_Strathspey, The; RBR 78: The Athole Cummers; AMR
10: Lady Grant of Grant; ACR 2:
Athole House; DDR 1: Athole House; AMR2 27:
Athole Lads, The; AMR2 24-25:
Atholian Hills; DDR 12:
At setting Day [SMM #493.]; CPC7 17:
Auld Goodman, The [SMM #318.]; OC2 II #19: The auld Goodman; CPC3
15:
Auld Lang Syne (1) [SMM #25. Glen, ESM p. 25, notes untitled copy
in Sinkler MS, 1710, and text printed in Watson's collection,
1711. Motherwell printed a seventeenth century broadside text,
"Auld Langsyne, To its own proper tune," in The Paisley
Magazine, p. 377, 1828.]/ For old long Gine my Joe; OST 11:
Auld lang syne; OC1 31: Auld lang Syne; SM 20-21: Auld lang
Syne; MHF 26: Auld Lang Syne; OC2 I #31: Auld lang Syne; MG2
17: Auld long syne; CPC3 21: Auld land syne; MGB1 14: Auld Lang
Syne; NSS 22:
Auld Lang Syne (2) [SMM #394, #417, and #418. Tune title here is
from Burn's via singing of an old man [SMM #413]. Set to tune
by Thompson 1799. See Dick, SRB p. 438. Glen, ESM p. 189,
prints Cumming's/ McGlashan's, Shield's, Gow's and Thompson's
tunes. Others, given by Dick are; Overture to Rossina, by
Shields: Sir Alex. Don's Strathspey; Gow.]/ The Miller's
Wedding_Strathspey; RBR 41: The Miller's Daughter; AMR 5:
Miller's Wedding, The [According to Dick, SRB p. 439.]; ACR1
17: Sir Alexr. Don's Strathspey; GSR1 12: Miller's Daughter Old
Set, The; GSR1 22:
Auld Maid of Fife, The [Variant of Muirland Willie, according
to Bayard, SB2, #542.]; CPC7 21:
auld Man is long a dying, The [Old man ill never die? qv.]; AMR
34:
Auld Man's Mare's Dead [Glen, ESM, #485, passes on, with
reservations, tradition that song and tune are by Pattie
Birnie, and notes tune is not found before that in Aird's Airs,
II, 1782. In The Scots Nightingale, p. 337, 1779, song is
attributed to a Mr. Watt]; SMM #485:
Auld Robin Gray [SMM #247. Glen, ESM p. 142, notes tune and song
in NST 1781, and older name for tune was "The bridegroom grat
when the sun gaed down." Song without music or tune direction
was noted to have been sung at the Theatre, North-Shields, by
Miss Baily, in The Polite Singer, 1781. Without music or tune
direction the song is in The Scots Nightingale, 1779. Song
without music with tune direction "The bridegroom greets" in
St. Cecelia, 1782. Song and "Death of Auld Robin Gray," "The
Ghaist of Auld Robin Grey," "Jamie's Complaint, or The Sequel
to Auld Robin Grey," and "Jemmy and Jenny's Farewell, A Prelude
to Auld Robin Grey" are in Roundelay, or the New Syren, c 1783.
Gavin Greig, Folksong of the North-East in Arts. 114 and 116
gave a song "Auld Widow Greylocks," to a similar tune, with
suggestion it was possibly "The bridegroom grat." Ian Spring,
in an article in Folk Music Journal, p. 469, 1988, tries to
relate "The bridegroom grat" to other known songs, but makes no
mention of tunes.]; NST II 30: Auld Robin Gray; DCS; I 7:
[and] New Set [of] Auld Robin Gray; DCS I 7-8: Both tunes in
Calliope, 1788.
Auld Rob Mor[r]is [SMM #192. Glen, ESM p. 123, notes tune as
"Jock the Laird's Brither" in Blaikie MS, 1692, and prints it.
Scone Palace MS quoted in Grove's Dictionary, 5th ed., gives
two lines of latter as: "He's crooked o'a leg and blind o'an
e'e, and Jock the laird's brother's no for me." Thus "Auld Rob
Morris" is a reworked version of "Jock the Laird's Brother."];
*OC1 30: Auld Rob Morris; SM 116-117: Old Rob Morries; CST 45:
Auld Rob Morrice; MHF 73: Auld Rob Morris; OC2 I #30: Auld Rob
Morrice; CPC6 9: Auld Rob Morris; MG3: Auld Rob. Morice; OS3
15: Auld Rob Morrice; FP 23: Auld Rob Morris; MGB1 4: Auld Rob
Morris; NSS 10: Auld Rob Moris; DCS II 15:
Auld Stewart's Back again, see Old Stewart's back again.
Auld Wife ayont the fire [SMM #435. Glen, ESM p. 196, cites wrong
volume for CPC.]/ Old Wife beyon the Fire, The; CPC5 2: The
Auld Wife ayont the fire; RBR 90: Auld wife ayont the fire; NSR
12:
Aways my Heart, see Wae's my heart.
away Whighs away [SMM #263. Tune "Whirry Whigs away" cited for "A
Song on the Highland Army" in Scots chapbook of c 1747, Three
Excellent New Songs.]; CPC6 19:
Back of the Change house; RBR 93:
Bab at the Bowster [SMM #431, for Burns' "The Cooper of Cuddy."
Glen, ESM p. 195, notes tune in Cobbler's Opera, 1729, as "The
Country Bumpkin," under which title it is also in Walsh's
Caledonian Country Dances, I, 85. Dick, SRB p. 429, adds Skene
MS "Who learned you to dance and toddle," and that in NSR.]/
Country Bumpkin; NSR 71: Bab at the Bowster; AA1 #119:
Baille/ Hon.ble George Baille's Strathspey; GSR1 21:
Baird/ Lady Baird of Saughtonhall; DDR 13:
Lady Baird's Delight, see The Lees of Luncartie.
Lady Baird's Strathspey; GSR2 4:
Mrs. Baird of New Blyths Strathspey; GSR1 9: Mrs. Baird of
Newblyth's Strathspey; GSR2 9:
Sir James Baird's Strathspey; GSR1 8: Sir James Baird's
Strathspey; GSR2 3:
Balcares/ Lady Balcaras; JRR2 57:
Balendaloch's Dream; RBR 33:
Balfour/ Miss Balfour; NSR 71:
Balgenny's Bowling Green [Printed by Glen, SDM I, p. 21.]; RBR
39:
Ball na grandach or Miss Lucina Campbell's delight, see Campbell,
Miss Louisa.
Ballenden/ Right Hon.ble Lord Ballenden's Strathspey, The; GSR1
24:
Ballnadallach, see Camdelmore
Balow my Boy, see Lady Ann Bothwell's Lament.
Banks of Banna [Irish tune. Dick, SRB 365, notes early copies of
George Ogle's song "Anna." BUCEM lists single sheet copies from
about 1775. Moffat, Minstrelsy of Ireland, points out tune is a
setting of "Sin sios agus liom" which is in NIT, 1724, as
"Sheen sheesh igus souse lum"]/ Anna [Song, "Shepherd's I have
lost my love."]; DCS I 14:
Banks o' Doon, see Caledonian Hunts Delight.
Banks of Forth by Mr Oswald, The [SMM #75.]; OS1 26: The Banks of
Forth; MG2 14: The Banks of Forth by Mr. Oswald; CPC1 26: The
Banks of Forth; BR1 II 6: The Banks of Forth by J. Oswald [Song
commences "Ye silvan powers that rule the plain."]; OS4 24: The
Banks of Forth; MGB2 17: The Banks of the Forth [Song, "Ye
Sylvain Powers.."]; NST I 18:
Banks of Gary, The; AMR2 32:
Banks of Severn, The [Claimed by Oswald in CPC index.]; CPC5 29:
Banks of Spey, The (1) [SMM #186.]; MG3: The Banks of spey; CPC11
11: The Banks of Spey; MGB3 14:
Banks of Spey_by Mr. Marshall, The (2); AMR2 3:
Banks of Tay; FP 24:
Banks of the Tweed, The [Tune for recitative commencing "As on
the Banks of Tweed I lay reclin'd," followed by 'Air' for song
commencing "To the soft murmuring stream."]; DCS II 27-8:
Bannocks of Bear Meal [SMM #475 and #507. Glen, ESM p. 206,
notes tune in Sinkler MS, 1710.]/ I'll never leave thee [Song,
Crawford's "One day I heard Mary say." Glen, p. 86, identified
tune in OC1.]; OC1 21: Johnny and Nelly [SMM #507. Ramsay's
song, "Tho for seven years and mair"]; OC2 I #21: Bannocks of
Beer Meal; MG2 8-9, For the Flute 8-9: Tho for Seven long
Years; BT1 14-15: Banoks of Bear Meal; CPC3 6: There was a Lad
and a Lass in a Kilogie [Tune identification from Glen, ESM p.
206.]; CPC6 26: Bannocks of Beer Meal; MGB2 6:
Barbara Allan [SMM #221, #420.]/ Barbra Allan; OS1 3: Barbara
Allan; CPC2 27:
Barley Cakes; [There is a different English tune of this title
published somewhat earlier, and this, in English collections,
is "Barley Sugar"]: Barley Cakes; CPC10 2: Barley Cakes; RBR
68:
Barns of Clyde, The; JCR 77:
Battle of Falkirk, The; CPC9 2: [Battle of Falkirk Garland, 1746,
is in Folger Shakespeare Library]
Battle of Hara Law [SMM #512. Glen, ESM p. 218, reprints Dow's
tune.]; DDM 28:
Be Constant still; CPC12 10: Be constant still. an old Tune; FP
5: [Irish; Stalk en Vauraga Irish, O'Farrell's Pocket
Companion]
Be kind to the young thing; MG3:
Be valiant still, see To Daunton Me.
Beauclerk/ Lady George Beauclerk's Reel; RBR 33:
Because I was a bonny Lad [Gale Huntington cites several Scots
and Northumbrian copies under "Bonny Lads" in William Litten's
Fiddle Tunes, 1977, but not the verse in Northumbrain
Minstrelsy, p. 154, 1882.]; CPC12 11: Because he was a bonny
Lad; RBR 14: Because I was a Bonny Lad; AMR2 44:
Beam of Joy, The; CPC11 25:
Becky Murray a Strathspey; AMR2 7:
Bedding of the Bride, The; AMR2 15:
Beds of Roses; AMR2 40:
Beggar's Bennison; ACR 14:
Beggar's Dance, The; CPC10 3:
Beggars Meal Pokes, The, see The Jolly Beggar.
Believe my Sighs [Song commences, "Believe my sighs, my Tears, my
dear."]; OS4 23: [A London single sheet edition calls this "A
favourite Scotch Song". Tune in a ballad opera of 1735 and song
and tune in British Musical Miscellany, II, (1734).]
Bell of Craigfoodie, The; CPC9 21:
Benney side [SMM #153.]; CPC12 18: Benny side, a new Scotch Air;
FP 27:
Berks, see also Birks.
Berks of Abergelde, The [SMM #113. Glen, ESM p. 95, notes Dancing
Master tune, 1690. For song, see Hecht's Herd's MSS, p. 153 and
300.]; OST 11: Berks of Abergelde; ADC: The Berks of Abergelde;
CPC8 16: Birks of Abergeldy; RBR 35:
Berkes of Plunketty, The; OST 4:
Bernard/ Lady Bernard's Lament; CPC7 24: Lady Bernard's Lament;
OS3 34:
Bernard's Well; NSR 25:
Bessy Bell/ [SMM #128. Glen, ESM p. 102.]/ Bess-Bell; OST 8:
Bessie Bell; OC1 2: Bessy Bell & Mary Grey; SM 106-107: Bessie
Bell; CST 5: Bessy Bell and Mary Grey; MHF 45: Bessy Bell; OC2
I #2: Bessie Bell; MG2 5: Bessy Bell; CPC3 6: Bessy Bell and
Mary Gray; OS4 10: Bessie Bell; MG3 13: Bessy Bell and Mary
Gray; NST II 4: Bessy Bell and Mary Gray; DCS II 17: Bessy Bell
and Mary Gray; AMM 5:
Bessie's Hagges [SMM #30.]; CST 4: Bessy's Haggice; MHF 71:
Bessy's Haggies; OC2 II #30: Bessies Hagges; MG2 4: Bessies
Hagges; CPC3 22: Bessie's Haggies; MGB2 4:
Beware of the Ripples [SMM #212. Original song in Merry Muses,
p. 5, calls for the tune "The Taylor's faun thro' the bed, &c."
The song of the latter is to "The Taylor's March", Aird's name
for Oswald's tune here, as noted by Glen, ESM p. 130. Glen, ESM
p. 173, prints Oswald's tune and "Tak Tent to the Rippells
Gudeman," from Atkinson MS, 1694. Dick, SRB p. 409, quotes
first verse of song. He and Glen differ on Atkinson MS tune
"Tak Tent to the Ripples Gudeman" as early version of this tune
and subsequent alteration to "Logie of Buchan"]; CPC11 28:
Big Bow Wow; RRR 32:
Binny/ Lord Binny; DDR 11:
Binny's Jigg, see The Dusty Miller.
Birks, see also Berks.
Birks of Endermay, The [SMM #72. Song as single sheet with music,
Folger Shakespeare Library]; OC2 II #43: The Birks of Envermay;
MG1 32: The Birks of Endermay; BT1 2-3: The Berks of Endermay;
CPC2 21: The Berks of Endermay; OS3 35: The Birks of Endermay;
OS4 8: Birks of Invermay; FP 20: The Birks of Envermay; MGB2 8:
The Birks of Envermay; NST II 22: The Birks of Endermay; DCS I
15:
Birks of Invergary, The; RRR 4:
Birth of Kisses, The [SMM #505.]; CPC10 13:
Bishop, The; ACR 11:
Black at the Bane; AMR 25:
Black Dance, The [R. Bride's Twenty Four Country Dances for the
Year 1769.]; JCR 58: Black Dance; AMM 1:
Black Eagle, The [SMM #228, Tune in Blaikie MS, 1692 as "Woman's
work will never be done," printed by Glen, ESM p. 59.
Wooldridge in his edition of Chappell, Old English Popular
Music, II, p. 152, printed tune in different key as "Women's
work will never be done," from Leyden MS, 1692. Glen, ESM
p. 249, footnote (*), also refers to tune in Leyden MS.
Original Leyden MS of 1692 now relocated as Newcastle Univ.
Lib. MS White #42. p. 135] [The Black Eagle ]; OS2 17: The
Highway to Edinburgh; CPC3 28: The Black Egle [sic]; CPC5 17:
The bonnie black Eagle; MG3: The Bonny Black Eagle; MGB3 14:
Black Ey'd Susan [English song]; SM 18-19: Black Ey'd Susan;
CPC11 5:
Black girl is not Cheerful, see Cha n eil aira n ighean duibh.
Black Joke ["The Original Black Joke sent from Dublin" is title
of single sheet song with music, c 1720-30, facsimile reprint
in Music in Colonial Massachusetts, I, p. 26, 1980, from copy
at Harvard. Other copies, Glasgow and Folger Shakespeare
Library. The tune, with slight differences, is called "Coal
Black Joak" in Coffey's The Beggar's Wedding, 4th ed., 1729.
Coffey's song is unrelated to the original, but was issued as a
single sheet song with music with the tune title "Coal Black
Joke" as the title for Coffey's song.]/ Burlesque on Black
Joak; CPC7 18-19: Blak Joak; OS3 8-9: Black Joak; BR2 14-
15:
Black man is the bravest, The; CST 17:
Black Mare, The; AMR2 19:
Black Watch's Farewell, see Highland Watch.
Blackamoor's Jig, The; RRR 35: Blackamoore's Jig, The; AMM 22:
Blackrock; ARC2 7-8:
Blair/ Miss Blair's Reel [Also in D. Rutherford's Twenty Four
Country Dances for the Year 1758, p. 11; Thompson's
Miscellaneous Collection, n.d. (1787).]; RBR 5:
Blair Drummond's Reel; RBR 87:
Blathrie o'it, see Deel tak the gear.
Blest as th' immortal Gods, see I wish my love were in a mire.
Blew Bonnetts [SMM #460. Glen, ESM p. 202.]; CPC2 34: Blew
Bonats; MG2 35: Blew Bonats; MGB1 10:
Blithe Jockey [SMM #24.]; DCS I 13:
Blind Lover, The; CPC9 13:
Blink over the Burn sweet betty [SMM #51. Herd's MSS, Hecht, p.
104]/ Blink over the Burn sweet Betty; OC1 15: Blink o'er the
Burn sweet Bessy; SM 50-51: Blink o'er ye burn; ADC: Blink O'er
the Burn; OC2 I #15: Blink over the Burn sweet Betty; OS1 20:
Blink o'er the Burn sweet Betty; MG2 22: Blink over the Burn
sweet Betty; CPC1 19: Blink o're the Burn Sweet Betty; MGB1 15:
Blink over the burn sweet Bettie; NSS 13:
Blossom of the Rasberry, The [Same title in Bunting's 1797
collection is a different tune with title mistranslated from
Gaelic.]; CPC4 17: Miss Hamilton's Delight [SMM #176.]; MGB1
18:
Blue Britches [SMM #376.]; RBR 67: Link him Dodie Strathspey;
GSR1 13:
Blythsome Bridal, see And the kirk would let me be.
Boatman, The [SMM #12.]/ The Bonny Scot; OC1 8: The Boat man; SM
38-39: The Boat Man; CST 34-35: The bonny Boatman; MHF 42: The
Boatman; MUN: The Bonny Scot [Song. Tune "The Boat-Man"]; OC2 I
#8: The Bonny Boat Man; CPC2 28: The Boat Man; MG2 12:
Boat=man; BR1 I 14: The Boat-man; FP 4: The Boat man; MGB2
18-19: The Boatman; NST II 10: The Bonny Scot-man [i.e. "The
bonny Scot" to tune of "The Boatman."]; DCS II 20;
Boatmen's song -- Luinnay ferramh Bata, The; DDM 10:
Boat of Bog_by Mr. Marshall, The; AMR2 13:
Bob and Joan [SMM #543, where song is "Robin shear'd in Hers't,"
qv. "Bob and Joan" title is from chorus of "The Rakes of Stoney
Batter." This Irish song is reprinted in Holloway and Black's
Later English Broadside Ballads, p. 203, 1975, from copy in
Madden Collection, Cambridge. Another copy in Roxburghe
Collection, noted, but not printed by J. Woodfall Ebsworth in
Roxburghe Ballads, VIII. Glen, ESM p. 226, notes older English
tune which is that refered to in chorus of "The Rakes of Stony
Batter." He also notes tune as "The Key of the Cellar" in
Walsh's Caledonian Country Dances, book iii, c 1740. A tune of
this title is also in a Boldeian MS, compiled by David Young,
1740. "Cam ye o'er from France" is to this tune, as are a few
Irish songs. For the different English dance tune of same
title, also used for songs, see Simpson, BBBM p. 46.
Bob of Dunblane, The [Dick, SRB p. 182, gives Burns' song to
tune.]; OC1 45: Bob of Dumblane; SM 64-65: Bob of Dumblain; MHF
10: The Bob of Dumblane; OC2 I #45:
Bog of Gight by Mr. Marshall, The; AMR2 28:
Boganuadk; AMR2 41:
Bohd na Hesudh; CPC11 7:
Bolloon, The [Boolonzie, or Boulounger]; AMR2 32:
Bonie laddie Highland laddie, see Highland Laddie (4).
Bonintown Well; RBR 96:
Bonnet makers of Dundee, The; RBR 46:
Bonnie, see also Bonny.
bonnie black Eagle, The, see The Black Eagle.
Bonniest/ Bonnyest Lass in all the World [SMM #108.]; SM 36-37:
Bonniest Lass in all the World; MHF 56: The bonny Lass [See
this title below]; ADC: The Bonniest Lass in a' the Warld; OC2
II #24: The Bonniest Lass in a the Warld; MG1 1: The Bonniest
Lass in a' the Warld; CPC2 9: The Bonniest Lass in a the Warld;
BR1 II 22: The Bonniest Lass in a the Warld; MGB3 1: The
bonniest Lass in a' the World; NST I 12: The Bonnist Lass in a
the Warld; AMM 10:
Bonny Annie; DDR 18: Lethens; ACR 19:
Bonny Banks of Clyde, The; JRR2 54:
Bonny Black Laddie, The; NSR 70:
Bonny boatman, see The boatman.
Bonny Braes of Skelmorly, The; JRR2 44:
bonny brucket Lassie, The [SMM #68. Glen, ESM p. 68, notes Leyden
and Sinkler MS tunes.]; OS1 17: The bonny brucket Lassie; CPC1
15: The Bonnie Bruket Lassie; MG2 7: Bonny Brucket lassie;
MGB4:
Bon[n]y Christy [SMM #60.]; OC1 12: Bonny Christy; SM 2-3: Bonny
Christie; CST 43: Bonny Christy; ADC: Bonny Christy; MUN: Bonny
Christie; OC2 I #12: Bonny Christie; MG1 28: Bonny Christy;
CPC2 10: Bonny Christy; FP 32: Bonny Christie; MGB2 5: Bonny
Christy; NSS 10:
Bonny Dundee [SMM #99. Skene MS. Glen, ESM p. 44. Simpson, BBBM
p. 49, notes several English songs using tune, and questions
date of Skene MS. Full text of broadside in Nigel Gatherer's
Songs and Ballads of Dundee, p. 57, 1986, and The Pepys
Ballads, V, p. 262, 1987.]; CST 22: Bonny Dundee; MHF 54:
Bonny Dundee; CPC3 4: Bonny Dundee; MG2 36: Bonny Dundee; MGB2
11:
Bonny Earle of Murray, The [SMM #177.]; OC2 II #4: The Bonny
Earl of Murray; CPC5 14: The bonny Earl of Murray; NSS 5:
Bonnie Earl of Murray; MGB4:
Bonny Green of Glasgow, The; JRR2 36:
Bonny Grey ey'd Morning, The [SMM #79. Simpson, BBBM p. 51.]; SM
54-55: The gray Ey'd Morning; CPC2 13: The Old Gray Ey'd
Morning; CPC7 1: The bonny Gray ey'd Morn; FP 9: The Bonny grey
ey'd Morn; NST I 28: Bonny grey-eyed Morn; MGB4:
Bonny Jane, see Bonny Jean.
Bonny Jean [SMM #54. Glen's note, ESM p. 74, was before Diem's
decipherment of Guthrie MS tablature, but she didn't translate
this tune. Tune later that for Ballatyne's "Castles in the Air"
and for "The Ball of Kirriemuir." On a 1906 sheet music song
(copyright copy, Library of Congess), published by Chappell and
Co., it was termed an "Old Irish Air," arranged by Herbert
Hughes, when it appeared as the tune for "The Stuttering
Lovers" which, although counted an Irish folksong, is a
completely expurgated version of a song published from a
manuscript copy of c 1633 as #320 in John Wardroper's Love and
Drollery, 1969. "Bonny Jean of Aberdeen" is "Johnny's fond
conceit of Bonny Jean," in a manuscript of the 1740's, NLS MS
6299.]; OC1 18: Bonny Jean; SM 88-89: Bonny Jean of Aberdeen;
CST 27: Bonny Jean; ADC: Bonny Jean; MUN: Bonny Jean; OC2 I
#18: Bonny Jean of Aberdeen; MG1 26: Bonny Jane [sic]; CPC2 11:
Bonny Jean; BT1 18-19: Bonny Jean; BR1 II 24: Bonny Jean; FP
33: Bonny Jean of Aberdeen; MGB3 11: Bonny Jean; NST I 8: Bonny
Jean; The Village Opera, 1729, Air #25: Bonny Jean; The
Chambermaid, Air #12, 1730: The Female Parson, Act III, Air #7,
1730.
Bonny Kate of Edinburgh [SMM #197. Glen, ESM p. 124, says tune
not Scots. Simpson, BBBM p. 53, notes original song by
D'Urfey]; MG1 18: Bonny Kate of Edinburgh; CPC5 5: Bonny Kate
of Edinburgh; MGB1 3:
Bonny Lad lay your Pipes down [Tune for D'Urfey song, Simpson,
BBBM p. 56.]; OS1 23: Bonny Lad lay your pipes down; CPC1 20:
Bonny Lad lay your Pipes down; CPC4 18:
bonny Lad, A [that's far awa, SMM #317, but in 3/4 time,
according to Davidson Cook.]; ADC 21:
bonny Lass, The [ADC: Davidson Cook said this was in SM. "The
Bonniest Lass in all the World" is the only "Bonny Lass" in
SM]. For Bonny Lass with the short apron see Short Apron.
Bonny Lass of Aberdeen, The [Bayard, SB2 #177, as Irish "The
Blackbird," with extensive references. F. O'Neill, Irish
Minstrels and Musicians, p. 131 reprints two early Irish
versions not noted by Bayard. Tune is traditional Irish one for
"The Ladies Lamentation. For the losse of her Land-lord," 1651,
better known traditionally as "The Blackbird." The original
broadside is reprinted in H. E. Rollins' Cavalier and Puritan.
Song is on the Prince Charles who became Charles II in 1660.
Simpson, BBBM p. 309, reprints Dancing Master tune as original
one for song. The English broadside ballad has been collected
and printed as Scots, as a lament by Flora McDonald for bonnie
Prince Charlie, and as Irish. An early 19th century English
broadside in the Library of Congress states it is an old Scots
song taken from the Tea Table Miscellany. There are several
Irish records of the traditional tune for the song.]; CPC12 4:
bonny Lass of Branksome, The; OC2 II #33:
bonny Lass of Fannhiven, The; RBR 20:
Bonny Lass of Fisherrow, The; NSR 65: DDR 2:
Bonny Lass of Luss, The; RBR 51:
bonny Lass to merry me, A [title only in index]; CPC1 21: Bonny
Lass to Marry me, A; RBR 24:
Bonny Lass will you lie in a Barrack; JCR 80:
Bonny Lassie, take a Man [SMM #570.]; MHF 18: Bonny Lassie take a
man; CPC11 18:
Bonny Mary [SMM #530.]; OS1 15: Bonny Mary; CPC1 24:
Bonny Peggie kiss'd me, see Thug Bonny Peggie dham hsa Pog.
Bonny Sally: CPC10 14:
Bonny Scot, see The Boatman.
Bonny Susie [Claimed by Oswald in CPC index. Cf., Tender, Bonnie
Susie]; OS3 10:
Bonny Widow of Wigtown, The; CPC12 7:
Bonny wi thing, The [I. SMM #341. Dick, SRB p. 365, says "Wo
betyd thy wearie bodie," in Straloch MS is rudimentary form of
tune.]; CPC9 1:
Bonny wi' thing, The [II]; RBR 40:
Bonny young Lad is my Jockey, A; CPC9 22:
bottom of the Punch bowl, The [SMM #542. See Bayard2, #317 for
possible developement of tune from "When the King comes over
the water."]; MG1 13: The bottom of the Punch Bowl; CPC1 29:
The Bottom of the Punch bowl; MGB3 21: The Bottom of the Punch
Bowl; AMM 4:
Bounding Roe, The; CPC11 18:
Borlum's Reel; AMR 23:
Boyne Water, see When the King comes over the Water.
Bradalbane/ Earl of Breadalbane's Reel; GSR2 10: Lord Bradalban's
march. or __ Boddich na mbrigs [SMM #270, #569.]; DDM 32:
Bradnet/ Lady Bradnet's Scots Reel; D. Rutherford's Twelve
Country Dances for the Year 1763:
Braes of Athol, The; RBR 78: The Braes of Athole; AMR 15:
Braes of Auchtertyre, The [Derived from O dear mother what shall
I do?]; NSR 45: JCR 4:
braes of Balendine, The; OS1 25: The braes of Balanden; MG1 35:
The Breas of Balandine; CPC5 4: The Breas of Balandine; OS3 3:
The Braes of Balendine; FP 17: The braes of Balanden; MGB1 21:
Braes of Ballandine [Song, "Beneath a green shade."]; NSS 2:
Braes of Ballandine; DCS I 22:
Braes of Balquheder [SMM #193. Glen, ESM p. 123, cites Walsh
publication of tune in 1742 (also, Caledonian Country Dances,
book 4, c 1744)]; RBR 37: Braes of Balwhedar; AA2 #181: The
Braes of Balquhadder; AMR2 37:
Breas [sic] of Branksom, The; CPC6 7:
Braes of Glendochert, The [Printed by Glen, SDM, I, p. 6]; AMR 5:
Braes of Glenorchy, The; AMR 12:
Braes of Mar, The; RBR 34: The Braes of Mar; AMR2 37:
Braes of Tullymet, The; NSR 64: The Braes of Tullymet; AMR 29:
Miss Grant of Grant; ACR 16:
Braes of Yarrow, The [Tune. SMM #64. Song is "Busk ye, busk ye,
my bonny bonny bride." Glen, ESM p. 78, doubts Leyden MS tune
"The lady's goune," is same. Leyden MS tune printed by G. F.
Graham is in Songs of Scotland, I, p. 162.]; OC2 II #16: Busk
ye busk ye my Bonny Bride; MG2 16: Busk O Busk My bonny bonny
Bride; CPC6 12: Busk ye, busk ye; BR1 II 20: Busk ye Busk ye my
Bonny Bride; MGB2 20: Busk ye, busk ye; NST I 3: Busk ye busk
ye; DCS II 2:
Brave Lads of Galla water, The [SMM #125. Glen, ESM p. 101-2,
cites wrong by N. Stewart book.]; CPC8 28: Coming thro' the
Broom [Song, "No repose can I discover"]; NSS 1:
Breast Knot [SMM #214.]/ Lady's Breast Knot; Rutherford, Choice
Collection of Sixty...Country Dances, c 1754: Lady's Breast
knot, The; RBR 31:
Brechin Lilt, The; CPC12 8:
Bride, The; ACR 9:
Bride has a Bonny thing, The; CPC8 21: The Bride is a bonny
thing; RBR 34:
Bride next, see My Wife's a wanton wee thing.
Bride's Garter, The; CPC12 23:
Bridge of Anas, The; RBR 58:
Bridge of Balater, The; GSR1 27:
Bridge of Forth, The; JCR 65:
Bridge of Foss, The; RRR 1:
Bridge of Gary_at Struan, The; AMR2 32:
Bridge of Nairn, see Old man ill never die, The.
Bridge of Perth, The; DDR 9:
Britangue; AMM 24:
British Hero, The [Same title, tune not compared, is in the 4th.
ed. of Vol. II of The Dancing Master, 1728]; NSR 30:
British Tarrs, The; DDR 10:
Broom of Cowdenknows, The [SMM #69. For traditional song see
Child, #217. Glen, ESM p. 33. Simpson, BBBM p. 68. Diem printed
Guthrie MS tune.]; OC1 10: Broom of Cowden knows; SM 26-27:
Bonny Broom; MHF 14: The Broom of Cowdenknows; OC2 I #10: The
Broom of Cowden knows; MG1 22: The Broom of Cowden Knows; CPC6
21: The Broom of Cowdenknows; OS3 27: The Broom of Cowdenknows;
BR1 I 20: The Broom of Cowdenknows; FP 33: The Broom of Cowden
knows; MGB3 7: The Broom of Cowdenknows; NST II 9: The Broom of
Cowdenknows; DCS I 10:
Brose and Butter [Cf. "Yellow Stockings" for tune family]; RBR
32:
Brown's Reel; NSR 41: Brown's Reel; AMR2 29:
Bruce/ Miss Bruce of Kinross's Reel; NSR 33:
Miss Bruce's Reel; NSR 70:
Buccleugh/ Duke of Buccleugh and his Fencibles, The; JCR 55:
Dutchess of Buccleugh, see Shoemaker's Daughter.
Dutchess of Buccleugh's Strathspey, The; GSR1 23:
Buchanan's Reel; JCR 61:
Buckingham House, see When she came ben she bobbed.
Buff coat has no fellow, see The dueks dang o'er my daddie.
Bung Your Eye [SMM #219. See Glen, ESM p. 132, for earlier tune
source.]; Bung your Eye; RRR 1:
Burlesque on Black Joak, see Black Joke.
Burn of Carnie, The; RBR 53: Miss Jenny Wedderburn; RRR 13:
Burnet/ Miss Burnet's Reel; WMR2 3:
Bursting Sigh, The; CPC11 21:
Bush aboon Traquair [SMM #80]; SM 4-5: The Bush aboon Traquair;
*OC1 3: The Bush aboon Traquair; CST 30: Bush aboon Traquair;
MHF 12: The Bush aboon Traquair; MUN: The Bush aboon Traquair;
OC2 I #3: The Bush aboon Traquair; MG1 12: The bush aboon
Traquair; CPC2 17: Bush Aboon Traquair; BR1 I 18: The Bush
aboon Traquair; OS4 18: Bushaboon [sic] Traquair; FP 26: The
Bush aboon Traquair; MGB3 5: The Bush aboon Traquair; NST II
12: The Bush aboon Traquair; DCS II 5: [Tied with "Tweed Side"
as the most often used tune in the ballad operas. Tune is
printed in nine of them under one of the following titles: The
Bush a boon Traquair, Peggy greives me, Bush of Boon, Bonny
Bush, or Hear me ye nymphs.]
Busk ye, busk ye, see The Braes of Yarrow.
Butter'd Peas, see Reel of Stumpie.
By moonlight on the Green [Title at end of page, tune on next,
English song in Pills to Purge Melancholy.]; CPC4 26:
Cacina [or Cassino. Bayard2, #509, cites Aird's copy of same date
as AMM, "Cacinameronion's Rant," AA1 #100, and later copies.];
AMM 42:
Cadger Watty; CPC12 12:
Cadgers of the Cannongate [also in the Thompson's 1st volume of
200 country dances, c 1758]; RBR 51:
Cahoon/ Miss Cahoon; RBR2 98:
Caledonian Hunt, The [Printed by Glen, SDM I p. 3]; RRR 6:
Caledonian Hunt by Sir Alexr. Don. Strathspey, The; GSR1 9:
Caledonian Hunt's Delight A Favourite Air, The [SMM #374. Also
claimed as Irish and English tune, see Glen, ESM p. 55, and
Dick, SRB, p. 392, for discussion.]; GSR2 1:
Callam Brongach Strathspey; GSR2 28:
Cambdelmore_Strathspey [Dick, SRB p. 392 notes tune later as
Ballendalloch's Reel and Cumming's Gordon Castle.]; RBR 92:
Ballendalloch; NSR 55: Gordon Castle; AMR 26: Ballendalloch's
Reel; ACR 7:
Cameronian's Rant, The [SMM #282. Glen, ESM p. 153 notes tune
in D. Rutherford's Twenty Four Country dances for the Year
1750.]; CPC11 2-3: Cameronian's Rant; RBR 82: The Cameronian
Rant; AMR 16:
Cameron, see also Camron.
Campbell/ Captain Campbell of Carrick's Reel; AMR 9:
Colonel Campbell; JCR 68:
Lucy/ Miss Louisa Campbells Delight [SMM #269, tune entitled
"Lucy Campbell." Glen, SDM, xvii, equated this and
"Acharnac's Reel" to "Lady Mary Menzies Reel," but not in ESM,
p. 149]; AMR 2: Acharnac's Reel, or Bal nan Grantich; ACR 2:
Ball na grandach or Miss Lucina Campbell's delight; GSR1 19:
Miss Andy Campbell's Scots Measure; AMM 10:
Miss Betty Campbell's Reel; NSR 62: RMR 34:
Miss Jessy Campbell; JCR 59: Miss Jessy Campbell's Reel; AMR2
3:
Miss Lucy Campbell; NSR 51: The Pass of Kelecrankie; AMR 18:
Miss Nancy Campbell's Reel; AMR2 42-43:
Miss Nancy Campbell's _ Scots Measure; AMM 12:
Mr. Campbell of Achnabreack's Salutation __ Gradb Dhoudhaill
oig; DDM 13:
Campbells are coming, The [SMM #299. Glen, ESM p. 157-8, notes
earlier printed copy, "Hob or Nob," in Walsh's Caledonian
Country Dances, book 4, c 1744. This title persisted in non-
Scots publications into the early 19th century. To tune is
Gaelic "An Seanduine Doighte" in P. Kennedy's Folksongs of
Britain and Ireland, #45]; CPC3 12: Campbell are coming O ho;
RBR 83:
Campbell's Reel, The; JCR 50:
Camron has got his Wife again [SMM #520, where song is "Clout the
Cauldron," qv. N. Gow reprinted tune in his 3rd collection of
strathspey reels, 1792.]; RBR 4:
Cantie Creket [Printed by Glen, SDM I p. 4.]; NSR 16:
Canty Body; AMR 27: Thomson's got a dirk; ACR 8: Arndilly's Reel;
ACR 8:
Caper Fey; RBR2 102:
Captain Kidd, see You Jacobites by name.
Cardin o't, see Salt Fish and Dumplings.
Carl and the King come [SMM #239.]; SM 16-17: Carle an the King
come; CPC6 15: Carle and the King come; MG3: Carle & the King
come; MGB3 3:
Carl came o'er the Craft, The [SMM #134. Version of well known
folk song on both side of Atlantic. Copy of tune in R. Bride's
24 Country Dances for 1769.]; OC1 46: The Carle he came O'er
the Croft; OC2 I #46: Carl he came o'er the Craft, The; RBR 30:
Carlands Devotion; CPC8 26:
Carle's Rant, see Port a Bhodich.
Carrallan's Lament; CPC8 14:
Carre/ Miss Anne Carre's Reel; NSR 57: RMR 35:
Carrick Reel [SMM #556. Glen, ESM, p. identifies this as
"Clunie's [Clurie's] Reel," but see his notes to SMM #73, "Mary
Scott," and same here.]; RBR 94: Clurie's Reel; ACR 19:
Carril's Lament [O'Carollan's ?]; CPC11 25:
Carron Side [SMM #302.]; OS3 17: Carron Side; CPC8 10:
Carron's Reel; ACR 17:
Casey/ Mrs. Casey, or Landlady Casey, see Madam Cassey.
Cassac; AMM 21:
Cassel/ Lord Cassel's Reel; NSR 26: Lord Cassill; JRR2 51:
Castle Grant a Strathspey; AMR2 8:
Castle Swien; CPC12 13:
Catches and Glees; AMM 2:
Cathcart/ Collonel Cathcart; JRR2 59:
Lady Cathcart of Earlston; JRR2 21:
Miss Betty Cathcart; JRR2 49:
Sir John Cathcart; JRR2 27:
Cauld, see Cold.
Ceann dubh dilis [Irish, "Black headed deary." A Scots Gaelic
version was given by McDonald in Highland Vocal Airs as "Cuir a
ghaoil dileas tharruin do lamh." The tune is "Can duh Dilish",
NIT 16, and "Curri Koun Dilich," BTH1 40. N. Carolan in his
reprint of NIT, 1986, note 114, points out the tune in the 2nd
volume of the Dancing Master, 1713, and 1728, as "Irish Round,
or Kennington Wells," and in Pills, II, p. 14-15, 1719. Bunting
gave a version in his third collection, 1840, p. 75. Bunting's
inexplict reference to a tune in CPC is evidently to "The Old
Jew," CPC5, 19. Stenhouse gave a one strain version of this
from a manuscript in SMMI, p. 254, as a version of "Oran
Goail." Dick, SRB p. 378, quotes two letters of Burns
identifying "Ceann dubh Dilis" with "Oran Goail." For the
probably Irish publication which Burns saw see BUCEM, title
"Can dubh delish," (Lee, Dublin). Dick said "The Old Jew"
in CPC had only a remote resemblance to "Oran Goail." "The Old
Jew" is also given in J. Bryson's Curious Collection [1791].
Bunting says no Gaelic words survive.]/ The Old Jew; CPC5 19:
Ceann Dubh Dileas; GSR2 30:
Cease your Funning [From 1st line of Gay's song in The Beggers
Opera to untitled tune which is "Constant Billy" in the third
volume of The Dancing Master]; BT2 64-65, as English: Cease
Your Funning; CPC6 13:
Cha mi ma chattle, see Cold frosty morning.
Cha n eil aira n ighean duibh __ the Black girl is not Cheerful;
DDM 26:
Chalmers/ Miss Chalmers; RRR 24:
Chamers/ Miss Chamer's Reel; NSR 27:
Charles Lilt; CPC8 6:
Charles Street, Bath; JCR 34:
Charter/ Miss Charter; DDR 7:
Chase, The; JCR 15:
Cheap meal; NSR 39:
Chevy Chase/ William and Margaret An old Scotch Ballad with the
Original Scotch Tune; OC1 49: William and Margaret; OC2 I #49:
Cheevy Chace [Dick, SRB p. 455-56]; CPC5 31: Chevy Chase; BR1
II 28: Chevy Chase; MGB4: [Br1 II with Scottish version of
song, "God prosper long our noble King." Photo-reproduction of
the 17th century Scottish broadside copy of song is in Appendix
I, p. 4 of Vol. V of The Pepys Ballads, 1987. The tune cited
there is "The Isle of Kyle (Kell)," for which see "Hardie
Knute." Tune is that reprinted by Dick, SRB, p. 246. Scottish
Chevy Chase = (English) I'll never love thee more. SMM #452.
"Montrose Lyns," is given from Blaikie MS, 1692, by Glen, ESM
p. 31. Simpson, BBBM p. 355, discusses English history. Dick,
SRB, p. 456, notes it as Scottish "Chevy Chase" in MGB4 p. 108.
Simpson, BBBM, confused reference to Bremner's edition of
McGibbon. Variant tune is SMM #486, see Glen, ESM p. 210, and
Dick, SRB p. 483. To "I'll never love the more" is "The
Faythful Lovers resolution," c 1625, in The Pepys Ballads, I,
p. 256, 1987. This is the original source of verses which Sir
Walter Scott altered and published in 1809, and said was his
imitation of an old ballad. Entitled "The Resolve" his version
commences "My wayward fate I needs must plain, Though bootless
be the theme" altered from "Though bootless I must needs
complaine, My fate is so extreeme." Scott's version closely
parallels that in Pills, IV, p. 59, 1719. MS copy of song, c
1620-35 in Folger Shakespeare Library, MS V.a. 345.]/
Chorus Jig an Irish Country Dance, The; AMM 30:
Christie/ Mrs. Christies Rant_ by Mr. Marshall; AMR2 3:
Clan Randal's march to Edinbr., see Pibrach Chlann Raonailt.
Clanrannald's Reel; GSR2 7:
Clark's Hornpipe; AMM 32:
Clark's Reel; JCR 62:
Clean Peas straw, see Peas Strae.
Cleek him inn; RBR 66:
Clodun Reel; RBR 19:
Clout the Caldron [SMM #23]; OC2 II #25: Clout the Cauldron; CPC7
32: Tinkar's occupation, The; MG3: Clout the Cauldron; MGB2 17:
Clurie's Reel, see Carrick Reel.
Coatter Wife, The; AMR2 42:
Cochrane/ Lady Betty Cochran; NSR 58: RMR 32:
Lady Betty Cochran's Reel; DDR 4:
Lady Betty Cochrane's Reel; RBR 72:
Cock-Laird fu' Caigie, A [SMM #148]; OC1 26: The Cock Laird;
OC2 I #26: The Cock Laird; CPC2 33:
Cock up your beaver [SMM #309. Glen, ESM p. 160 and p. 292, cites
evidence that tune is Scots. Tune in Dancing Master, from 1686,
Sinkler MS, 1710.]/ Johny, Lad, cock up your Beaver; MHF 32:
Cock up your beaver; MG3: Johnny cock up thy Beaver; CPC7 2:
Cock up your Beaver; MGB2 21:
Cocks Louns walie hoyn, see What will I do gin my Hoggie die.
Cold and raw, see Up in the morning early.
Cold frostie morning [SMM #227. With title "Past one a Clock in a
cold frosty, &c." the tune is in Coffey's The Beggar's Wedding,
4th ed., 1729, and in Flora, 1729, it is "At Past one o'Clock,
and a cold frosty Morning."]/ Ta me ma Chulla'a na doushe me [=
'I am asleep and don't waken me.' Under the translated title it
is in Bunting's 3rd collection, 1840, p. 100. A version also
appears in Capt. Fraser's collection. A late clever song in
English uses the Gaelic title as a burden. It is "Jenny's Black
E'en" in Encyclopedia of Comic Songs, London, 1819.]; NIT 12:
Cha mi ma chattle; SM 62-63: Past one o'Clock; BT1 30- 31 (as
Irish tune): Cold frostie morning; CPC4 16: Cold Frostie
Morning; OS3 5: Cold frosty Morning; FP 29: A Cold Frosty
Morning; MGB4:
College Hornpipe, The [Slightly earlier copy in Thompson's
Collection of 120 Hornpipes]; AMM 33:
Colliers bonny Lassie, The [SMM #47. Glen, ESM p. 71, cites
Compleat Country Dancing Master, II, p. 231, where complete
title is "The Colliers's Daughter or the Duke of Rutland's
Delight," same, in The Dancing Master, II, p. 209, 1728. He
also notes publication in c 1713, and in Sinkler MS, 1710.
Dick, SRB p. 366, adds Leyden MS, and "Nine Pint Cogie" in
McFarlane MS.]/ The Colliers Lass; OST 5: The Colliers bonny
Lassie; OC1 44: The Colliers Bonny Lassie; OC2 I #44: Colliers
Daughter, The; CPC5 17: Collier's Daughter, The [Printed by
Glen, SDM I p. 7.]; NSR 43: Collier's [Bonny Lassie/Daughter];
MGB4
Collier's Lass, The, see The Colliers Bonny Lassie.
Collier's Daughter, see The Collier's bonny Lassie.
Colquohoun/ Sir James Colquohoun, see The Highland Watch.
Come ashore, jolly tar, see Cuckoo.
Come hap me with thy petticoat (1) [SMM #139, #248. Also called
"Leith Wind"]/ Come Hap me with thy Pettycoat; OC1 11: Hap me
with thy Petty coat; SM 60-61: Hap me in thy Peticoats; MHF 66:
Come hap me with thy Pettycoat; OC2 I #11: Come hap me with thy
petticoat; MG3: Come hap me with thy Petticoat; MGB2 14: Hap me
with thy Petticoat; NSS 17: Come hap me with thy Peticoat; AMM
9: Leith wynd; CST 16: Leith Wynd; MG1 11: Leith Wynd; CPC2 18:
Leith Wynd; MGB3 22:
Come kiss me com clap me [SMM #415. Glen, ESM p. 191. Bayard,
SB2, #317 takes it to be development of "When the king comes
over the water." In Gow's 3rd collection of Strathspey reels it
is "The Bob of Fetercairn"]; SM 118-19: Come kiss with me, come
clap with me [Song is "My Jockie blyth for what thou hast
done"]; OC2 #39: Had I the Wate she bade me; CPC7 20: Highland
Hills, The [Come kiss with me, Dick, SRB p. 418.]; JCR 20: I'll
kiss the wife she bad me A Reel; BR2 12-13:
Come sweet Lass [English, Simpson, BBBM p. 127.]; CPC2 33:
The comers [cummers] of Largo, A reell [Slip jig, in 9/4.]; OST
8:
Comely Garden; DDR 10:
Coming thro the Broom my Jo, see What ye wha I met yestreen.
Coming thro' the Broom, see brave Lads of Galla Water.
Confederacy, see Ye're welcome Charlie Stewart.
Coolin, The [SMM #510. As Irish tune in BTH II. Bunting, General
Collection of the Ancient Irish Music, p. 7, 1796, gave tune
with attribution to the Irish harper Thomas O'Connollan.]/
Molly s.t George; NIT 24: Molly St. George; Coffey's The
Beggar's Wedding, 4th ed., 1729: Molly St. George; BTH II 78-9:
Corbey and the Pyett, The; CPC7 5:
Cordwainer's March, see Shoemaker's March.
Corimonie's Rant; DDR 21:
Corn Cutters.--Danc'd by Aldridge, The; AMM 35:
Corn Riggs is Bonny [SMM #93. Glen, ESM, argues against English
origin. See Simpson, BBBM, p. 633, for English history.]; CST
42: Corn Rigs are bonny; MHF 46: Corn Riggs; MUN: Corn Riggs
are Bonny [Song, "My Patie is a lover gay."]; OC2 II #18: Corn
riggs are bonny; MG1 20: Corn Riggs are Bonny; BT1 22-23:
Corn Riggs; CPC2 22-23]: Corn Riggs [Song is "My Patie is a
lover gay"]; BR1 I 20: Corn Riggs are bonny; MGB1 28: Corn
Riggs; NST II 21: Corn Riggs; DCS II 10:
Corporal, The; RBR 79:
Corrimonie's Reel; ACR 10:
Cosen [Cozen, according to Glen, ESM p. 250.] Cole's Delight, see
Sweet is the Lass that loves me.
Cossy Jig, The [Attributed to Irish Walker 'Piper' Jackson,
Jackson's Celebrated Irish Tunes, c 1790. Also in Aird's Airs,
Vol. III. Later version now well known as "Molly Brallaghan,"
"Green Fields of America."]; GSR2 23:
Counr. Mac Donoghs Lamentation [Irish. attributed to Carolan.];
NIT 10: McDonogh's Lamentation; CPC8 19:
Country Bumpkin, see Bab at the Bowster.
Country Farmer, The; CPC8 5:
Country Lass, The; OC2 II #38: Country Lass, The; MGB4 96:
Country Lass; FP 17:
Couties Wedding Strathspey; GSR1 13:
Cove of Cork or Orchill's Favourite, The; GSR2 14:
Crafurd/ Collonel Crafurd's Reel [Printed by Glen, SDM I p. 12.];
RBR 49:
Lady Crawfurd; JRR2 34:
Mr. Crawfurd of Ardmillan; JRR2 12:
Mrs. Crawfurd of Ardmillan; JRR2 20:
Mrs. Crawfurd of Donside; JRR2 25:
Craig/ Miss Ann Stwart-East Craigs Reel; GSR2 26:
Miss Ann Stewart-East Craigs Strathspey; GSR2 26:
Craig Elachie; ACR 1:
Craigey Rock, The; CPC11 9:
Cream Pot, The RRR 21:
Crichton/ Lady Elizabeth Crichton; RRR 22:
Crichton Castle; RRR 25:
Crief Fair; RBR 69:
Cries of Edinburgh, The; CPC10 14:
Crooked Horn Ewe, The see Ewie with the crooked horn.
Cromlet's Lilt [SMM #199. Song is "Since all thy Vows, false
Maid." Ebsworth, Roxburghe Ballads, VII, p. 394-8, prints late
English broadside copy, and discusses Maidment's and Chamber's
prints of song, and woefully corrects his misprint on p. 819.];
OC2 II #1: Cromlits Lilt; CPC1 25:
Crona's Vale; CPC11 22:
Cronstoune ["Maclachlan's Reel" in ACR, according to Glen, SDM,
I, p. 11.]; OST 3:
Cross Well of Edinburgh, The; RBR2 110:
Cuckoo [SMM #321. Glen, ESM p. 163, seemed to doubt Bunting's
(1840) word about existance of NIT, but cited later copies of
tune. Dick, SRB p. 396 cites tune in AA1 #190, 1782 [recht
1778] as "Come ashore, jolly tar." This had already been
reprinted by Kidson in Old English Dances.] NIT 14:
Cuddy claw'd her; CPC5 9:
Cuddie's Wedding, see Shogallie's Reel.
Culloden [Dick, SRB p. 359, reprints tune from Johnson's Two
Hundred New Country Dances, 1748 [1751?].]/
Cumbernauld house [SMM #142. Glen, ESM p. 106, gives other
titles, and noted copy in BAR as "Lord Aboyne's Welcome." He
also noted copy in Blaikie's MS, 1692, which he printed, p. 58,
with others.]; MG1 25: Cumernad House; CPC2 32: Cumbernauld
house; MGB3 10: Cumbernauld House [With song, "Where winding
Forth adorns the vale."]; NSS 17:
Cumh Easbig Earraghaal or__Bishop of Argyle's Lament; DDM
35-38:
Cumh Joaria wigton __ Earl of wigton's Lament; DDM 2:
Cumh Peathar Ruari __ Rorie Dall's sister's Lament; DDM 14:
Cummers of Largo, see comers of Largo.
Cumnock Psalms [SMM #405.]
Cunningham/ Captain Cuningham of Auchinskeigh; JRR2 40:
Captain Cuningham of Corsehill; JRR2 13:
Lady Cunningham; NSR 37:
Lady Cunningham's Strathspey; GSR2 2:
Mrs. Cuningham of Corsehill; JRR2 20:
Cut and Dry, see Jock's Lodge.
Cut him down Shusie [Printed by Glen, SDM I p. 4.]; NSR 35:
Cutty's Wedding [Shogallie's Reel?]; AMR2 22:
Cuzle together [Later in R. Bride's Twenty Four Country Dances
for the Year 1770, p. 77.]; RBR 85:
cypress Grove, The [Claimed by Oswald in CPC Index, and printed
on single sheet song with music as Oswald's.]; OS1 22: The
Cyprus Grove; CPC6 8:
Da mihi manum [Give me your Hand. Bunting in The Ancient Music of
Ireland, p. 68, 1840 relates anecdote leading to composition of
this tune by Rory Dall O'Cahan/ Morison, in Scotland.]; NIT 3:
Da mihi Manum: BT2 82-83, Irish: Da mihi manum; CPC8 16: Da
mihi manum; DD 24:
Dainty Davie [SMM #34. Glen, ESM p. 68, notes the tune without
title in Sinkler MS, 1710, and notes tune in 10th ed. of
Dancing Master, 1698. It is also in Walsh's Compleat Country
Dancing Master, I, 1718 and The Lover's Opera, 1730.]; SM
44-45: Dainty Davy; MHF 60: Dainty Davie; MG2 32: Dainty Davie;
CPC5 22: Dainty Davie; MGB3 12: Dainty Davie; ARC2 26-28:
Daker/ Miss Molly Daker; NSR 65:
Dalkeith House; AMR2 39:
Dallas/ Miss Dallas's Reel; WMR2 1:
Dalrymple/ Lady Helen Dalrymple's New Reel; JRR2 23:
Miss Dalrymple; DDR 7:
Miss Jessy Dalrymple; NSR 51: RMR 35:
Mrs. Dalyrymple of Orangefield; JRR2 41:
David Earl of Cassil's Reel; JRR2 21:
Davie Rae, see Struen Robertson.
Deacon of the Weavers; RBR2 104:
Deel assist the plotting Whigs, see Peggie I must love thee.
Deel take the gair and the Bagrie o'it [SMM #33. Glen, ESM p. 68,
notes inferiority of CPC version. Song and music in New
Universal Magazine, Dec. 1757. BUCEM: O shame light on this
world's pelf. Another version of song in Herd's MSS, Hecht's
Herd, p. 236.]; CPC5 23: Deil take the gear and the Bladrie
o't; MG3: Blathrie o'et; BR1 I 2: The Blaithrie o'it; NST II
29: Blathrie o't; MGB4: The Blaithrie o'it; DCS I 20:
De'el take the Warr [SMM #262. Song, D'Urfey's "De'il take the
Warr that hurri'd Willy from me," 1696. Music by C. Powell.
Simpson, BBBM p. 178. Dick, SRB p. 380-1, notes tune in Leyden
and Atkinson MSS.]; OS4 20: [De'el take the war]; MGB4 117:
De'el tak the War; DCS I 12:
Deil stick the minister [SMM #216, for Allan Ramsay's song "This
is no my ain house". Stenhouse in Illustrations to SMM, #216,
quotes two lines of what he terms the old, rather licentious
song.] / The deal stick the Minster; OST 16: Deil Stick the
Minister; CPC7 30-31: Shaun Truish Willichen [Willie's Auld
Breeks, in English.]; RBR 71: Dr William Grant; ACR 9:
Shantruish; AA1 55:
Delachaple's Reel; ACR 3:
Delvin Side; AMR 33: Delven Side; GSR1 11:
Dermot [Identified as Irish song. Short lyric commencing "Dermot
loved Shelah well." See BUCEM: Dermot.]; DCS II 8:
Deuks dang ower my Daddie, The [SMM #396. Glen, ESM p. 184, notes
English title "The Buff coat has no fellow." Between p. 248 and
249 he printed photo copy of tune from original and later issue
of CPC. Dick, SRB, p. 427, cites copy in Atkinson MS, Aird's
Airs, I #68, 1782 (recht, 1778). Origin of this title unknown.
Simpson, BBBM p. 72, notes other titles also. Verse from
Northumberland tradition is #194 in D. I. Harker's Songs from
the Manuscript Collection of John Bell, 1985.]; OS1 4: The
Denkes [sic] dang over my Daddie; CPC1 1: The Deuks dang o'er
my Dadie; MG3: The Ducks dang o'er my Dadie; MGB1 5:
Devil, see De'el, De'il.
Devil fly over the Water with her [SMM #597. Glen, ESM p. 240,
gives title from Aird's Reels.]
Diamond Reel, The; RMR 30:
Dick a Dollis, see Stewart's Rant.
Dinwiddie/ Miss Dinwiddie; JCR 78:
Don/ Sir Alex. Don's Delight, see The Lads of Dunse.
Sir Alexr. Don's Strathspey, see Auld Lang Syne (2).
Don Side_Strathspey; RBR 63: Don Side; AMR 21:
Donald [Identified as Scotch Air]; DCS I 30:
Donald Butcher's Bridal; BR2 16:
Donaldson/ Mrs. Donaldson's Strathspey; GSR2 5:
Double Kisses; RBR 75:
Doune/ Lord Doune's Strathspey; GSR2 18:
Dowie Dens of Yarrow, see When the King comes over the water.
Down in the broom, see Low down in the broom
Down the Burn Davie [SMM #74.]; *OC1 50: Down the Burn Davie; SM
92-93: Down the Burn, Davie; ADC: Down the Burn Davie; OC2 I
#50: Doun the Burn Davie; MG1 33: Down the Burn Davie [title,
tune p. 19]; CPC4 18: Down the Burn Davie; BR1 I 26: Down the
burn Davie; FP 3: Down the burn Davie; MGB2 8: Down the burn
Davie; NST II 7: Down the Burn Davie [followed by: English Air.
"New Sett of Down the Burn Davie," continued through following
page.]; DCS II 3:
Downie's Rigadon; AMM 23:
Douglas/ Lady Helen Douglas; NSR 69:
Miss Douglas; NSR 55:
Miss Mary Douglass's Reel; GSR2 31:
Doyle/ Lady Betty Doyle; NSR 63: RMR 32:
Driman Dubh; DCS II 29: [Driman, phoenetic for, as usually
rendered in Roman letter, Druimionn. Headed "Galic Air." SMM
#179. Glen, ESM p. 119, notes tune in McDonald's Collection of
Highland Vocal Airs, 1784. Dick, SRB p. 362 notes Corri's tune.
Corri gives a verse in Gaelic, which is probably a chorus only.
[This tune unrelated to the following]
Drimen Duff [Gaelic, Druimionn Dubh Deelish]; BTH1 38-39, as
Irish: Drimen Duff [SMM #303 as tune for 'Hughie Graham']; CPC8
12: Drimindoo; Hime, A New Selection of the most Admired
Original Irish tunes never before printed. Dublin. c 1800.
[Several later printings, even in the U.S. Song is traditional
in U.S. and Canada, but to different tunes]
Drouth [Index: Drown Drouth. Tune called for in Scottish ballad
opera, The Diasppointed Gallant, (by Adam Thomson), Edinburgh,
1738, as "A Jig- Drouth". Oswald gives it in 6/8 rather than
9/8 time. Claimed as Irish by P. O'Farrell who even gave Irish
tunes as Scots ones. It is in book 1 of Walsh's Caledonian
Country Dances]; CPC1 33: Drown Drouth [Printed by Glen, SDM,
I, p. 14.]; RBR 65: Drouth; The Merry Medley; Or, A Christmass-
Box for Gay Gallants and Good Companions, II, 1745, 1749:
Drummer, The [SMM #490. Glen, ESM p. 211, notes tune in Walsh's
Caledonian Country Dances, III (c 1740). Also in The Merry
Medley, 1744, Rutherford's 200 CD's, c 1756, and Thompson's 1st
collection of 200 country Dances (1758). Probable original of
tune for "Good Morrow to your Night Cap" from song in O'Keefe/
Shield's Poor Soldier. Both tunes reprinted by Gows.]; NSR 28:
The Piper of Dundee: Hogg's Jacobite Relics, II, p. 43, 1821:
Drummond/ Hon.ble Mrs. Drummond of Perth's Strathspey; GSR2 17:
Miss Sarah Drummond of Perth's Strathspey by Capt. Ross, Royal
Artillery; GSR2 7:
Drummond Castle; GSR2 8:
Drummore's Rant; RBR 11:
Drumsheugh [Printed by Glen, SDM I p. 5.]; RBR2 106:
Drunken Friday; NSR 38:
Drunken Mag Young; OS3 21: Drunken Magg Young; CPC11 26:
Drunken Wifie, see Hooly and Fairly.
Drunken Wives of Fochabers A Strathspey [Tune of this title in
Drummond Castle MS, c 1740.], The; GSR1 10:
Duckers of Down; JCR 72:
Ducks, see Deuks.
Duff/ Miss Jenny Duff; JRR2 26:
Dumbarton Castle; JCR 77:
Dumbarton's Drums [SMM #161. Root tune "I serve a worthy lady",
Skene MS, noted by Glen, ESM p. 113.]/ Dumbarton Drums [This is
correct title]; SM 98-9: Dumbarton's Drums; OC2 II #8:
Dumbarton's Drums beat Bonny; CPC2 1: Dumbarton Drums; MG2 24:
Dumbarton's Drums [Song is "Dumbarton Drums"]; BR1 II 8:
Dumbarton Drums; MGB3 18: Dumbarton's Drums; NST I 20:
Dumfries/ Countess of Dumfries Junr.; JRR2 52:
Lady Dumfries; JRR2 43:
Lord Dumfries's Bowling Green; JRR2 15:
Lord Dumfries's Bridge; JRR2 35:
Dumfries House; JRR2 32:
Dumfries House [as above ?]; AMR2 28:
Dunbar/ Sir Alexr. Dunbar's Strathspey AMR2 7:
Duncan Davie/Davison, see Ye'll ay be welcome back again.
Duncan Gray [SMM #160.]; CPC3 8: Duncan Gray; MG3 1: Duncan Gray;
MGB1 1:
Duncan's Complaint; CPC9 23:
Duncans Dance; CPC8 7:
Duncan's Lilt; CPC8 14:
Dundas/ Miss Dundas; DDR 14:
Dundee/ Lord Dundee's Lamentation kill'd at the Battle of
Falkirk; DDM 7:
Dunkeld Harmitage Reel; GSR1 25:
Dunkeld House; GSR1 20: Dunkeld House [prefixed Scordatura]; AMR2
10:
Dunlop/ Miss Dunlop; JCR 9:
Dunmore/ Lord Dunmore's delight; CPC11 1:
Dunrobin Castle, see Tibby Fowler.
Dunse Dings a'; NSR 43:
Duplin House; GSR2 5:
Dusty Miller [SMM #144. Glen, ESM p. 41, gave "Binny's Jigg" from
Blaikie MS, 1692, but is not sure it should be considered same
tune. With dance figures in The Merry Medley, II, 1745, and the
Neal's Choice Collection, Dublin, c 1726]: Dusty Miller; RBR
27:
Dutchess Slipper Strathspey; GSR2 19:
Dyester Laddie, The; AMM 32:
Earl Douglas's Lament, see Johnny Armstrong.
East Nook of Fife [SMM #277. Glen, ESM p. 151, notes Bremner copy
of 1757.]/ She griped at ye greatest on't [Song in Merry Muses
of Caledonia.]; CPC4 5: The East nook of Fife; MG3: The East
Nook of Fife; MGB3 29: The East Nook of Fife; BR2 17: East Nook
of Fyfe; AMM 8: East Nook of Fife; ARC2 5-6:
Edinburgh Scotch Measure, The; CPC3 11: The EdinburghScots [sic]
Measure; OS3 1:
Edmondston/ Miss Edmondston; NSR 41:
Eglinton/ Countess of Eglinton's Strathspey, The; GSR1 12:
Earl of Eglinton's Strathspey; GSR1 16:
Lady Eglintoune; JRR2 41:
Lord Eglinton's Reel; RBR 95: Lord Eglinton's Reel; AMR2 30:
Lord Eglintoune/ Captain Montgomery of Coylsfield's Reell
[Davidson Cook pointed out this with changed name in JRR2];
JRR1 31:
Lord Eglintoune; JRR2 33:
Miss Sally Eglinton's Reel; WMR2 2:
Eight men of Mudardt [Glen, ESM p. 179, mistakenly says this tune
is not in Bremner's Reels, although he listed it from that
source in The Glen Collection of Scottish Dance Music, I, 1891.
Rutherford's Choice Collection of Sixty...Country Dances, c
1754, "The Eight Men of Moidert".]; RBR 88: Eight men of
Mudardt; NSR 23:
Elcho/ Lord Elcho's Favourite, see The Black Eagle, jig version
from CPC.
Elgin/ Lady Elgin's Reel; RBR 62: Lady Elgin's Reel; AMR 32:
Elliot/ Miss Elliot; NSR 63: RMR 33:
Elsie Marly [Song, ODNR, p. 159.]; RBR 26:
Empty Purse, The; GSR2 22:
Eppie Adair [SMM #281. See Glen, ESM p. 153.]/ My Appie; CPC11
19:
Eppy MacNab, see Appie McNabb.
Erskine/ Lady Ann Erskin's Reel; RBR 86:
Miss Erskine of Alva; DDR 4:
Miss Erskine of Barjarg; JRR2 53:
Miss Erskine of Torry's Strathspey; GSR2 19:
Etrick Banks [SMM #81.]; OC2 II #45: Etrick Banks; MG1 23:
Etrick Banks; CPC3 16: Ettrick Banks; OS3 19: Ettrick Banks;
BR2 II 8: Ettrick Banks; MGB1 13: Ettrick Banks; NST I 25:
Everybody, see A'body.
Ew=Bughts Marion [SMM #85.]; OC2 II #15: Go to the Ew bughts
Marion; NST II 31: Go to the Ew-bught's Marion; DCS I 9;
Ewie wi the crooked horn [SMM #293. A tune, "The crooked horn'd
ewie," is in D. Rutherford's Twenty Four country Dances for the
Year 1758, p. 5. The first strain is variant, and the second
quite different from that in SMM. Glen, SDM, notes Carron's
Reel as earlier Scots title.]/ Carron's Reel; ACR 17: Ewie wi
the crooked horn; RRR 16: Ewe wi' the Crooke'd Horn, The; GSR1
11: The Crooked Horn Ewe; AMR2 29:
Ewing/ Miss Ewing; JCR 67:
Failte bheay Mhic Leoid __ McLeod's less [?] Salutation; DDM 8:
Failte Loch Ioall -- Loch Isle's Salutation; DDM 9:
Failte Mhic Cai __ Lord Rae's Salutation; DDM 15:
Failte Mhic Dhonail Ghuirm __ McDonald of the Isles Salutation;
DDM 6:
Failte na miosq [SMM #259. Title in English, The Muskets Salute.
Song in SMM is only a small part of "The Highland Mans farewel
to portmore," and was probably originally sung to "Bonny
Portmore" in Bunting's third collection, 1840.]; OS1 39: Failte
na miosq; CPC1 22:
Fair Field House; JRR2 11:
Fair Kitty; CPC9 5:
Fairly shot of her [SMM #557. Song in Herd MSS, Hecht p. 110.
Glen, ESM p. 230, notes tune also in Walsh's Caledonian Country
Dances, book i, c 1734 (1733)]; ADC: Fairly shot on her; CPC7
28: Fairly shot of her Jigg; GSR2 24:
Fairy Queen, The [by O'Carollan]; OS1 41: The Fairy Queen; CPC1
23:
Fair Sally lov'd a bonny seaman [English song by Mr. H., in
Gentleman's Magazine, p. 612, 1736. With title same as first
line, "Fair Sally loved a bonny sailor," song is The Merry
Medley, II, 1745. Also, probably about same time, single sheet
song with music. Copies in Lib. of Congress, Music Division,
and Folger Shakespeare Library. A setting of the song by Dr.
Green in Caliope, c 1746, has not been compared with the
preceeding. The song was reprinted in songbooks until the end
of the eighteenth century.]; CPC11 15:
Faith I defie thee; CPC5 32:
Farewell my Pretty Moggie; CPC5 8:
Farewell my pretty witty Maggy; MG3: Farewell my Pretty witty
Peggy; MGB2 12:
Farewell to Edinburgh; CPC9 24:
Farmer's Wish, The; CPC12 16:
Farquharson/ Miss Farquharson's Reel, see My Love she's but a
Lassie yet.
Feathers, The; AMM 2:
Feg for a kiss, A; RBR 74:
Fee him father [SMM #9]; BR1 I 6: Saw ye Johnnie cummin quo She;
NST II 23: [?]; MGB4 98: [Song is "Saw ye Johnie coming." Glen,
ESM p. 62, cites earlier copy of tune. Dick, SRB p. 405, notes
verses and corrupted music in Walsh's Original Scotch Songs.
Four such collections were issued, 1727-32.];
Ferguson/ Miss Ferguson of Kilkerran; JRR2 40:
Miss Nelly Ferguson; JRR2 43:
Mrs. Ferguson of Reath's Strathspey; GSR2 26:
Sir Adam Ferguson; JRR2 14:
Ferny Bed, The; CPC12 14:
Fiddle Faddle, see Tail Toddle.
Fidler's Contempt, see Fuadhna msilairan.
Fife and a' the Lands about it [SMM #120. English, "Fairest
Jenny", Glen, ESM p. 48.]; OS1 7: Fife and all the Lands about
it; MG2 30: Fife and a the Lands about it; CPC1 5: Fife and all
the lands about it; CPC5 2: Fife and all about it; MGB4:
Fife/ Lord Fife, see Lord Macdonald.
Fife Hunt, The; GSR1 10:
File-bek's ay ready, The; RBR 77:
Fill the Stoup; RRR 36: Fill the Stoup; AMR2 14:
Findlay/ Miss Findlay's Delight, see New Rigg'd Ship.
Finlay is his Fathers Darling, see Se gaol a bhobain Fionnlla.
Finlayston House [SMM #271. Davidson Cook pointed out tune in
JRR1, not seen by Glen or Dick.]; JRR1 43: Finlayston House
JRR2 55:
Fir Tree_Strathspey, The; RBR 38: Fir Tree, The; GSR1 17:
Flaggon, The; GSR1 5:
Flee over the Water; GSR1 35:
Fleming/ Mrs. Fleming of Moness Strathspey; GSR1 30:
Flower of Edinburgh, The [SMM #13. Glen, ESM p. 63, cites it as
"My loves bonny when she smiles on me" in OS2. Song and tune in
Universal Magazine, Apr. 1749, and as single sheet song with
music about the same time (Library of Congress). Also with
music in The Muses Delight, Liverpool, 1754. Irish "Cois Leasa
= Beside a Rath" has been pointed out as same tune as early as
1859 in Haverty's One Hundred Irish Airs, 2nd series, where
title is "Cush Lasso (The Flowers of Edinburgh)." See Bayard2,
#340.]; CPC3 19: The Flowers of Edinburgh; MGB2 30:
Flowers of the Forrest, The [SMM #63, as setting for Ann Home/
Mrs. John Hunter's song, ptd. in London Magazine, Feb. 1772.
Modern version of tune, as are the rest here. 17th century tune
in Skene MS, and Glen, ESM p. 77, preferred the latter.]; CPC9
18: The Flowers of the Forrest; MGB1 23: Flowers of the Forrest
[with Mrs. Hunter's song]; NSS 1:
Foot's Vagaries, see Green grow the rashes.
Forever fortune, see Logan water.
For a' That, an' a' that [SMM #290. Glen, ESM p. 158, notes tune
in D. Rutherford's collection of Twenty Four Country Dances for
the Year 1754 as "Lady M'Intosh's Rant" and "The Prince's
Reel."]/ Lady McIntosh's Reel; RBR 52:
For lak of Gold I lost her [SMM #163. Glen, ESM p. 114, gives
Blaikie MS tune and notes similarity to "I love my love in
secret," (SMM #204) but errs in stating latter is also in
Blaikie MS. He did not mention Blaikie MS source under SMM
#204, p. 127.]; CPC3 2: For the lack of gold she left me; MG3:
For Lake of Gold; BR1 I 18: For the lack of Gold she left me;
MGB3 30: For lake of Gold; NST II 2: for lake of Gold; DCS I 2:
For old long gine: See Auld Lang Syne
For our long biding here; SM 58-59: For our lang biding here; OC2
II #10:
For the Love of Jean [Not compared with CPC8 15]; ADC: For the
Love of Gean; CPC8 15:
For the sake of somebody [SMM #436.]; CPC4 30:
Forbes/ Lady Forbes; DDR 2:
Miss Forbes Farewell to Banff [SMM #578. Glen, ESM p. 235,
notes tune is by Isaac Cooper.]
Fordell House; RRR 22:
Forrest or the Dutchess of Hamilton's Delight; GSR2 6:
Fouller's Rant, The; AMR 3: Seme rune Tallanach; ACR 2:
fourteen of October, The [SMM #174.]; SM 30-31: Ye Gods! Was
Strephon's Picture Blest [Song. Tune is "The Fourteenth of
October"]; OC2 II #9: The Fourteen of October; MG2 24: The 14
of October; CPC3 9: Ye Gods was Strephon's picture blest; NSS
18: Fourteenth of October; MGB4:
Fraser/ Miss Fraser's Reel; RBR 19:
Fredrick/ Lord Fredrick and his Fencibles; JCR 51:
French/ Miss French; JCR 66:
Friendship; CPC9 23:
Frolik, The; JCR 14:
Fuadhna msilairan__the Fidler's Contemt [sic] by Rorie Dall; DDM
45:
Fullerton/ Mrs. Fullarton of Fullarton; JRR2 22:
Mrs. Fullarton of Rosemont; JRR2 48:
further ben the welcomer, The; ADC:
Fy gar rub her o'er wi' strae [SMM #16]; OC1 27: Fy gar rub her;
SM 148-9: Fy gar rub her o'er with Strae; MHF 19: Fy gar rub
her o'er with strae; ADC: Fy gar rub her o'er wi' strae; MUN:
Fy gar rub her O'er wi' Strae; OC2 I #28: Fy gar rub her o'er
with Straw; CPC1 32 [continues thru p. 33]: Fy gar rub her o'er
wi strae; MG3: Fy gar rub her o'er wi' Straw; MGB2 30: Fy gar
rub her o'er wi' Strae; NSS 25:
Fyket, The; RBR 6: Fyket Strathspey, The; GSR1 29:
Fy on the Wars [not De'el take the Wars]; OS1 26: Fy on the Wars;
CPC1 7: Fye on the Wars; MGB4:
Gaberlunzie-Man [SMM #226.]/ Gaberlunzie-Man, The; OC1 43: The
Gaberlunzie man; CST 19: The Gaberlunzie Man; OC2 I #43: The
Gaberlunzie Man; CPC5 13: The Gaberlunzie-man; NSS 21:
Gae to the ky wi me Johnny [SMM #135.]/ G,iomain na ngauna__Gae
to the kye wi me johnnie; DDM 42: [20 verses in NLS MS 6299,
and apparently a Northumberland song, related to "Cam'st thou
not from Newcastle"]
Gallaway Tom [SMM #325, Glen, ESM p. 164, notes it in Caledonian
Country Dances, c 1736. It seems to have been known in Ireland
as early as 1749 as "The Little Yellow Boy" (Gaelic, "Buchailin
Bui." Song to tune in Songs in Jack the Gyant Queller, Dublin,
1749) and is still known by that title in Ireland.]; CPC6 25:
Gallaways Lament [Cf. Lord Galloway's Lament.]; CPC8 19:
Galla Shiels, see Sour Plums of Gallashiels.
Gallochy's Farewel; WMR1 2:
Gardiner/ Col. Gardiners Lament; CPC10 5:
Miss Gardiner; DDR 36:
Gardiner's March, The [SMM #220.]; AA1 #177:
Garlie/ Lord Garlie; JRR2 18:
Garthland's Strathspey; GSR2 1:
Geld him Lasses Geld him [End line of "There came a fidler out of
France" in Herd's MSS, Hecht's Herd, p. 182.]; CPC6 23:
Gentle Love; CPC8 18:
Genty Tibby, see Tibbie Fowler.
George Square; WMR1 2:
German Spaw, The [ = 'New German Spaw,' Thompson's Miscellaneous
Collection, n.d. (1787)]; AMR2 40:
Geud Man of Ballangigh, see We'll all to Kelso go.
Gi'e the Mawking mair o't; CPC3 27:
Gilder Roy [SMM #66. Simpson, BBBM p. 252.]; SM 94-95: Gilderoy
[Song is Sedley's "Ah Chloris"] OC2 II #47: Gilder Roy; MG1 26:
Gilde Roy; CPC5 20: Gilder roy [Song, "Ah! Chloris."]; BR1 I
10: Gilderoy; FP 29: Gilder Roy; MGB3 10: Gilderoy [Song, "Ah
Chloris."]]; NST II 17: Gilderoy [Song, "Ah! Chloris."]; DCS I
17:
Gillibh na fela __ the lads with the kilts; DDM 23:
Gillie Kalum. see Keelum Kallum.
Gill Morice [SMM # 203. Long ballad text in BR1. Child #83.]; BR1
I 33: Gill Morris; CPC12 9: Gill Morice; FP 33: Gil Morice;
MGB4:
Gilly Cranke, see Killiecrankie.
G'iomain na ngauna, see Gae to the kye wi me Johnny.
Gimblet, The, see Old Lea Rigg.
Gingling Geordie [SMM #469. Glen, ESM p. 204-5 failed to note OST
and MG3 tunes, but cites it in Sinkler MS as "jingiling
Gordy."]./Ginleing Georde; OST 5: Gingling Geordie; MG3:
Pioberachd Mhic Dhomil [Identified by Stenhouse, SMMI p. 414 as
variant.]; CPC12 14:
Gin ye will not take her, turn her over to me; ADC:
Gin ye won ne take me ye may let me be; MG3: Gin ye won ne take
me ye may let me bee; MGB2 24:
Give me a Lass with a Lump of Land, see Lass with a Lump of Land
Glancing of her Apron, The [SMM #445. D'Urfey did not claim song
"In January last" was entirely his. See Simpson, BBBM p. 365.
Dialect verses not seen in Bodleian MS Rawl. A. 176, fol. 79,
commencing "I teuk her by the hand so small," and concluding
"We are as kind as you" may be related or even original
version.]; OC2 II #42: The Glancing of her Apron; CPC11 23: The
glancing of her Apron; FP 14:
Glasgow Bells; JCR 32:
Glasgow College; JCR 74:
Glasgow Flourish; JCR 65:
Glasgow Ladies; JCR 31:
Glasgow Lasses; NSR 49: [Not seen. Probably that printed by Gows,
Complete Repository, III. R. Bride's 24 Country Dances for
1769. Great Northern Tune Book.]
Glasgow Scots Measure, The; CPC5 10:
Glencairn/ Earl of Glencairn's, The, see The Highland Watch. Earl
of Glencairns Strathspey_by Mr. Marshall, The; AMR2 12:
Glenfiddich; WMR1 4:
Glengarry's Reel; ACR 18:
Glenlyon's Reel; NSR 18: Glen Lyon's Reel; AMR 20:
Glenmorisone; ACR 12:
Glinquich's Bush; CPC10 23:
Go to Berwick Johnnie [SMM #518. Glen, ESM p. 200, notes tune as
"Berwick Johny" in Sinkler MS, 1710.]; CPC6 22:
Go to the Ew-bughts Marion, see Ew-bughts Marion.
Good night, and God be with you [SMM #600. 17th century, Skene
MS. Glen, ESM p. 241. Diem gives tune from Guthrie MS,
1675-80.]; OST 4: Good Night, and God be wi ye; MHF 78: Good
Night & Joy be with you; CPC4 32: Good night and God be wi you
a; MG3: Good Night and joy be wi ye a'; MGB4
Gordon/ Duke of Gordon and his Volunteers, The JCR 50:
Duke of Gordon's Birth day_by Mr. Marshall, The; AMR2 2:
Duke of Gordon's Rant, The; AMR 7: Duke of Gordon's Reel A
Strathspey [In Marshall's 1822 collection as "The Duke of
Gordon's Strathspey," p. 31.]; WMR1 12:
Duke of Gordon's Strathspey, The [Not Marshall's in WMR1.];
GSR1 19:
Dutchess of Gordon; JRR2 17:
Dutchess of Gordon; RRR 1:
Dutchess of Gordon's Reel; WMR1 11: [renamed Linlithgow Loch,
according to Glen, SDM.]
Duchess of Gordon's Reel, The; AMR2 18:
Dutchess of Gordon's Strathspey, The; GSR1 24:
Lady Anne Gordon's Reel; WMR1 12: Lady Ann Gordons Reel_by Mr.
Marshall; AMR2 7:
Lady Charlotte Gordon's Reel [In Marshall's 1822 collection, p.
56.]; WMR1 3:
Lady Georgina Gordon's Reel_ by Mr. Marshall; AMR2 2
Lady Louisa Gordon's Reel; WMR1 7:
Lady Madaline Gordon's Reel]; WMR1 6:
Lady Susan Gordon's Reel [In Marshall 1822 collection, p. 10,
and another of same title on p. 50.]; WMR1 5:
Lady Susan Gordon's Reel; R. Bride's 24 Country dances for
1768, p. 16:
Lord Alexander Gordon's Reel; WMR2 3: Lord Alexr. Gordon's
Reel_by Mr. Marshall; AMR2 38:
Lord George Gordon's Reel; WMR1 1:
Lord Lewis Gordon's Reel; AMR 1:
Miss Admiral Gordon's Reel ["Miss Admiral Gordon's Strathspey"
in Marshall's 1822 collection, p. 16]; WMR1 3: Miss Admiral
Gordon's Reel_by Mr. Marshall; AMR2 4: Now called Of a' the
airts the wind can blaw.
Miss Gordon; NSR 37:
Miss Gordon of Bellie's Reel; WMR1 10:
Miss Gordon of Cairnfield's Reel; WMR1 4:
Miss Gordon of Glastirum's Reel; WMR1 6:
Miss Gordon of Lesmore; RRR 9:
Miss Katty Gordon of Earlston; JRR2 24:
Mr. George Gordon's Reel_by Mr. Marshall; AMR2 13:
Mrs. Gordon of Bellie's Reel; WMR1 9:
Gordon Castle [SMM #375.]; MG2 3: Gordon Castle; CPC10 2: Gordon
Castle; MGB2 3:
Gordon Castle, see Cambdelmore.
Gossip Joan [Pills, VI p. 315, 1720, with song. Tune in Begger's
Opera, song and tune as single sheet song with music. Bodleian
MS note with "2nd visit to Gossip Joan" says original song is
by J. Swift. This latter also printed as single sheet song with
music.]; CPC12 12:
Grace Nugent, by Carrallan [Irish. Tune identified by F. Kidson
as that for Burns' "Louis what reck I by thee," according to
Davidson Cook. ADC tune cribbed from NIT. Tune also in
Bunting's 1796 collection, p. 31.]/ Grace NVGENT by Carrallan;
NIT 26: Grace Nugent, by Carrallan; ADC:
Graces, The; AMM 42:
Gradh mo Chriodh Mai__May is my love; DDM 34:
Graham/ Major Graham; GSR1 6:
Mr. Chas. Graham's welcome home; GSR2 20:
Miss Graham of Inchbrackie's Strathspey; GSR1 18:
Miss Graham of Inchbrakie's Strathspey or Mrs Duff's Fancey;
GSR2 9:
Mr. Graham of Orchil's Strathspey [SMM #463]; GSR1 2:
Mrs. Graham of Balgowan; DDR 8:
Mrs. Graham of Orchil; DDR 14:
Gramachree Molly, see Will you go to Flanders.
Grant/ Dr William Grant, see Deil stick the minister.
General Grant; ACR 11:
Lady Grant of Grant, see Athol Cummers.
Lady Grant of Dalvey; ACR 6:
Lady Grant of Monymusk; ACR 6:
Miss Grant; DDR 4:
Miss Grant of Grant; RMR 34:
Miss Grant of Grant, see Braes of Tullymet.
Miss Grant of Knockando's Reel; WMR2 1:
Miss Mary Grant; ACR 20:
Miss Molly Grant; RMR 33:
Sir Archibald Grant of Monemusk [Now called "Moniemusk,"]; DDR
5:
Sir Archd. Grant's Reel; AMR2 19:
Grant's Rant, see Green grow the rashes.
Gray ey'd morning, see The Bonny Grey ey'e Morn.
Green grows the Rashes [SMM #77, #500. Glen and Dick disagree as
to whether there are one or two tunes for this title. Glen, ESM
p. 82, notes tune for SMM #77 as "John Black's Daughter" in
Walsh's Caledonian Country Dances, as "Foot's Vagaries" in
Johnson's 12 Country Dances..1749, and as "Foot's Vagaries," or
"Green Grows the Rashes" in D. Rutherford's Twenty four Country
Dances for the Year 1750. Verses for tune or tunes in Herd's
MS, Hecht, p.118. Glen sees little resemblance to tune "Green
Grows the Rashes" in Straloch MS, 1627, but Dick, SRB p. 388,
accepts it as a rudimentary form of the tune, and quotes title
"I kist her while she blusht" as later form. These latter two
tunes were translated by G. F. Graham and were inserted in
Additional Illustrations to SMM, p. *139. Dick, SRB p. 388,
identifies Oswald's tunes here, and that in NSR, as versions of
SMM #77, although Glen, ESM p. 214, (SMM #500) says they are
not the same tune. Those in MG1 and MGB2 have not been compared
and may be different tunes]; OS1 42: Green growes the Rashes;
MG1 18: The Grant's Rant; RBR 64: Green growes the Rashes; MGB2
13: Green Grows the Rashes [SMM #500.]/ Green Grows the Rasses;
OS1 42: Green grows the Rasses; CPC1 18: Green grows the
Rashes; NSR 13: The Grant's Rant; AMR 12:
Green Sleeves [SMM #388. Simpson, BBBM p. 268.]; SM 82-83: Green
Sleevs; CPC8 4:
Greenwich Hill [In section 'Fashionable Dances in Edinr.
1787-88.']; GSR2 34:
Grieg's Pipes; NSR 44: Greig's Pipes; JCR 11:
Greig's Strathspey; GSR2 20:
Grogg; RRR 2:
Grove, The; RRR 5: Grove, The; AMM 2:
Gunning/ Miss Gunning's Reel; AMR2 44:
Ha a Chailliah air mo dheidh __ The old wife haunts me [Reprinted
by Glen, ESM p. 21.]; DDM 12:
Had away from me Donald; OC2 II #46: Had away frae me Donald;
CPC3 17: Had awa frae me donald; MG3: Had awa frae me Donald;
MGB4
Had I the Wate she bade me, see Come kiss wi me come clap wi me
Had the Lass till I win at her; RBR 12:
Haddington/ Countess of Hadinton's Strathspey; GSR2 9:
Earl of Haddington's Strathspey, The; GSR1 9:
Haddington Assembly, The; DDR 6:
Haddington Assembly Jigg, The; GSR2 23:
Haddington Lassies; RRR 25:
Haddo/ Lord Haddo's Strathspey; GSR2 13:
Halket/ Miss Halket's Reel; WMR2 3:
Hall/ Miss Ketty Hall _The Variations by Sir Alex.r Don & the
late Mr. Nisbet of Dirleton; GSR2 27:
Hallow Een [SMM #136. Glen, ESM p. 105, notes tune in Sinkler MS,
and notes that it was said to be in Leyden MS of c 1692. Latter
is now Newcastle Univ. Lib. MS White 42]/ Holy Even, a Scotch-
measure; OST 16: Hallow Een; SM 22-23: Hallow E'en [Song is
"Why hangs that Cloud"]; OC2 II #35: Hallow Een; MG2 30: Hallow
Een; CPC3 21: Hallow Een; OS3 11: Hallow E'vn [Song, "Why hangs
that cloud."]; NSS 9: Hallow Een; AMM 6:
Hallow Fair [For song of same title see "Walley Honey."]; NSR
21:
Hamilton/ Duke of Hamilton and his Volunteers, The JCR 51:
Duke of Hamilton's Reel [Rutherford, Choice Collection of 60..
Country Dances, (1754) who also gives "Duchess Hamilton's
Rant," and "Hamilton House."]; RBR 86:
Dutchess of Hamilton, see Ruffian's Rant.
Dutchess of Hamilton; DDR 11:
Dutchess of Hamilton; JRR2 9:
Dutchess of Hamilton's Delight, see Forrest.
Dutchess of Hamilton's Strathspey, The; GSR1 27:
Lady Ann Hamilton; JRR2 29:
Hon.ble Col. Hamilton's Delight or New Bumpkin; GSR2 6:
Miss Elenora Hamilton; JRR2 52:
Miss Hamilton of Sundrum; JRR2 51:
Miss Hamilton's Delight, see Blossom of the Rasberry
Mr. Hamilton of Pencaitland's Strathspey; GSR2 13:
Mrs. Hamilton of Bargenny; JRR2 44:
Mrs. Hamilton of Sundrum; JRR2 49:
Hamilton House [prefixed Scordatura]; AMR2 10:
Hamilton Races; AMR2 40:
Hap me with thy Petty coat, see Come hap me..
Happy Clown, The [SMM #251. Tune in Crockat MS, 1709, according
to Stenhouse. In J. Walsh and J. Hare's Compleat Country
Dancing Master, p. 4, 1718, and in Beggars Opera. Tune also as
"Wallpole, or The Happy Clown." Song "The Happy Clown,"
commencing "One evening having lost my way," is by Burkhead, c
1720.]; CPC7 8:
Happy Night, The [Claimed by Oswald in CPC index.]; CPC6 27:
Hardy Knute [SMM #280, Glen, ESM p. 153, notes tune in OS2 II.
Dick, SRB p. 483, reprints CPC tune with corrections, and
states it was also known as "The Isle of Kell," or "Kyle," but
I have not found any evidence for this. "The Yle of Kyle" is
the tune called for on a 17th century Scottish version of
"Chevy Chase," now reprinted in Appendix I, p. 4, The Pepys
Ballads, 1987.] Hardie Knute; CPC5 31:
Hare in the Corn, The [Tune is in Bunting's 1840 coll'n, and
earlier Irish collections.]; CPC7 12:
Hark the Cock crow'd [SMM #552. Tune title from D'Urfey song,
'Set by Mr. J. Clarke,' Pills, I, p. 311, 1719.]; CPC10 1:
Hark 'tis a voice from the Tomb [copy of song, without music,
says 'Set by Mr. Worgan.']; CPC11 6:
Harlequin Tune; NSR 53:
Harlequin Tune; NSR 56:
Harlequin Tune; JCR 28:
Harriot, The [In section 'Fashionable Dances in Edinr.
1787-88.']; GSR2 34:
Haste to the Wedding, see Small Pin Cushion.
Haughs of Cromdale, see Wate you how the play began.
Hay/ Lady Betty Hay; RBR2 106:
Miss Hay; NSR 5: Miss Hay's Reel; AMR2 21:
Miss Mary Hay; DDR 20:
Miss Vearie Hay; DDR 8: Miss Vearie Hay's Reel; AMR2 27:
Hay Makers, The [as "Haymakers Dance in Fortunatus" (Dec. 1753)
in Rutherford's Choice coll'n of 60 C. Dances, c 1754.
Composer is probably J. Oswald, who published score.]; AMM
15: [Also given later by Gows.]
He na Boddachin; GSR1 19:
Health to Betty, A/ [SMM #172, with A. Ramsay's "My mither's ay
glowran o'er me." 17th century tune. Glen, ESM p. 30, reprints
some older versions. Simpson, BBBM p. 298. Ward, p. 46, adds
other sources. Diem gives Blaikie MS version.]: Bess-Bell; OST:
A Health to Betty; OC1 25: My Mither's ay glowran o'er me; SM
124-125: My Mother's ay glowrin o'er me; MHF 22: A Health to
Betty; OC2 I #25: My Mother's ay glowring o'er me; MG3: My
Mither's ay glowran o'er me; RBR 87: My Mither's ay glowring
o'er me; MGB3 2: My Mother's ay Glowring o'er me; AMM 8:
Heather/ The Heither Tops; CPC12 3:
Hegh how the Ballop; CPC6 20:
He hirpl'd til her; RBR 12:
Hech how, see Hey how.
Hemp dresser/ Untitled tune [SMM #399, where song is Burns' "The
deil's away with the exciseman." "The Hemp dresser," or, "The
London Gentlewomen." Simpson, BBBM p. 302. Dick, SRB p. 431.];
CPC8 21: The hemp-dresser; AA2 #105:
Henderson/ Miss Henderson of Fordel; DDR 9:
Sir John Henderson's Jigg; GSR2 15:
Henry/ Lord Henry; OS1 9:
Her absence will not alter me [SMM #71. Glen, p. 80 notes tune is
"When absent from the Nymph I love," verses of which are SMM
#53.]; MG3: Her Absence will not alter me; MGB1 4:
Her answer was mum; CPC10 5:
Here awa Willie [SMM #57.]; CPC8 1: Here awa there awa; BR1 II
10: Here awa there awa; NST I 6: Here awa there awa; MGB4:
Hermitage Bridge; GSR2 24:
Hero and Leander [Tune title unknown. OC2 song text closer to
early text in Folger Shakespeare Lib MS V.a. 345, c 1630-45,
than to later English broadside version in Roxburghe Ballads,
VI p. 558, and Euing Collection, #347. English broadside tune
citation is "I'll never love the more" = "(Scottish) Chevy
Chase," qv. What tune is "Leander and Hero," p. 11 of Walsh
and Hare's Compleat Country Dancing Master, I, 1718?]; OC2 II
#40:
He til't and She til't [Song is in MMC, p. 116, with tune
direction, apparently incorrect, "Maggie Lauder"]; CPC9 12:
Hey How Johnie Lad [SMM #357. Glen, ESM p. 173, notes tune in
Walsh's Country Dances Selected, part 2 (c 1760) as "The Lads
of Saltcots," and in Stuart's Reels, 1762. The tune is earlier
found is in D. Rutherford's Twenty Four Country Dances for the
Year 1758, p. 10, with the "Saltcots" title. Dick, SRB p.439,
makes this a variant of "Auld Lang Syne" (2)]/ The Lassies of
the Ferry; NSR 33:
Hey Jenny come down to Jock [SMM #167. 16th century text. Glen,
ESM p. 115-116, notes another tune with appropriate title that
would fit these verses in Blaike MS, 1692. First strain nearly
that of "The Linkin Laddie," SMM #237.]; MG3: O Jenny come
down to Jock; CPC2 31: Hey Jenny come down to Jock; BR1 I 24:
Hey Jenney come down to Jock; MGB3 25: Hey Jenny come down
to Jock; NST II 5: Hey Jenny come down to Jock; DCS II 9:
Hey, my kitten, my kitten, see Yellow Stockings.
Hey my Nannie [Gale Huntington, William Litten's Fiddle Book, p.
32, 1977. Huntington notes RBR version and two others. Cf.
"Yellow Stockings" below on tune family]; CPC5 8: Hey my Nanny;
RBR 46:
Hey to the Camp [Walsh and Hare's The Compleat Country Dancing
Master, I, p. 80, 1718. "The Mask" DM 1707, later "Hey to the
Camp." Bayard SB2, #504]; CPC7 1:
Hey to Couper; RBR 89:
Hey/Hei tuti teti [SMM #170, #577.]; CPC3 13: Hey tuti tatety;
MG3: Hey Tuti Tatey; MGB2 27:
Highland Battle, A [various titled tunes, style similar to "The
Battle", pcs. 29-40 of Eliz. Rogers' Virginal Book of 1656,
edited by Charles Cofone, Dover, New York, 1975. David Johnson,
Scottish Fiddle Music, 1984, reprints Oswald's piece and notes
there is nothing else like it in Scottish music.]; CPC9 6-7:
Highland Dress, The; NSR 61:
Highland Hills, The, see Come kiss with me.
Highland King [SMM #591]; CPC11 20:
Highland Laddie (1), see The Lord of Cockpen's Scotch-measure.
Highland Laddie (2), see The Lass of Livingston.
Highland Laddie (3) [SMM #21. Glen, ESM p. 241, under date 1742,
as "The Highland Laddie," which he prints, p. 242.]/ The
Highland Laddie; OC1 14: Highland Laddie; ADC: The Highland
Laddie; OC2 I #14: The Highland Laddie; MG1 13: The Highland
Laddie; CPC1 36: The Highland Laddie; MGB3 24: The Highland
Laddie [Song "The Lowland Lads, &c."]; NST I 17:
Highland Laddie (4) [SMM # 468. Glen, ESM p. 242-3, under date
1742 as "The Black Highland Laddie," which he printed on p.
242.]/ Untitled; OS2 ?: The Highland Laddie [Glen, ESM p. 204];
RBR 47:
Highland Laddie (5) [SMM #332. Glen, ESM p. 243, under date
1749 as "The New Highland Laddie," which he printed on p. 242.
Burns noted it was called "Jinglan Johnie" and gave two lines
of latter. Burns notes reprinted from article by Davidson Cook,
Burns Chronicle, 1922, in reprint ed. of SRB and DNRB, 1962.]/
The Old Highland Laddie; CPC6 1: Highland Laddie (6) [SMM #22.
Glen, ESM p. 242 (last tune), and discussed on next page, under
date 1754, as by Dr. (T. A.) Arne. Actually Michael Arne's from
The Floweret, 1750. Song and music for this tune in The Muses
Delight, Liverpool, 1754. This tune was later known as "Ah,
sure a pair" from a song in The Duenna.]
Highland Laddie [Unclassified. Other tunes of this title are
Dr. Hayes "Highland Laddie," "Felton's Highland Laddie," and
"Highland Laddie as danced by Aldridge."]/ The Highland Laddie;
OS3 26: The Highland Laddie; BR1 II 20:
Highland Laddy as danc'd by Aldridge; AMM 16:
Highland Lamentation, The [SMM #178]; CPC3 24: Highland
Lamentation [Song, "Amidst a rosy bank of flowers. Title,
"Young Damon," as SMM.]; NSS 25:
Highland Lassie, The [SMM #467. Glen, ESM p. 204, notes tune in
Aird's Airs as "As I came o'er the Cairney Mount". Song,
probably the original for Aird's title in The Merry Muses of
Caledonia, p. 44. Two lines quoted by Burns, are in Davidson
Cook's article mentioned under "Highland Laddie" (5).]; OS1 37:
The Highland Lassie; CPC1 12:
Highland Lilt [A tune of this title is in Coffey's The Beggar's
Wedding, 4th ed., 1729.]/ Hilland lilt; ADC:
Highland man kiss'd his Mother, The [As "The Highland Man" in MS
edited by Gale Huntington, William Litten's Fiddle Tunes, p.
11, 1977. Huntington, p. 51, notes Bremner's and other later
copies.]; RBR 10:
Highland Plaid, The; AMR 30: Lord Seaforth; ACR 8:
Highland Queen, The [SMM #1. Universal Magazine, 1764, Words by
Mac Vicar.]; CPC11 10:
Highland Queen, The; Rutherford's Twenty Four Country Dances for
the Year 1758, p. 2.]
Highland Sante, The; CPC12 16:
Highland Skip, The; DDR 22:
Highland Solo __ the Variation's Composed by D Dow; DDM 18-22:
Highland tune/ Hiland Tune [Watsons Scots measure, O gin ye were
dead goodman]; ADC 35:
Highland watch [SMM #101. Now, "The Black Watch's Farewell."];
m,freiceadan__the Highland watch; DDM 42: Earl of Glencairn's,
The; AMR 6: Sir James Colquohoun; ACR 9:
Highland Watch's Farewell to Ireland; NSR 27:
Highlanders Farewell, The; AMR2 5:
Highlanders March, The; CPC7 32:
Highway to Bourtrie Hill, The; JRR2 42:
Highway to Coilsfield, The; JRR2 16:
Highway to Colain, The; JRR2 18:
Highway to Cragie House, The; JRR2 31:
Highway to Edinburgh, The, see The Black Eagle.
Highway to Edinburgh, The; JCR 75:
Highway to Eglintoune, The JRR2 27:
Highway to Greenvale, The; JRR2 35:
Highway to London, The; JCR 76:
Highway to Newfield, The; JRR2 11:
High way to Warington, The; AMM 24:
Hilloch of Hay, The; CPC12 10:
Hi ri ri ri ho; CPC12 17:
Hit her upon the Bume [Bum in index]; CPC6 17: Hit her on the
Bum; BR2 11:
Hoble about; RBR 59:
Hold, see also Had
Hole in the Riddle, The; CPC10 16:
Holy Even: See Hallow Een.
Home/ Lady Elenora Home; DDR 5:
Lady Elenora Home; NSR 52: RMR 34:
Lady Helonora Homes's Reel; GSR1 13:
Honourable Peace, An; DDR 4:
Hooly and fairly [SMM #199. Single sheet song sung by Mr. Beard,
c 1745. BUCEM: Oh what I had a do for to marry. Recorded as
having been sung by Rev. John Gordon at the Tuesday Club,
Annapolis, Maryland, July 30, 1745, but only first verse
without tune recorded. "Drunken Wife of Galloway" with tune in
Universal Magazine, supplement, 1763.]; BR1 I 10: The Drunken
Wife of Galloway; CPC10 8: Drunken Wifie [?], The; RBR 48:
Hooly and Fairly; NST II 25: Hooly and Fairly; MGB4: Hooly and
Fairly; DCS I 21:
Hope/ Lady Ann Hope's Reel; WMR2 2:
Lady Hariot Hope's Reel; RBR 10:
Sir William Hope's Scotch-measure; OST 6:
Hopeton/ Countess of Hopetons Allemand, The; AMM 29:
Hopkins/ Miss Hopkins Reel; WMR1 11:
Hopton House; RBR 9: Sweet Molly [Ident. from Glen, SDM.]; NSR
11:
Horse-man's Port, The; BR2 8-9:
Hosiers Ghosts [English. Several earlier and later titles are
known for this popular tune. See Chappell, "Come and listen to
my ditty," PMOT, p. 597, and Music in Colonial Massachusetts,
I, p. 284, 1980.]; BT2 56-57 [as English tune]: Hossier's
Ghost; CPC6 10:
House of Glams, see Roslin Castle.
House of Gray, The; RBR2 101:
House of Rew, The; JRR2 45:
House under the Hill, The [Not same as Irish tune, "The Little
House Under the Hill."]; CPC8 17:
How can I be sad on my Wedding-Day [SMM #145.]; MHF 75: How can I
be sad on my Wedding Day; CPC5 12:
How can I keep my maidenhead, see Lennox Love to Blantyre.
How sweet it is to Love; CPC9 4:
Hume/ Lady Jean Hume's Reel; RBR 50:
Hume Castle; DDR 20:
Humours of Dublin, The [different is an earlier one of this title
in Coffey's Beggar's Wedding, 1729, and elsewhere. That in AMM
may be that attributed to Walker 'Piper' Jackson.]; AMM 31:
Humours of Glen [SMM #567. Irish tune which Glen, ESM p. 233,
notes in unspecified Stewart work of 1772, probably that noted
by Dick, SRB p. 381, CMT 31.]
Humours of Kilkenny, The; JCR 63: The Humours of Kilkenny; AMM
36:
Humours of Limerick, The; JCR 66:
Hunt the squirrel ["Hunt the Squiril" in J. Walsh and J. Hare's
Compleat Country Dancing Master, p. 16, 1718.]; CPC 11 5:
Hunter/ Mrs. Hunter [?Song writer Ann Home who married John
Hunter, July, 1771?]; JRR2 28:
Huntley/ Marquis of Huntley's Reel [In Marshall's 1822 collection
as "The Marquis of Huntley's Strathspey," p. 1, with another
of the same title on p. 11.]; WMR1 6: The Marquis of Huntley's
Reel_by Mr. Marshall; AMR2 17:
Marquis of Huntley's Farewell, The; WMR2 1:
I cannot win at her for her big Belly; CPC5 6:
I fix my Fancy on her, a Round O; OST 15: I fixtmy [sic] fancy on
her; SM p. 68-69: I fix'd my Fancy on her [Song is "Bright
Cynthia's Power"]; OC2 II #31: I fixt my fancy on her; MG3:
I have a Wife of my ain [SMM #352. "I'll have a Wife of my own"
in The Merry Medley, II, 1745, with dance directions. Glen, ESM
p. 171 notes tune in Walsh's Caledonian Country Dances, book 2
(1736).]; CPC10 4: I have a wife of my Ain; RBR 45: NSR 12: JCR
73:
I loo'd a bonny Lady; SM 70-71:
I love a bonny lass; RRR 23:
I love my Love in seacreit A Scots measure [SMM # 204. Glen, ESM
p. 127, cites MS sources. Diem gives Guthrie MS tune.]; OST 2:
I Love my Love in Secret; MG1 2-3, For the Violin, 4-5: I Love
my Love in secret; CPC2 26: I love my love in Secret; MGB #6:
I Love the Youth, see Se mo ruin a ntogan.
I sate upon the Peer of Leith, see Pier of Leith.
I was not -------- Since Martinmass [long solid line for missing
word or words in title]; CPC6 21:
I wish my Love were in a myre [SMM #41. There are at least two
songs which may stem from some lost original: (1) Jamieson's
Popular Ballads and Songs, I p. 350, 1806, "I wish my love were
in a mire." (2) North Carolina Folklore, II, Folk Ballads, p.
361, 1952, "I wish my love was in a ditch." Stenhouse stated
that tune was in Crockat MS.]/ A Hymn to Venus [Phillips' song
"Blest as the immortal Gods"]; OC1 5: I wish my Love were in a
myre; SM 28-29: I wish my love were in a myre; CST 31: I wish
my Love were in a Mire; MHF 64: Blest as th' Immortal Gods; OC2
I #5: I wish my Love were in a myre; MG1 15: I wish my Love
were in a Myre; CPC6 9: I wish my Love were in a Mire [Song is
"Blest as the Immortal Gods"]; BR1 II 6: I wish my Love was in
a mire; FP 27: I wish my Love were in a mure; MGB3 24: I wish
my love were in a Mire; NST I 26:
I wish that you were dead good man [SMM #409. "Fiddlers
Morris," Dancing Master, from 11th ed., 1701]; CPC4 24:
Watson's Scots Measure; MG3: Watson's Scots Measure; AMM 7:
I wish you wou'd marry me now; RBR 58:
I'll goe nae mair to your Town [SMM #458. ]; CPC10 15: I'll gae
nae mair to your Town; RBR 6: [ ]; JCR 17; [ ]; AA1 #35: JBR ?:
I'll have, see I have.
I'll kiss the wife she bad me, see come kiss with me
I'll Love no more; CPC11 27:
I'll mak' you be fain to follow me [SMM #268. Glen, ESM p. 149,
notes two untitled copies in Sinkler MS, 1710.] I'll gar ye be
fain to follow me; MHF 52: I'll make you be fond to follow me;
CPC9 10: I'll make you fain to follow me; RBR 24:
I'll never leave thee (1) [SMM #91. Glen, ESM p. 86, notes OC1
tune of this title is "Bannocks of Bear Meal."]/ I'll never
leave thee; SM p. 108-109: One Day I Hear'd Mary say; OC2 II
#13: I'll never leave thee; MG1 36: I'll never leave thee; CPC5
14: I'll never leave thee; BR1 I 26: I'll never leave thee; FP
11: I'll never leave thee; MGB3 17: I'll never leave thee [Tune
not compared, and is possibly "Bannocks of Bear Meal".]; NST II
11: I'll never leave thee [Tune not compared, and is possibly
"Bannocks of Beal Meal."]; DCS II 13:
I'll never leave thee (2), see Bannocks of Bear Meal.
I'll never see him More [SMM #506.]; CPC6 16:
Ianthe the lovely [English, Simpson, BBBM p. 357. Glen, ESM p.
92, notes SMM #105 is mislabeled "Ianthy the Lovely." SMM
#340, Barret's tune.]/ Anthy the Lovely ["Ianthe the lovely,"
John Barret tune c 1702 or Thomas Arne's, 1750?]; CPC4 8:
Anthey the Lovely; OS3 2: Ianthe the Lovely [with song.]; OS4
34:
If ever I'll merry I'll merry a Wright [Untitled, title from
Index.]; CPC4 12:
If e'er ye do well it's a wonder [SMM #322.]; OS1 5: If e'er ye
do well its a wonder; MG2 19: If e'er you do well it's a
Wonder; CPC1 27: If e'er you do well its a Wonder; MGB1 27:
If Love is the cause of my mourning, see Love is the cause of
my mourning.
If Love's a sweet Passion [by Henry Purcell]; CPC4 29:
If you had been where I have been, see An you had been.
Illumination, The, 9.th Feb.ry 1781; WMR1 8: The Illumination
Febr 1781_by Mr. Marshall; AMR2 8:
In January last, see The glancing of her apron.
Indernytie's Rant; NSR 28: Invernyty's Reel; AMR 17:
Innes/ Sir Harry Innes; ACR 18:
Invercald's Rant; AMR 26:
Invercald's Scots Measure; AMM 26:
Invercald's Strathspey; NSR 31:
Invercalld's Strathspey; NSR 54:
Invercaul's Reel; RBR2 107:
Inverey's Rant; RRR 22:
Inverness Scots Measure, see McLaughlans's Scots measure.
Irish Blanket, The; AMM 30:
Irish Girl [Tune not compared with one of this title in
Thompson's Miscellaneous Collection, n.d. (1787); GSR2 15:
Irish Footman, The; CPC4 14: The Pot Stick; CPC9 14:
Irish Lilt, The [Irish, The Priest in his Boots]; CPC10 17:
Jnsh of Perth [elsewhere Inch, and Irish]; RBR 69:
Irish Pot stick, The; CPC9 15: [Irish, Sheela na Gigg, Shilling a
Jig]
Irvin Stiple; RBR 36:
Isla Reel, The; AMR2 33:
Isle of Kell/Kyle, see Hardy Knute.
Isle of Skye ["Isle of Skie" in D. Rutherford's Twenty Four
Country Dances for the Year 1758, p. 9.]; RBR 7: The Isle of
Skie; AMR2 30:
Ivy Buds, The; CPC9 16:
Jack Latin [SMM #430. BUCEM lists a single sheet song with music,
c 1730 and c 1740, entitled "Jack Latten's Courtship." This
commences, "There was a lad just come from France."]; CPC12 6:
Jackie Latin; MGB4:
Jack of the Green [Country Dance. This is a generic title.];
CPC12 2:
Jackson/ Miss Jackson; NSR 67:
Jacky Stewarts Reel; RBR 7:
Jacky Tar, see Cuckoo.
Jamaica; MG2 29: Jamaica; AMM 7:
Jamie Roy_Colonel Montgomeries favorite Strathspey; AMR2 36:
Jamy come try me [SMM #229. Glen, ESM p. 135 cites tune in OS2,
II, p. 26.]/ Jamy come try me By Mr. Oswald; CPC2 34:
Janie, see Jenny.
Jeany Latin_by Mr. Marshall [Cf. Jack Latin/Leighton]; AMR2 33:
Jenny and I [we toiled? English.]; CPC5 27:
Jenny beguil'd the Webster [SMM #127. Song is "O Mother dear, I
gin to fear."]; OC2 II #37: Jenny dang the Weaver; RBR 54:
Jenny come tye my Gravat [sic] [Jenny, come tie my cravat,
Simpson, BBBM p. 378]; CPC6 14:
Jenny dang the Weaver, see Jenny beguiled the Webster.
Jenny drinks nae water [In Dauney's Ancient Scottish Melodies,
#18, p. 223, from Skene MS where title is "Iennet drinks no
water."]; MG2 21: Janie Drinks nae Water; AMM 5:
Jenny my blithest Maid ["Jockies Happy Meeting," The Pepys
Ballads, V, 267. Simpson, BBBM p. 382. A shorter and perhaps
earlier text is given from A New Garland in Roger Thompson's
Pepys Penny Merriments, pp. 112-3, 1976.]; CPC7 25:
Jenny Nettles [SMM #52. Glen, ESM p. 73, sees origin in Skene MS
tune "I love for love again." D. Rutherford, Choice collection
of 60 ...Country Dances, "Jenny Nettles," c 1754.]; RBR 80:
Jenny Sutton's Reel; GSR2 4: Also in Aird's Airs, IV.
Jenny's Babee [SMM #496. Glen, ESM refutes Chappell on origin and
cites other copies. It is also in Aird's Airs, IV, #72. ]; JCR
79:
Jenny's Joe; CPC12 8:
Jenny's Lilt; CPC11 25:
Jenny's Whim; ADC:
jessamine Bower, The; CPC12 24:
Joan's placket is torn, see Jumpin Joan.
job of journey work, The [SMM #480. Dick, SRB p. 374, notes
similarity to Irish tune, "The little red fox."]; AA3 #401:
Jock's Lodge; RBR 93: Cut and Dry; NSR 68:
Jockey [Song, "My laddie is gane far away o'er the plains."]; DCS
18:
Jocky and Jenny [Anglo-Scots song with this tune attributed to
Mr. Gouge in British Musical Miscellany, II p. 55, (1734).
Song, entitled "Jockey and Jenny", commences "Jockey and Jenny
together were laid,/ Jockey was happy and so was the maid"];
MHF 58 G 3/4 351H 642: Jocky & Jenney [Stenhouse said this
was original tune for SMM #527.]; CPC5 31 G 3/4 356 542:
Jockie and Sandie. The Melody of this is very old; FP 28:
Joky blythe and gay; OS1 2: Jockie blyth and gay; MG1 30; Jocky
blythe and Gay; CPC1 2: Jockie blyth and gay; FP 13: Jockie
blyth and gay; MGB1 20:
Jockie's fow & Jannie's faine [SMM #381.]; CST 25: Jocky's fu,
and Jenny's fain; MHF 15:
Jocky said to Jenny [SMM #61.]; SM 142-143: Jockey say'd to
Jenny; OC2 II #7: Jocky said to Jenny; CPC3 15:
Jockie was the blythest Lad [SMM #287.]/ Young Jockie [Davidson
Cook identified this with tune in CPC]; ADC 35: Jokie was the
blythest Lad in all our Town; MG2 36: Jockie was the Blythist
Lad in all our Town; CPC7 8: Jockie was the blythest Lad in all
out Town; MGB4
Jockey's Dream; CPC10 13:
Jockys Gray Breeches [SMM #27. Glen, ESM p. 67, notes two
successive versions in CPC. Stenhouse gave what he said is
original song to tune, but Dick, SRB p. 375, ignored that and
quoted verse from Herd's MSS. Dick noted that Burns called this
"The weaver and his shuttle," and notes tune in songbook.];
CPC2 32: AA1 #59: Johnny's Gray Breeches; AMM 3:
John/ Lord John; OS1 35: Lord John; CPC1 25:
John Anderson my Jo [SMM #260, #481. See Glen, ESM p. 25.
Simpson, BBBM p. 394, reprints Skene MS tune and that in The
Musical Miscellany. A five verse version of the song, without
music, is in Philomel, p. 202, 1744, (Lib. of Congress) and,
the same text with minor changes, Vol. I, p. 303, of The Comic
Miscellany, 1756 (Folger). A six verse version is in at least
four editions of The Masque, 1768- c 1775 (Folger), The Humours
of London, c 1770 (Lib. of Congress), and with music in The
Convivial Songster, p. 306-8 (1782. Lib. of Congress). J. S.
Farmer in Merry Songs and Ballads, III, p. 271 gave a text with
stated source the 2nd ed. of The Masque, p. 292, 1768. His text
is not that in The Masque, 2nd ed., 1768, where the song is on
p. 309. The song is also in MMC.]/ John Anderson my Jo; SM
114-115: John Anderson my Jo; CPC4 22:
John Anderson's Maggot; ADC:
John Black's Daughter, see Green grow the rashes.
John Come Kiss me Now; CPC6 2-3: John come kiss me now; BR2 6-7:
John come kiss me now; MGB4:
John Hay's Bonny Lassie [SMM #67]; OC1 35: John Hay's bony
Lassie; SM 132-33, 2nd part p. 134-135: John Hay's Bonny
Lassie; CST 2-3: John Haye's bony Lassie; ADC: John Hays Bonny
Lassie; OC2 I #35: John Hays bonny Lassie; CPC3 20: John Hay's
Bonny Lasie; BR1 II 22: Iohn Hay's bonny Lassie; FP 5: John
Hays Bonny Lassie; MGB1 7: John Hay's Bonny Lassie; NST 5:
John Knox; OS3 18:
John Ochiltree [Also in D. Rutherford's Twenty Four Country
Dances for the Year 1758, p. 4.]; OC2 II #48: John Ochiltree;
MGB4:
John O' Badenyond; AMR2 23: John of Badenyon [with song]; Musical
Miscellany [Perth, 1786] p. 304
John Roy Stewart's Reel; AMR 30: Raza's Reel; ACR 12:
Johnny and Mary [ Song commences "Down the burn and thro' the
mead."]; DCS II 26:
Johnny and Nelly ["Tho for seven years and mair"], see Bannocks
of Bear Meal.
Johnny Armstrong [SMM #356. See Glen, ESM p. 151, for some of the
variants in this tune family. Bayard2 adds others, as does
Breandan Breathnach. Simpson, BBBM p. 402, notes early copies
of songs, but no tune earlier than Oswald's, which he
reprints.]/ Armstrong's Farewell; CPC9 13: Earl Douglas's
Lament [SMM #343.]; CPC7 30: Earl Douglas's Lament; OS3 31:
Lude's Lament; CPC9 13: Robi donna Gorach __ Daft Robin [SMM
#257.]; DDM 25: Robie donna gorach Daft Robin An Old
Highland Song [followed by Gigg.]; GSR1 36:
Johnny cock up thy Beaver, see Cock up your beaver.
Johnny Cope [SMM #234.]; CPC9 11:
Johnnie Faa [SMM #181. Skene MS as "Ladie Cassilles Lilt." Song,
Child #200. Glen, ESM p. 120, cites tune in BAR.]; MG2 15:
Johnie Faa; CPC7 23: Johnnie Faa [Song same, five verses.]; NSS
22: Johnie Faa; MGB4:
Johnny McGill [SMM #207, #533. Glen, ESM, p. 128, notes tune as
Robert Riddell's 1794 collection as "My silly auld man", but as
the "Old Man", it's in the American Gibb's MS, 1777]/ Johnie
McGill; JCR 31: Johnny McGill; AMM 33: Johnny McGill; AA2 #119:
Johnny's Gray Breeches, see Jockie's Gray Breeches.
Johnie's made a wadding o't; JCR 6: Johnny's made a Wadding O,it
[sic]; AMR2 18:
Johnson/ Mr. Johnson's Reel; WMR1 1:
Johnston/ In N. Gow's 3rd Collection of strathspey reels is a
tune by her and one dedicated to her by Nath. Gow.
Miss Johnston of Hilton; DDR 14:
Miss Johnston of Hilton; DDR 24:
Miss Johnston of Hillton's Reel; GSR1 29:
Miss Johnston of Hilton's Strathspey; GSR2 5:
Miss Louisa Johnston's Fancy; GSR2 31:
Johnston's Reel; WMR1 10:
Jokie was the blythest Lad, see Jockie was the blythest lad.
Jolly Beggar [SMM #266.]/ Beggars Meal Pokes, The. Compos'd by
King James the 6th; CPC9 16:
Jolly Plowman, The, see The Ploughman.
Jorum, The, see Push about the Jorum.
Joy go with my love; NSR 24:
jsobail ni Caoidh__The Stewart's march; DDM 40-41:
Jumping Joan [SMM #138. Glen, ESM p. 105, doubts Stenhouse's
statement that this tune is progenitor of "Lilliburlero". ODNR
p. 251, 136.]; CPC9 10:
Just as I was in the morning; CPC11 4: Just as I was in the
morning; RBR 64:
Kate of Aberdeen; CPC10 14: Bonny Kate of Aberdeen [Although same
tune this is quite different for some measures]; Country Dance,
London Mag., June, 1751; Walsh's Twenty Four Country Dances for
1750:
Kate of Kinross; CPC12 10:
Katharine Ogie [SMM #164. 17th century. Glen, ESM p. 48, gives
tune from Leyden MS. See Simpson, BBBM p. 54. Additional Scots
sources of 17th century listed by Ward, p. 31. Included is
Diem's translation from Guthrie MS, which seems to be older
than any English copy of tune. Dick, SRB p. 373 adds two MSS
citations.]/ Katharine Oggie; OC1 22: Katherine Ogie; SM
136-137: Catharine Oggie; CST 20-21: Katharine Ogie; MHF 23:
Katherine Ogie; OC2 I #22: Katharine Ogie; MG1 20: Katherine
Ogie; CPC4 2: Katherine Ogie; OS3 6-7: Katharine Ogie; BR1 I 2:
Katharine Ogie; FP 23: Katharine Ogie; MGB2 16: Katherine
Oggie; NST II 24:
Katie's Complaint, see Ketty's Complaint.
Keelum Kallum taa fein; RBR2 108: Killy Kallum; p. 56, Twenty
Four Country Dances for the Year 1769, London, Printed for R.
Bride: Gille Callum da pheithein; GSR1 1: Gille Callum the
Original Set; AMR2 26:
Keep the Country Bonny Lassie [Song, Herd. Hecht's Herd, p.
183]; RBR 32: Keep the Country Bonny Lassie; AMR2 41:
Keller/ Captain Keller; NSR 47:
Kelly/ Lord Kelly's Reel; RBR 57:
Earl of Kelly's Reel, The; AMR 34:
Kennedy/ Mr. David Kenedy of New Wark's Reel [Davidson Cook
stated this is in JRR1 but not JRR2.]; JRR1 ?:
Miss Bell Kennedy; JRR2 58:
Miss Grizie Kennedy; JRR2 53:
Miss Nancy Kennedy; JRR2 48:
Miss Nelly Kennedy; JRR2 37:
Mr. Robt. Kenedys Reel; RBR 5:
Mrs. Kennedy of Dunure; JRR2 45:
Mrs. Kennedy of Grennan; JRR2 58:
Kennet's Dream; CPC10 20:
Ker/ Lady Emellia Ker; NSR 72:
Miss Elenora Ker; JRR2 50:
Kettlebender [Bawdy song with same tune in Muses Delight, 1754];
CPC11 26:
Kettys Complaint [Claimed by Oswald in CPC index.]; CPC5 15:
Katie's Complaint [not compard with CPC tune.]; FP 25:
Kick the Rogues out; RBR 36:
Kick the World before you; CPC10 15:
Kiliecrankie (1) and (2) [I have not copies of all tunes to sort
these out. SMM #102 (1), and SMM #292 (2). Glen, ESM p. 91,
cites tune (1) in Atkinson MS, c 1694, as "Irish Gilchranky".
For (2) he notes, p. 156, it is part of "My Mistres blush is
bonny" in Skene MS. Dick, SRB p. 484, gives CPC tune as
(1).]/ Keele Cranke (1); OST 3: Keele Cranke (1); ADC: Gilly
Cranky (2); CPC3 26: Gillicrankie; MG3: Gillicrankie; MGB2 9:
(?); AA2 #118: Kilecrankie (2); GSR1 26:
Kilmaur/ Lord Kilmaur; JRR2 12:
Kilrack's Strathspey; GSR1 29:
Kilravock's ACR 17:
Kilrick's Reel; AMR 16:
Kilwinan Lodge; RBR 38:
Kincaird/ Lord Kincaird's Reel; RBR 81:
Kind Robin loves me, see Robin Cushie.
King James march to Ireland, see Lochaber.
King of France he run a Race, The [Verse, recollected by Burns,
printed by Davidson Cook, Burns Chronicle XXXI, 1922.
Reprinted, 1962, with Dick's SRB.]; CPC8 26: Lady Doll
Sinclair's Reel [Also in D. Rutherford's Twenty Four Country
Dances for the Year 1758, p. 8, "Lady Doll St. Clair's Reel"];
RBR 1: King of France, The; JCR 73:
King of Prussia's Reel; RBR 25:
King shall enjoy [his own again. Simpson, BBBM, p. 764-68,
discounts Skene MS tune, "marrie me marry me, quoth the bonnie
lass," as related to "When the king enjoys his own again."];
CPC2 20:
King's Jig, The; AMM 22:
Kirkforther; CPC10 22:
Kiss for Nothing, A; RBR 74:
Kiss me fast; NSR 14:
Kiss me Sweetly [Rutherford, Choice Collection of 60...Country
Dances, c 1754, "Kiss me sweetly."]; RBR 4:
Kiss the Lass ye like best; RBR 55:
Kitty of Crile; CPC9 19:
Kitty's Scots Measure [Claimed by Oswald in CPC index.]; CPC5 30:
Kitty Tyrell [SMM #528. Irish]
Knit the Pocky; RBR 84: Lady MacIntoshe; NSR 20.
Knockande's Reel- by Mr. Marshall; AMR2 14:
Knockandoe's Reel; ACR 8:
La, Le and Les.. apparently French tunes.
La Belle Catherine [In section 'Fashionable Dances in Edinr.
1787-88.' Cotillon in Thompson's Miscellaneous Collection, n.d.
(1787), also used as song tune.]; GSR2 36:
La brunette; AMM 19:
La Double inconstance; AMM 28:
La Julie; AMM 28:
La Marquise; AMM 27:
La Mignonette; AMM 18:
La Nevell Hollandois; AMM 20:
La Nowell Ballandoise; AMM 26:
La Seculere; AMM 4:
La Simplicita; AMM 10:
Le Quarte Comploisse'a; AMM 14:
Les Falce de Temp'e; AMM 25:
Les Piadmontese [In section 'Fashionable Dances in Edinr.
1787-88.']; GSR2 34:
Labzassiene; AMM 27:
Laddie lay near me [SMM #218. Glen, ESM p. 131-32, notes this is
not the English tune. Simpson, BBBM p. 423-4 also notes this is
not the English tune "Lady, lie near me" but it does fit the
song "Laddy lie near me" given twice by Ritson]; CPC12 5:
Laddie lie near me; MGB4: Laddie lie near me; ARC2 22-25:
Ladies of Argyle, The; JCR 60:
Lads of Dunse or Sir Alex.r Don's Delight, The ["The Lads o' Duns
is a bonny spring;" quoted by J. Boswell, Journal, Mar. 30,
1772.]; GSR2 33:
Lads of Elgin, The; RBR 59:
Lads of Leith, The [SMM #398. Glen, ESM p. 184 notes tune in
Walsh's Caledonian Country Dances, book 2, 1736, but not the
earlier copy in ADC.]; ADC: The Lads of Leith; CPC4 31:
Lads of Nairn, The; CPC12 11:
Lads of Saltcots, see Hey How Johnie Lad.
Lads of the Printfield, The; JCR 26:
Lads of the Shaws, The; JCR 16:
Lads with the kilts, see Gillibh na fela.
Lady Ann Bothwell's Lament [SMM #130. Several early texts of
"Balow my Boy" have been published, and there in another of
four verses of c 1630, plus a verse added by a later hand in
Folger Shakespeare Library MS V.a. 345, p. 166.]; OC2 II #17:
Balow my Boy; CPC1 25:
Lady of the flow'ry Field, The; CPC4 4: The Lady of the Flowery
Field; OS3 23:
Lady's Breast Knot, see Breast Knot.
Laird of Cockpen, see When she came ben she bobbed.
Lamberton Races Reel; GSR2 11:
Lamott's Jig; AMM 22:
Lamott's Rigadon; AMM 23:
Langolee [New Langolee. SMM #516, for John Tait's song "The Banks
of the Dee." Glen, ESM, p. 219, notes tune in Aird's Airs, and
Thompson's (Twenty Four) Country Dances (for the year), 1775.
There is a copy of 1772 in The Irish Fair, a London comic dance
pantomime. There are songs of that title soon after.]
Langolil [Old Langolee]; CPC9 8:
Lard of Cockper's Scotch-measure, The [i.e. "Laird of Cockpen's,"
but not same tune as that from OST 4, "Lord of Cockpen's Scotch
Measure," or "When she came ben she bobed."]; OST 13:
Larickille; AMR 8:
Larry Grogan [Irish, but tune is that on a single sheet
song that is in no way Irish, "Larry Grogan, or the London
Rakes Delight," commencing "Come boys lets be jolly." BUCEM
puts this at c 1750, but that is later than any of the songs in
the collection in which I found the song. I believe it may be
as much as fifteen earlier than 1750. Tune from AA1 reprinted
in F. J. O'Neill's Irish Minstrels and Musicians, p. 182, 1913.
Irish songs to the tune are "On the Buck Hunt in the County of
Limerick" in a Dublin song book without music, Charms of
Melody, 1776, and also in Charms of Cheerfulness, 1781. The
latter also contains what is probably the original song to the
tune, "Larry Grogan," commencing: "Ye rakes that are jolly and
hate melancholy." Song also in The Polite Singer, 1781.]; CPC10
12:
Lasly's March, see Leslie's march.
Lass among the Aclenoch, The; AMR 27:
Lass of Leving-Stone, The [Not same tune as "The Lass of
Livingston"]; OST 14:
Lass of Leweney, The; CPC11 13:
Lass of Livingstone, The [SMM #17. Highland Laddie (2). Glen, ESM
p. 241, lists versions "New Hillad Ladie" in Blaikie MS,
"Cockle Shells" in Dancing Master, 1701, "Highland Laddie"
Sinkler MS, and prints these as 2nd. 3rd, and 4th tunes, p.
242.]; OC1 48: The Lass of Livingston; SM 102-103: The Lass of
Livingstone; ADC: The Lass of Livingston [Song is "Pain'd with
her slighting Jamie's Love"]; OC2 I #48: The Lass of
Livingston; MG2 27: The Lass of Livingston; CPC3 7: The Lass
of Levingston; AMM 8:
Lass of Paties Mill, The; *OC1 1: Lass of Peaty's Mill, The; SM
80-81: The Lass of Petties Mill; CST 24: The Lass of Patie's
Mill; MHF 34: The Lass of Pattie's Mill; ADC: The Lass of
Peaty's Mill; OC2 I #1: The Lass of Paties Mill: MG1 17: The
Lass of Paty's Mill; BT1 10-11: The Lass of Patie's Mill;
CPC2 14: The Lass of Peaty Mill; OS4 1: The Lass of Paty's
Mill; FP 8: The Lass of Paties Mill; MGB1 24: The Lass of
Paties Mill; NST II, 16: The Lass of Patie's Mill A Scots
Measure; AMM 12: The Lass of Peaties Mill; DCS I 11:
Lass of the Hill, The [English song, tune by Howard]; CPC12 22:
Lass with a Lump of Land, A [SMM #169.]; OC2 II #12: Give me a
Lass with a Lump of Land [SMM #169]; MHF 13:
Lasses likes nea Brandy; RBR 83: Lick the ladle Sandie; NSR 21:
Lasses of Irvin; JCR 4:
Lassie lost her silken Snood, The [Glen, ESM p. 67, questions
Stenhouse's statement about singing "Twine weel the Plaiden,"
to this tune. SMM #31, to Oswald's tune. There are at least
three different songs in which this title is a line.]; CPC12
22:
Lassies of Stewarttown; NSR 46:
Lassies of the Ferry, see Hey How Johnie Lad.
Lassie with the yellow Coatie, The; CPC8 13: The Lassie with the
yellow Coatie; RBR 76: The Lassie with the Yellow Coaty; AMR2
34:
Last Pint Ale, The [I]; RBR 37: [Untitled tune following "Last
Pint Ale", CPC9 12]
last Pint Ale, The [II]; CPC9 12:
Lastrumpony ["Lestrum pone" in Coffey's The Beggar's Wedding, 4th
ed., 1729. Several later copies in Irish collections, noted in
B. Breathnach, Ceol Rince na hEirean, II.]; CPC11 13:
last Time I came o'er the Moor, The [Root tune "Alace that I came
owr the moor and left my love behind me," Skene MS. Glen, ESM
p. 65, notes tune in Blaikie MS. Except for capitalization and
'over' for 'o'er' in ADC, title same in almost all
following.]; OC1 6: SM 78-79: Last time I came o'er the Muir;
MHF 16: ADC: OC2 I #6: MG1 34: BT1 16-17: CPC2 24: BR1 I 8:
OS4 12: FP 16: MGB3 20: NST II 20: DCS II 18:
Lauchan's Lilt; CPC10 16:
Lauder Lilt, The; CPC12 17:
Lawder/ Miss Lawder [title, tune p. 11-12]; CPC4 10:
Lawland Lads wi Highland Kilts, see Never out of Humour.
Lazy Mist, The [SMM #232, #587. Glen, ESM p. 136 and 238, thought
tune Irish.]; CPC12 20:
Leader Haughs and Yarrow [SMM #211. Glen, ESM p. 211, discusses
the two songs given by Ramsay. A third song of "Leader Haughs
and Yarrow" is "The Words of Burn the Violer" printed from a
broadside by Motherwell in The Paisley Magazine, p. 621,
1828.]; OC2 II #11: Leader Haughs and Yarrow [Song, "The Morn
was fair, fast was the air"]; NSS 18: Leader Haughs and Yarrow;
MGB4:
Lee/Lea Rigg, see My ain kind deary (1) and Old Lea Rigg (2).
Lees of Luncartie, or Lady Bairds delight, The; GSR1 4:
Leith Wynd, see Come hap me with thy pettycoat (2).
Leith Scot's Measure, The; CPC12 19:
Lenox Love to Blantyre [SMM #483. Glen, ESM p. 209, prints
Sinkler MS tune, 1710, and notes tune is entitled "How can I
Keep my Maiden-head" in Walsh's Caledonian Country Dances, ii,
(1736). Dick, SRB p. 370, notes Stewart's and Campbell's tunes
not in SDM.]; The Merry Medley, II p. 363, 1745. [Dance figures
on later page.]/ Lenox love to Blantyre; RBR 17: NSR 9: JCR 13:
Leslie's March [I][See Glen, ESM p. 39-41, Simpson, BBBM
pp. 365-367]
Leslie's March [II] Facsimile reprint from dance coll'n of c
1740-2 in Music in Colonial Massachusetts, I, p. 67, 1980. The
song "March, march, why the D--- do ye na march," is without
music or tune indication in Orpheus, II (The Thrush), p. 251,
1749]/ Lasly's March; CPC2 36: [also in dance collections of
1735, c 1740.]
Lesplascer's de Metz; AMM 25:
Let me in this Nicht [SMM #311. Song there altered from Herd's
copy, by Burns according to Dick, SRB p. 406. Glen, ESM p. 161,
notes tune in Graham MS as "The Goun made," Sinkler MS as "I
would have my gowne made." Dick added Leyden MS copy as "The
goune new made," and identified tune in CPC. It is also in
Dauney's and Diem's contents lists of the Guthrie MS.
Stenhouse, SMMI, p. 302, said it was in his old virginal MS as
"The newe Gowne made."]/ Will you lend me your Loom Lass; CPC4
21:
Let's be jovial &c; SM p. 12-13:
Let's shak her weall; ADC:
Let's to the Ard_Strathspey; RBR 62: Let us to the Aird; AMR 18:
Dutchess of Athol; ACR 4:
Lethens, see Bonnie Annie.
Lewis Gordon [SMM #86 Glen, ESM p. 84, notes tune evidently
derived from "Tarry Woo."]; DCS I 6:
Lick the ladle Sandie, see Lassies like nea Brandy.
Life of Love, The ["The Life we Love" in CPC index, where Oswald
claims tune.]; CPC4 27:
Light and Airy; RRR 13: Light and Airy; GSR2 25:
Lilli Bulare [bullen a la. Simpson, BBBM p. 449.]; CPC7 13:
Limerick's Lamentation, see Lochaber.
Lindsay/ Lady Mary Lindsay; JRR2 33:
Miss Lindsay; DDR 36:
Link him Dodie, see Blue Britches.
Links of Leith; RBR 57:
Little Men of the Mearns, The; AMR 20:
Livingston/ Miss Annie Livingston; NSR 47:
Loch Earn Reel; GSR2 2:
Lochaber [SMM #95. Glen, ESM p. 87-89, notes other titles, and
prints several versions under other names, e.g., "King James
March to Ireland," from Blaikie MS. It is "King James March to
Dublin" in Leyden MS, c 1700. "Limbricks Lamentation" was
printed as Irish tune in NIT.]/ Limbricks Lamentation; NIT 25:
Lochaber; CST 26: Lochaber, for 2 Voices; OC2 II #20: Lochaber
no more; CPC2 15: Lochaber; MG2 1: Lochaber; BR1 II 14:
Lochaber; FP 28: Lochaber; MGB2 1: Lochaber; NST I 2: Lochaber;
DCS I 4:
Loch Erroch Side [SMM #78. Glen, ESM p. 82 notes probable
derivation from "Over young to marry yet." Dick, SRB p. 355,
notes tune as "Lady Strathden's" in Agnes Hume MS, 1704. Dick
also notes tune in AA3 #543]: Loch Eireachd Side; AMR2 46: Loch
Erroch Side Strathspey; GSR2 7:
Lochael's awa to France; GSR2 14:
Lochart/ Captain Lochart of the Tartar [Printed by Glen, SDM I p.
9.]; RBR 27:
Lochgery's Rant; AMR 13:
Lochiel/ Lochell's march; ARC2 9-10:
Lochiels Rant; RBR 44:
Loch_ness; RBR 29:
Loch Vach_by Mr. Marshall; AMR2 13:
Logan Water [SMM #42. Glen, ESM p. 49, pointed out SM tune, and
Simpson, finding no earlier copy, printed it, BBBM p. 458.]; SM
56-57: Logan Water; MHF 6: Logan Water [Song is "Forever,
Fortune, wilt thou prove."]; OC2 II #23: Logan Water; MG1 35:
Logan Water; CPC5 18: Logan Water; MGB1 21: Logan Water
[Song, "Forever, Fortune wilt thou prove."]; NSS 6:
Lona's Vale; CPC11 28:
Ld. Galloway's Lamentation [Cf. Gallaways Lamentation.]; ADC:
Lord of Cockpen's Scotch-measure, The [Highland Laddie (1). Glen,
ESM p. 241, cites this as "Highland Laddie" in Blaikie MS,
1692, and prints it on p. 242. He also notes it as "Helen
Home's Scots Measure" in Sinkler MS, 1710.]; OST 4:
Lorn/ Marquis of Lorn's Strathspey, The; GSR1 25:
Lothian Lassies; RRR 17:
Loudon/ Earl of Loudon's Strathspey; GSR1 2:
Lady Loudon's Strathspey; GSR2 3:
Louver, The; AMM 34:
Lovat/ Lord Lovate; ACR 5:
Love in a Village, see Reel in...
Love is the cause of my mourning [SMM #109. Glen, ESM p. 93,
notes tune in Graham MS. Title would seem to come from English
broadside, "The Forlorn Lover," of which there are many
traditional versions. Broadside in The Pepys Ballads, III, p.
103, 1987.]/ If Love is the cause of my mourning; OST 10:
Love is the cause of my Mourning; OC1 17: Love is the cause of
my mourning; SM 32-35: Love is the Cause of my Mourning; MHF
40: Love is the Cause of my Mourning; OC2 I #17: Love is the
Cause of my Mourning; OS1 1: Love is the Cause of my Mourning;
CPC1 27: Love is the Cause of my Mourning; BR1 II 10: Love is
the Cause of my Mourning; MGB3 4: Love is the Cause of my
Mourning; NST I 22:
lovely Lass of Inverness, The [SMM #401. Claimed by Oswald in
CPC.]; OS1 12: The Lovely Lass of Inverness; CPC1 9:
Lovely Lass of Monorgon, The [SMM #147.]; CPC9 20:
lovely Lass to a Fryar came, A [English, Simpson, BBBM p. 474.];
SM 74-75:
Lovely Nancy by Mr. Oswald; CPC2 2-3:
Love sick Jocky; CPC9 16: Lovesick Jocky [Song commences "A bonny
Northern Lad, as ever walked the street." One long verse
only.]; OS4 36:
Love Slip, The; CPC8 23:
Love will find out the Way [SMM #150. Simpson, BBBM p. 472.]
Low down in the broom [SMM #90.]; CPC7 6: Low down in the Broom;
BR1 I 8: Down in the broom; FP 14: Low down in the Broom [Song
is "My daddy is a canker'd carl."]; NST II 3: Low down in the
broom; MGB4: Low down in the Broom; DCS I 3: My Love's in the
Broom [a poor version]; CPC5 3:
Lowlands of Holand, The [Not that in SMM #115. Glen, ESM p.
95-99, prints this and apparent progenitor, the Skene MS tune,
"My love she winns not her away."]; CPC2 36:
Lucky Minute, The [Merry Musician title for Earl of Rochester
song of 1677, "As Chloris full of harmless thought." See
Simpson, BBBM p. 106.]; CPC10 12:
Lude's Lament, see Jonny Armstrong.
Lude's Supper [Bunting, 1840, says by Rory Dall
O'Cahan/Morison.]; CPC10 6: Suipair thighearn Leoid__Lude's
Super by Rorie Dall; DDM 43:
Lumps of Pudding [Dancing Master, 1701, Pills to Purge
Melancholy, VI, p. 300, 1720; Beggars Opera, 1728; Lover his
own Rival, 1736; Walsh's Compleat Country Dancing Master, II,
1719]; CPC7 4:
Lundie's Dream; CPC9 8:
Lurg's Reel; ACR 15:
Lyons/ Lady Mary Lyons Reel; AMR2 39:
McAdam/ Mrs. McAdam of Craigengillan; JRR2 47:
McBain/ Colonel McBain; RBR2 101: Colonel Macbeans Reel; AMR2 18:
Macdonald/ Lady Margaret Macdonald; NSR 34:
Lord Macdonald's Reel; AMR 19: Lord Fife; ACR 8:
Miss Betty McDonald; RBR2 99:
Miss Flora McDonald's Reel; RBR 21:
Miss Hariot MacDonald; DDR 18:
Miss Macdonald's Reel; AMR2 29:
Miss Mary Mcdonald's Reel; GSR2 31:
Miss Pensyr Mc. Donald's Reel; GSR2 4:
Mrs. Macdonald of Clanrannald's Reel; GSR2 24:
Sir Alex McDonald's Reel; RBR 22:
Macdonell/ Colonel Macdonell's Strathspey; AMR2 6:
McDonogh's Lamentation, see Counr. Mac Donoghs Lamentation.
McDuff/ Captain McDuff; DDR 6:
Captain McDuff; NSR 68:
Captain Macduff's Reel; AMR2 28:
Captain McDuff's Delight; RMR 31:
McDuff's scots measure; CPC11 19:
Macfarlane's Reel; AMR2 17:
Macfarlane's Strathspey; GSR2 21:
McGhie/ Mrs. McGhie; JRR2 28:
McGregor/ Mrs. McGregor; NSR 61:
Mc Grigor of Rora's Lament ["Galic Air." SMM #173. Glen, ESM p.
118, overlooked Corri's tune, but noted by Dick, SRB p. 478.]/
Mc.Grigor's Lamentation, the [Bad set according to Dick, SRB p.
478.]; DDM 16: MacGrigoir a Rua-ruth ["Galic Air."]; DCS II 29:
Macintosh/ Captain Macintosh [In section 'Fashionable Dances in
Edinr. 1787-88.']; GSR2 25:
Lady MacIntoshe, see Knit the Pocky.
Lady McIntosh's Reel, see For a' that, an' a' that.
McIntosh's Lament; CPC10 18-19:
McKay/ Colonel McKay; RBR2 112; DDR 12:
MacKenzie/ Captain MacKenzie; NSR 36:
Captain McKenzie; RRR 2:
Miss McKenzie of Coul; RRR 27:
Mrs. Muir Mackenzie's Reel; GSR2 22:
McKinnon/ Miss Peggie McKinnon; RRR 30:
McKinnon's Reel; RRR 36:
Maclachlain's Reell; ACR 16:
McLachlan's Rant; NSR 29: Maclachlain's Rant; AMR 18:
McLauchlan's Scots Measure/ Mr. Mc. Clanklaines Scotch-measure.
Glen and Dick agree that tune in SMM is in OST, but do not
overlap as to other sources. Glen, ESM p. 99, suggests tune
mistitled in OST, and should be "McLaughlin's Scots Measure."
Dick, SRB p. 370, misquotes title in OST, but stated it is
found as "Inverness Scots measure," in CPC, which I have
verified, and he said it is also in Aird's Airs, #95, (1778);
OST 1: The Inverness Scots Measure; CPC6 29: McLauchlin's Scots
Measure; MG3: Maclachlane's Scots Measure; AMM 12:
Mclean, Maclean/ Miss Maclean of Duart; DDR 19:
Sir Allan McLean; RRR 37:
Mcleods Reel/ Scotch Jemmy [Tune identified by Davidson Cook,
Scots Musical Magazine, Dec., 1925.]; ADC #11: Macleods Reel;
AMR 8:
Macneill/ Mr. Macneill of Collonsay's Reel; AMR2 39:
Miss McNiell; RRR 23:
McNeill's Rant; CPC11 12:
Mcphersons Farwell [SMM #114. Glen, ESM p. 95, notes tune in
Sinkler MS, 1710. Original broadside of song was printed by Wm.
Motherwell in The Paisley Magazine, p. 619, 1828. Copy in
broadside collection of the Earl of Crawford.]; CPC7 14:
McPherson's Farewell; CPC10 10: McPherson's farewell; MGB3 32:
Macpherson's Lament; AMR2 1: Macpherson's Rant; ACR 12: See Mac
Fosset's In Gore's list of Walsh's CCD's
McQueen/ Mr. Dundass Mc. Queen's Reel; GSR2 30:
Miss McQueen's Reel; WMR1 5:
McQueir/ Miss McQueir; JRR2 24:
Madam Cassey [or "Mrs. Casey" or "Landlady Casey," from title of
song by J. O'Keefe in his play Fontainbleu, 1784. This
commences "The British Lion is my sign." Song and full tune in
Calliope, London and Edinburgh, 1788. Gow gives a short version
in section 'Fashionable Dances in Edinr. 1787-88.' See Bayard2
for traditional copies, but note he didn't discover source of
"Mrs. Cassey" title as O'Keeffe's song.]; GSR2 35:
Madam Mc. Keeny's Scotch-measure: OST 2:.
Madam Seafoth's Scotch-measure; OST 12:
Maggie; OS3 17:
Maggy Lauder [SMM #98, #544. Glen, ESM p. 49, notes tune in
Quaker's Opera, 1728. As "Moggy Lawther on a day" the tune is
in the 4th ed. of Coffey's The Beggar's Wedding, 1729, and 6
other ballad operas.]/ Maggie Lauder; CST 38-40: Maggy Lawder;
MHF 29?: Moggy Lauther; ADC: Maggie Lawder; MG1 24: Magie
Lawder; CPC1 30: Maggie Lawder; MGB1 16: Maggy Lauder; ARC2
16-18:
Maggies Lamentation; CPC8 12:
Maggie's Tocher [SMM #230. Glen, ESM p. 136, notes tune as 'A
Trip to Marrowbone,' in The Dancing Master, Vol. II, p. 112,
1728. Simpson, BBBM p. 85, says "A trip to Marrowbone" is in
12th (1703) and succeeding editions. Neither note it as "A
Scottish Jig" in Apollo's Banquet, 1669.] Maggie's Tocher; OC1
39: Magys Tocher; SM 48-49: Maggie's Tocher; OC2 I #39: Magies
Tocher; J. Walsh, Twenty Four Country Dances for the Year 1750,
#22: Magies Tocher; NSS 9:
Maggy's Weam is fu' I true [One of this title is variant of
"Duncan Davidson," see Bayard2 #348.]; RBR 85:
Maid in the Mill, The [SMM #519. Tune of same title, not compared
with Oswald's, in Walsh and Hare's Compleat Country Dancing
Master, I, p. 45, 1718.]; CPC7 27:
Maid of Allanbank; CPC9 24:
Maid of Dornock, The; CPC12 18:
Maid of Elgin, The; CPC11 27:
Maid of Forfar, The; CPC12 2:
Maid of Selma, The [SMM #116]; NSS 26: The Maid of Selma; DCS II
19:
Maid's Complaint, The [SMM #112, #333, #429. Claimed by Oswald in
CPC.]; OS1 14: The Maids Complaint; CPC4 30:
Malt-man comes on Monday, The [SMM #433. English, "Roger de
Coverly." In Cumming MS, 1723, as "The Maltman or Roger the
Cavalier"]; CPC9 9: Malt-man comes a Monday, The; RBR 47: The
Malt-man comes on Monday; BR2 18-19: Malt Man; ARC2 6:
Man has got his Mare again, The [and all shall go well. I know
nothing about Oswald's tune. A song of "Mossie and his Mare"
was entered in the Stationer's Register in the 16th century and
there are many allusions to it in the 17th century. J. W.
Ebsworth gave a three verse version from zn unidentified source
in the notes to his reprint edition of Choyce Drollery,
p. 337, 1875. Source was undoubtably that in J. O.
Halliwell-Phillips' Nursery Rhymes of England. A Jacobite
recasting is in Gavin Greig's Folksong of the Northeast, Art.
171. A long political version similar to Greig's is in R.
Ford's Vagabond Songs and Ballads, I, p. 37, 1899.]; CPC12 24:
Marchmont House; RBR 23:
Mari nigean Deorfa __ Mary the Daughter of George; DDM 23:
Marsail Lochinalie; CPC11 14:
Marshall/ Earl Marshall's Reel; RBR 73:
Mr. Marshall's compts. to Niel Gow [Cf. Niel Gow's Comp.
return'd.]; AMR2 14:
Marshall's Strathspey; GSR2 12:
Marry Ketty, see Will you go and marry Ketty.
Mary Gray; RBR 81:
Mary Scott [SMM #73. Tune from 17th century Anglo-Scotch song,
called "Long Cold Nights." Tune later "Carrick's Rant/Reel,"
"Clurie's Reel." See Glen, ESM p. 81, who notes tune in Walsh's
Caledonian Country Dances, (Carrick's Reel, book 3) and, p.
230, in note to SMM #556, cites tune in Bremner's Reels as
"Carrick Reel," qv. For 17th century songs see Simpson, BBBM p.
466.]/ Mary Scot; OC1 19: Mary Scott; SM 72-73: Mary Scotts the
Flower of Yearrow; CST 33: Mary Scott; MUN: Mary Scot; OC2 I
#19: Mary Scott; OS1 6-7: Mary Scott; MG1 9: Mary Scot; BT1
8-9: Mary Scott; CPC1 4: Mary Scott; BR1 II 18: Mary Scott;
MGB2 32: Mary Scot; NST I 19:
Mary, the Daughter of George, see Mari nigean Deorfa.
Mason Laddie [Glen, SDM list, identifies this as "Brae of
Glenorchy," but Dick, SRB p. 418, identifies it as "Come kiss
wi' me."]; RRR 9:
Matthew Briggs [he was composer of the tune for a song in
Scottish ballad opera The Disappointed Gallant, Edinburgh,
1738]; CPC9 3:
Maxwell/ Lady Maxwell; JCR 25:
Lady Maxwell of Monreath; JRR2 32:
Miss Katty Maxwell; JRR2 30:
Sir John Maxwell; JCR 74:
May Eve or Kate of Aberdeen [SMM #35. John Cunningham's song,
commencing "The Silver Moon.." Printed in The Muses Delight, or
London Polite Songster, p. 49, 1766.]; DCS II 16:
May is my love, see Gradh mo Chriodh Mai.
mbruadar Grad__the Quick Dream; DDM 45:
Measures, untitled / A new Scotch-measure; OST: A New
Scotch-measure; OST:
Menzies/ Lady Mary Menzies Reel [Glen's list in GSD equated this
to Miss Louisa Campbell's delight, but not in ESM, p. 149]; RBR
82:
Mercer/ Miss Jeanie Mercer's Reel; NSR 34:
Merrily Dance the Quaker [Rutherford, A Choice Collection of 60..
Country Dances, c 1754, 'So merrily danced the Quaker.' Song,
ODNR, p. 358-9. Three verse traditional version of song
collected by Ruth Tongue published in The Quaker's Wife and
other Somerset Folk Songs, Chappell and Co. London, 1965.
A Scots traditional version among the Grieg-Keith MSS has not
yet been reprinted. Burns, quoted by Dick, SRB p. 365, says
tune known in Ireland as "Leiger 'm choss." "Ligrum/ Lacrum
Cus/Cush/Cosh," however, is a variant of "Over the water to
Charlie/ Pot Stick/ Shambuy."]; RBR 53:
merry Beggers, The; CPC9 14: [My name is old Hewson the Cobler,
Tam Glen]
Merry Dancers; The Merry Medley, 1744: Merry Dancers; RBR 94:
Merry Girls of York Danc'd by Aldridge, The; AMM 16:
Merry Lads of Air [Ayre]; RBR 15: Merry Lads of Air; JRR2 10:
Merry Lads of Banff; RRR 14:
Merry Lads of Foss, The; AMR2 15:
Merry Maids Wedding, see Wate ye how the play began.
merry Meeting, The; CPC7 5:
Message, The [Song commences "Send home my long stray'd Eyes to
me." English song, originally of the 27th century. Tune in
ballad operas.]; OS4 30:
Meynell/ Miss Meynell; RRR 12:
m,freiceadan, see the Highland Watch.
Milking pail, The; CPC10 17:
Milk Maid, The; CPC7 24:
Milkmaids of Blantyre [as "Three Milk Maids of Blantyre" in D.
Rutherford's Twenty Four Country Dances for the Year 1758, p.
9.]; RBR 2:
Mill, Mill O, The [SMM #242. Glen, ESM p. 242, notes tune in
Barsanti's Collection, 1742.]/ The Mill Mill__O; OC1 20: The
Mill Mill o'; SM 154-155: The Mill Mill_O; OC2 I #20: The Mill
Mill O; MG2 14: The Mill Mill O; CPC3 2: The Mill Mill O; OS3
37: The Mill Mill O [Song is "Fanny Fair"]; BR1 I 30: The Mill
O; FP 30: The Mill Mill O; MGB3 16: The Mill Mill O;
NST II 26: The Mill Mill O; DCS II 23: Peggy's Mill; Gay's
Polly, Air #42, 1729:
Millar/ Miss Jessy Millar; JCR 2:
Miller of Fife, The [Claimed by Oswald in CPC index.]; CPC6 24:
Miller's Daughter, The (1), see Auld Lang Syne (2).
Miller's Daughter, The (2) [?"The Miller's Daughter" in; R.
Bride's Twenty Four Country Dances for the Year 1770, p. 67.];
NSR 45:
Miller's Wedding, see Auld Lang Syne (2).
Milliken/ Miss Milliken's Reel_by Mr. Marshall; AMR2 2:
Minzies/ Mr. Minzies of Culdure's Reel; GSR1 17:
Mrs. Minzies of Cludure's Strathspey; GSR1 7:
Mr. Mc. Clanklaines Scotch-measure, see McLaughlan's Scots
Measure
Mr. Mc Laines Scotch-measure [McLaughlin's Scots Measure]; OST 1:
Mr. Mc. Clanklaines Scotch-measure; OST 1:
Mr Oswald's Bass Minuet; OS1 27:
Mitchelston/ Miss Henry Mitchelston; NSR 49:
Moggy Lauther, see Maggy Lauder
Moggy of Drumlanrig; CPC9 24:
Molly St. George, see The Coolin.
Molonie's Gig [Later in Irish collections]; AMM 38:
Monro's Rant, The; ACR 15:
Montgomerie/ Colonel Montgomerie's Welcome hame; JRR2 19:
Miss Peggy Montgomerie; JRR2 54:
Montgomery/ Captain Montgomery of Coylsfield's Reell, see Lord
Eglintoune.
Colonel Montgomery's Strathspey; GSR1 17:
Major Montgomery; JCR 68:
Miss Baby Montgomery; NSR 53:
Mr. Alexander Montgomery; JRR2 59:
Mrs. Montgomery of Coilsfield; JRR2 39:
Montrose Lynes, see I'll never love the more.
Montrose Scots Measure; CPC10 8:
Montrose's March, see Rock and Wee Pickle Tow.
Moorland Willie, see Muirland Willie.
Morag [SMM #143.]; DDM 46:
More N'Jnghean Ghiberlan; OS1 35: More W Inghean Ghiberlan; CPC1
17: [Poor version, "Mor Nighean a' Ghiobarlain", in Frasers'
coll'n, 1816. Probably that known in Ireland as "Maureen na
Gibberlaun."]
Morison/ Miss Morison; NSR 50:
Morthland/ Mr. Morthland's favourite Strathspey; GSR2 8:
Mr. Morthland's Reel; GSR2 31:
Mosmann/ Mrs. Mosmann's Strathspey; GSR2 25:
Moss Plate, see What will I do an my hoggie die.
Moudiwort, The [SMM #355. Glen, ESM p. 172, noted tune in Walsh's
Caledonian Country Dances, book 3, (c 1740) as "Mowdewort" and
"Porto-Bello." "Mowdewort" in R. Bride's Twenty Four Country
Dances for the year 1769, p. 55.]/ Scotch Jig; CPC4 8-9:
Mount my Baggage [SMM #233, Dick, SRB p. 391. Glen, ESM p. 136,
confirms Stenhouse's comment that "Dalry House" in Gow's 3rd
bk. of Complete Repository is founded on this tune. "Cady
Laddy" in bk. 2 of Walsh's CCDs]; CPC7 26: Mount your Baggage;
OS3 36: [?]; RBR2 109: Mount your baggage; AA2 #174: Mount your
Baggage, with Variations; GSR2 16: Mount your baggage; ARC2
11-15:
Mucking of Geordies byar [SMM #96.]/ My Daddy's a Delver of
Dykes; OC1 33: My Daddy's a Delver of Dykes; OC2 I #33: Mucking
of Geordy's byar; MG1 14: The Mucking of Geordy's Byre; CPC2
35: Mucking of Geordy's byer; MGB1 1:
Muir/ Miss Muir, see Port Athol.
Muirland Willie [SMM #369. See Glen, ESM pp 37-9, relative to the
English tune "The Northern Lass."; OC1 28: Muirland Willie; SM
14-15: Muirland Willie; CST 45: Muirland Willy; MHF 48:
Muirland Willie; ADC: Muirland Willie; OC2 #27: Moorland
Willie; MG3: Muirland Willie; CPC7 11: Moor land Willie; MGB2
26: Muirland Willie; DCS II 25:
Mulchard's Dream, see Will you go and marry Kettie.
Mullin du, The; AMR2 20:
Murray/ Lady Augusta Murray; DDR 6:
Lady Charles Murray; DDR 23:
Lady Charlotte Murray's Jig; GSR1 6:
Lady Charlotte Murray's Reel; AMR2 38:
Lady Jean Murray's Rant; RBR 35:
Miss Murray; JCR 30:
Miss Murray's Reel; RBR 11:
Mr. Murray of Abercarney's Strathspey; GSR1 26:
Mrs. Murray of Abercarney's Reel; GSR1 6:
Mrs. Murray of Abercarney's Strathspey; GSR1 5:
Murrays March, The; OS1 18: Murray's March; CPC5 27:
My ain kind dearie [SMM #49. Glen, ESM p. 72, notes Walsh
collection copy, now known to be of 1757 from Smith and
Humphries' Bibliography...John Walsh 1721-1760, but doesn't
give title found there. Dick, SRB p. 397 notes tune also in
Aird's Airs, I #44. But it appears in Book 1 of Caledonian
Country Dances. Cf. Old Lea Rigg = The Gimblet.]/ The Lee Rigg;
CPC8 20: My ain kind Dearie; RBR 76: [The lea Rig or my ain
kind dearie, according to Dick, SRB p. 397.]; JCR 18: The
Wedding; ACR 9: Lee Rig; ARC2 3-4:
My Appie, see Eppie Adair.
My Apron Dearie; OC1 32: My Apron deary; SM 66-67: My Apron
Dearie: CST 32: My Apron Deary; OC2 I #32: My Apron dearie; MG1
29: My Apron Deary; CPC4 13: My Apron Deary; OS3 32: My Apron
Dearie [Song to tune is "Amynta" p. 23]; BR1 I 22: My apron
Dearie; FP 19: My Apron Dearie; MGB3 28: My Apron dearie; NST
II 13: My Apron Dearie; DCS II 7:
My bonny Mary [SMM #231. Song title, tune is Oswald's for song
#2 in Colin's Kisses, verses by R. Dodsley, 1742. Also issued
as single sheet song.]/ The secret Kiss by Mr. Oswald; CPC4 23:
My Daddy [Identified as English song. Short lyric commencing "My
daddy is gone to his grave."] DCS II 8:
My Daddy's a Delver of Dykes, see Mucking of Geordies byar.
My dear I dow ne do ne mair; CPC5 22:
My dearie if thou die [SMM #82, #531. Glen, ESM p. 83, notes tune
in Blaikie and Leyden MSS of 1692.]; SM 110-111: My Dearie an
thou die; CST 11: My Deary if thou Die; OC2 II #2: My Dearie an
ye Die; OS1 36: My dearie an ye Die; CPC1 10: My Deary an't
thow Die; BR1 II 14: My Dearie if thou die; NST I 14:
My Jo Janet [SMM #111. Root tune is "Long e'r onie old man" in
Skene MS, or "The Old Man" in Straloch Lute MS, 1627-29. Both
these were printed by G. F. Graham in Songs of Scotland, II, p.
166. These are followed on the next page by "Robin and Janet"
from the Leyden MS. 1692. Glen, ESM p. 94, notes all these
sources, but not Graham's reprint of them. Tune is also
printed as "Reuben" in Vol. II of The Dancing Master (1728),
and Vol. II of Walsh's Compleat Country Dancing Master (1719),
and in Gay's Polly, 1729]; SM 112-113: My jo Janet; OC2 II #36:
My Jo Janet; CPC3 16: My Joe Jennet [Dick, SRB p. 428, says p.
11.]; MG3: my Jo Jannet; MGB3 31:
My Lady Hopes Scotch-measure; OST 7:
My Lodging is on the Cold Ground [Identified as Scotch song,
commencing "My lodging is on the cold ground and very hard is
my fare."]; DCS I 19:
My Lord Sefoth's Scotch-measure; OST 4:
My Love alass is Dead and gone; CPC7 33:
My love is lost to me [SMM #53, #255, for tune. Song, #53, is
"When absent from the Nymph." Glen, ESM p. 73. Tune claimed by
Oswald in CPC index.]; CPC5 25: My Love is lost to me; OS3 14:
O Jean I love thee. a very old Tune [See Glen, p. 73, 80.]; FP
1: O Jean I Love thee [Actual heading is, "When Absent from the
Nymph I Love Tune O Jean ... thee."]; NSS 14:
My Love she's but a Lassie yet [SMM #225]/ Miss Farquharson's
Reel; RBR 19:
My Loves a Bonny Naithing [Tune is, as pointed out by Alfred
Moffat, The Minstrelsy of Ireland, "Thomas Burke," attributed
to O'Carolan. Latter tune in NIT, BTH2, Brysson's Curious
Collection, 1791, and Bunting's 1st collection.]; CPC8 3:
My Loves bonny when she smiles on me, see The Flower of
Edinburgh.
My Love's in the Broom, see Low down in the broom.
My Mither's ay glowran o'er me, see A Health to Betty.
My Mother says I Mannot, see Thomas you cannot.
My Nannie O [SMM #88. Glen, ESM p. 44. Simpson, BBBM p. 505,
whose tune is from SM.]; OC1 38: My Nanny o; SM 86-87: Nanny-O;
MHF 8: My Nanny_O; OC2 I #38: My Nannie [bad set, Niel Gow];
MG1 27: My Nannie O, BT2 80-81, Irish: My Nannie O; CPC5 3: My
Nannie_O; BR1 II 16: Nanny - o; OS4 28: my Nanio; MGB3
11: My Nannie-O; NST I 16:
My Soger Laddie [SMM #323. Glen, ESM p. 164, notes tune in
Sinkler MS, 1710, as "Northland Laddie," also in Musical
Miscellany, 1731.]; OC2 II #27: Sodger Laddie; RBR 22: Sailor
Laddie; NSR 15:
My Tocher's the Jewel [SMM #312, which is Burn's song to tune
in GSR2. This title here since earliest tune is titleless in
CPC]. Gig; CPC3 28: Lord Elcho's Favourite; GSR2 18:
My wife's a wanton wee thing [SMM #217. Tune is also in The
Merry Cobler, 1735, from same engraving as for MHF]/ Bride
next; OST 8: My Wife's a wanton Wi Thing; MHF 63: My Wife's a
Wanton Wee thing; CPC6 12: My Wife's a wanton wee thing; NSR
30:
My Wife she Dang me [SMM #532.]; CPC6 4: My Wife she dang me;
MG3: My Wife she dang me; MGB1 6:
N leath shuil Chaoig __ the one winking Eye; DDM 16:
Nancy's to the Greenwood gane [SMM #50. Glen, ESM p. 72, notes
tune as "Tow to spin" in Blaikie MS, 1692, and unnamed in
Sinkler MS, 1710.]/ Scornfu' Nansy; OC1 13: Nancy's to the
Green Wood gane; SM 40-41: Scornful Nancy; MHF 43: Nancy's to
the Greenwood gane; MUN: Scornfu Nansy; OC2 I #13: Nansy's to
the green wood gane; OS1 10-11: Nansy's to the Green wood gane;
MG2 23: Nansys to the green Wood gane; CPC1 3: Nancy's to the
Greenwood gane; BR1 I 16: Nansys to the Green wood gane; MGB2
28: Nancy's to the green Wood gane; NST II 6: Nancy's to the
green wood gane; DCS II 24:
Nanny O, see My Nanny O.
Napier/ Miss Napier; DDR 3:
Neat Shoe, The; AMR2 24:
New Maggie Lauder; BR2 10:
Nell of Connaught; CPC9 22:
Ness Side; RRR 5:
Nether Bow has vanished, The; RBR2 104:
Never out of Humour; AMR 7: Lawland Lads wi Highland Kilts; RRR
18:
Newbyth House; DDR 17:
New Bridge of Edinburgh; JCR 60:
New Bridge of Glasgow; JCR 24:
New Bridge of Rutherglen; JCR 71:
New Broom, The; CPC9 17:
New Bumpkin, see Honorable Col. Hamilton's Delight.
New Christmas; RBR 91:
New Claret; RBR 70:
New Mills House; RBR 72:
New Rigg'd Ship or Miss Findlay's Delight; GSR2 8:
A New Scotch-measure; OST 9: A New Scotch-measure; OST 13:
New Town of Edinburgh; RBR2 97:
new way of Wooing, The [I]; CPC5 28:
New way of wooing [II], see What will I do gin my hoggie die.
Niel Gow's Complianients [sic] return'd to Mr. Marshall; GSR2 13:
Niel Gows Lamentation for Abercarney; GSR1 3:
Niel Gow's Lamentation for the Death of his Brother; GSR2 18:
Nithian a Ghreifich, see The Shoe Makers Daughter.
Norea's lost to me; CPC5 16:
Norea's Scots Measure [Claimed by Oswald in CPC index.]; CPC5 6:
Norea's Wish; CPC11 6:
Norland Jockey; J. Walsh, Twenty Four Country Dances for the Year
1750:
Northern Lass, The [SMM #118.]; OS1 11: The Northern Lass; CPC1
5:
North Loch, The; RBR 44:
Nothinghame Races; AMM 23:
Now what ye wha I met yestreen, see What ye wha.
Nunc est bibendum; CPC11 17:
Nymph, The [In section 'Fashionable Dances in Edinr. 1787-88.'];
GSR2 36:
O as I was kiss'd the Streen [SMM #319. Song is in Herd's MSS,
Hecht p. 138, 'On the late Duke of Athol']; CPC5 5: O as J was
Kiss'd the Streen; RBR 75:
O but ye be Merry; AMR2 9:
O Dear Mother what shall I do, see, O mother what.
O Jean I love thee, see My love is lost to me.
O Jenny come down to Jock, see Hey Jenny come down to Jock.
Oh Onochie O [SMM #89.]; OS1 19: Oh Onochie O; CPC9 4: Onochie Oh
[Identified as Irish, with verse of "Border Widow's lament."];
DCS I 22:
Oh, what pangs are felt in Love; ADC:
O Mother dear, see Jenny beguiled the Webster.
O Mother what shall I do [SMM #236. Herd's MSS, Hecht p. 147];
CPC1 9: O Dear Mither what shall I doe; MG2 34: O dear Mother
what shall I do; CPC3 10: O Dear Mother what shall I do; FP 32:
O Dear Mother what shall I do; MGB1 11:
O Saw ye my Father [SMM #76. Song is same, Child #248.]; NSS
14:
Of all Comforts I miscarry'd [D'Urfey song, Pills, II 137]; CPC12
9:
O'Kain/ O'Kane, Capt. [SMM #508, with R. Gall's song. Tune
attributed to O'Carolan. Tune also called "The Wounded Huzzar"
from Tho. Campbell's song of the same title, set to it, but
this latter title is also used for Hewett's setting of
Campbell's song.]/ Captain Oakhain A favourite Irish Tune;
AMR2 36:
Old, see also Auld.
Old Bard, The [SMM #535, where song is "Lord Thomas and Fair
Annet."]; CPC12 10:
Old Collins Complaint; CPC4 20:
Old Gray Ey'd Morning, see The Bonny Grey Ey'd Morn
Old Highland Laddie, see The Highland Laddie.
Old Jew, The, see Cean Dubh Dileas, and compare Oran Gaoil.
Old Lee Rigg_or Rose Tree Strathspey ["Rose Tree" or "Rose Tree
in full bearing" title from song in play, The Poor Soldier.
Bayard2 #27 cites "The Gimblet" and some Irish titles of tune.
Progenator of "Old Zip Coon," or "Turkey in the Straw"]; GSR2
29: Gimblet, The; CPC10 17: The Lea Rig; JBA 7:
Old man ill never die; NSR 67 [Auld man is long a dying? qv.]:
Bridge of Nairn, The RBR2 109:
Old Sir Simon the King, see Old Simon the King.
Old Simon Brodie, see Simon Brodie.
Old Simon the King [SMM #344. Glen, ESM 169. Simpson, BBBM p.
545, notes several English copies of tune and earliest
broadside ballad calling for it, 1630. John Ward, JAMS 20 gives
the ground of the tune. ]/ Old Sir Simon the King; CPC7 6: Old
Sir Symon the King; BR2 2: Old Sir Simon the King; MGB4:
Old Stewarts back Again, The; CPC6 26: Old Stuart's back again;
RBR 88: Auld Stewart's Back again; NSR 23:
Old Wife beyon the Fire, The, see Auld Wife ayont the Fire.
Old wife haunts me, see Ha a Chailliah air mo dheidh.
Old Witch of Ochiltree, The; CPC12 21:
Oliver Cromwel's March; MG3:
Omnia Vincit amor [Oswald's tune not that in SMM #511. SMM song,
"Omnia Vincit Amor," via Ramsay's Tea Table Miscellany, is
English. See Simpson, BBBM p. 154, footnote 1, for several
copies. Simpson's "Omnia Vincit Amor," p. 153-5, is Skene MS
tune.]; CPC8 7:
One Day I heard Mary say, see I'll never leave thee, (1) and
(2).
One Evening as I lost my way; CPC10 13:
One winking Eye, see N leath shuil Chaoig.
Onochie Oh, see Oh Onochie O.
Oonagh's Waterfall, see Una's Lock.
Open the Door to me Oh ['Irish Air.' Song commences "It's open
the door some pity to show." Song reprinted by Dick, SRB p.
399. See same for Burn's ammended version and references to
Irish works, and version of tune SMM #584.]; DCS II 30:
Open the Door to Three [in Dancing Master from 2nd ed. as
"Winifred's Knot, or, Open the door to three." CPC time sig.
written 6/8, but actually scored 9/8]; CPC8 27: Open the Door
to Three; RBR2 100:
Oran Gaoil [SMM #273. 'Galic Air,' with verse in Gaelic. Glen,
ESM p. 150, dismisses claims that tune is Irish without
mentioning what the Irish called it. Stenhouse's MS tune of
one strain, "The Auld Jew" seems to me to be but a slight
variant of "Curri Koun Dilich" in BTH1, p. 40, which also has
but one strain. For even earlier printed copies of this latter
tune, including Niel Gow's, see here "Cean Dubh Dileas",
English, "Black Headed Deary."]; DCS II 29:
Orchill's Favourite, see the Cove of Cork.
Oreck's Scotch-measure; OST 7:
Oscar's Ghost [SMM #70.]; NST I 31: Oscars Ghost; DCS II 21:
Ossian's Hall; DDR 10:
Oswalds Complaint; CPC10 8:
Oswald's Dream; CPC12 3:
Oswald's Wish; CPC11 24:
O'er Boggie [SMM #168.]; OC1 47: O'er Bogie; SM 126-127: O'er
Bogie with my Love; MHF 3:O'er Boggie; ADC: O'er Bogie; OC2 I
#47: O'er Boggie; RBR 90: O'er Boggie; NSR 16: O'er Bogie; NSS
13:
O'er the Moor amang the Heather ['In the Moor among the
Heather' in P. Thompson's Twenty Four Country Dances for the
Year 1758, p. 11, and with Bremner's title in another such by
R. Bride for 1769, p. 51. These have same tunes but different
dance figures.]; RBR 77: [?]; NSR 9: Aldavaligh or O're
the moor among the Heather; AMR 24:
o'er the Moor to Katie [I. Index, Ketty]; CPC2 16:
O're the Muir to Ketty [II, later given by Gow]; AMM 14:
O'er the Moor to Maggie [SMM #55. Glen, ESM p. 74, notes earlier
MS versions.]; SM 130-131: Over the Muir to Moggie; ADC: O er
the Muir to Maggie; CPC7 16: Oe'r the Moor to Maggie; BR2 3:
O'er the Moor to Maggie; MGB4:
O'er young to Marry yet [SMM #107. See also "Loch Erroch Side."];
RBR 28: [?]; NSR 7: [?]; JCR 12: Over young to marry yet; AMR2
46:
Over the Hills and far away [SMM #62. Glen, ESM p. 77,
notes Sinkler MS version as "My Plaid away." "Jockey's
Lamentation," Simpson, BBBM p. 561. Dick, SRB p. 485 adds MGB4
p. 97, and AA2 #29.]; CPC7 23: Over the hills and far away;
MGB4:
Over the water to Charlie [SMM #187. Glen, ESM p. 121, cites
"The Pot Stick," in Johnson's 200 Country Dances, iv, 1748, as
same tune, and notes resemblance to "Shamboy". Dick, SRB p.
432, took latter to be variant of same tune, as did Frank
Kidson, who printed Johnson's tune, "Pot Stick" in Old
English Dances, p. 9, 1890, and noted it as "Ligrum Cus" in
Hime's 48 Original Irish Dances, [#34,] and "Lacrum Cosh" in
Holden's Irish Airs. Bayard, SB2, gives original Gaelic as
"Sean Buidhe" (Yellow John, but yellow did not connote
'cowardly' in Gaelic) "The Marquis of Granby" title comes
from one of two songs in G. A. Stevens' Songs, Comic and
Satyrical, 1772, to the tune of "Shanbuy." Both are in The
Convivial Songster, 1782, with the tune on p. 172. "Shawnbree"
is the tune direction for a spirited, if somewhat licentious,
English drinking song "The True Englishman," commencing "You
Rakehells so jolly, Who hate melancholly," in The Humours of
London, n.d. (c 1770)]; CPC4 7: Shamboy; Rutherford's Choice
Collection of 60 Country Dances, c 1754 p. 1]: Shanbuie; CPC11
21: Over the Water to Charlie; RBR 16: The Marquis of
Granby-[or] Shamby; AA1 #98:
Oswald/ Miss Oswald of Dunakeer; DDR 3:
Oswald's Farewell; CPC11 20:
Oswald's Scotch Measure; CPC4 25:
Oyster Wives Rant, The; RBR 80:
Paddie's Resource [Irish. One of the two tunes cited by Tho.
Moore for his song Ill Omens]; AMM 21:
Paddy Whack [Irish]; RRR 7:
Padlock, The; RRR 31:
Paisley Ladies; JCR 72:
Pangs of Love, The; CPC8 15:
parcel of Rogues in the Nation, A [SMM #378. Bayard2, #317 takes
this to be a variant of "When the King comes over the
water."]; CPC4 26: A parcel of rogues in a nation; MG3: A
parcel of Rogues in a nation; MGB2 26:
Park/ Miss Park; JCR 57:
Parks of Dunlop, The; JRR2 30:
Parks of Kilburnie, The [Also in D. Rutherford's Twenty Four
Country Dances for the Year 1758, p. 7.]; RBR 3:
Parson & his Boots, The; RBR 15:
Pass of Kelecrankie, The, see Miss Lucy Campbell.
Past one o'Clock, see Cold frostie morning.
Croagh Patrick [Haste to the Wedding, Small Pin Cushion]; RBR2
112:
Pattie and Peggy [Ramsay's song, SMM #253, 254]/ Patie & Peggie;
SM 150-151, 2nd. part, 152-153: Patie and Peggy; CPC6 6:
Peas Strae [SMM #307. Glen, ESM p. 159, notes Walsh printing of
tune, c 1745, (CCD, book 4, c 1744) but notes Bremner's setting
better.]/ Clean Peas straw; RBR 65:
Peep of Day, The; RRR 33:
Pegey's Lament by Mr. Oswald; CPC2 29:
Peggie I must love thee [SMM #3. Glen, ESM p. 42.]; OC1 29:
Peggie I must love thee; SM 104-105: Peggie I must love thee;
CST 18: Peggy I must love thee; MHF 31: Peggy, I must Love
thee; ADC: Peggie I must Love thee; OC2 I #29: Peggie I must
love thee; MG1 16: Peggie I must love thee; CPC1 31: Peggie I
must love thee; BR1 I 28: Peggie I must Love thee; FP31: Peggie
I must love thee; MGB1 2: Peggie I must love thee; NST II 15:
Peggy I must love thee; DCS I 23:
Peggie's Dream; CPC12 19:
Peggie's Wedding; RBR 54:
Peggy Bawn [SMM #509. Tune is presumably Irish, but I have not
yet found an Irish copy earlier than that in Bunting's 2nd
collection, 1809. Text without music is in The Vocal Companion,
London n.d. (c 1770)]
Peggy in Devotion [D'Urfey song. SMM #407.]; MG3:
Peggy's Mill, se Mill, Mill O
Peggy of ye Green [Cook did not note CPC8 18]; ADC: Peggy of the
Green; CPC8 18:
Peggy was the Pretiest Lass in aw the Town; OST 8:
Pentlend Hills; CPC12 19: Pentland Hill, a new Scotch Air; FP 2:
Pentland Hills; MGB4:
Percy/ Countess of Percy; JRR2 25:
Perth/ Duke of Perth's Reel; RBR 8:
Perth-Shire Hunt Reel; GSR2 2:
Phebe by Mr. Oswald [SMM #331, "Phoebe" in CPC index. Glen, ESM
p. 166.]; CPC4 19:
Phillis's Complaint; CPC9 9:
Pibrach Chlann Raonailt__Clan Randal's march to Edinbr.; DDM 39:
Pier of Leith [SMM #222.]/ The Peer of Leith; CST 14: Young
Philander [Tune is "Peer of Leith." Song is by D'Urfey, from
Massaniello. Set to D. Purcell's tune in Pills, I, 267, 1719.];
OC2 II #29: The Peer of Leith; MG2 32-33: The Peer of Leith;
CPC3 24: I sate upon the Peer of Leith; OS3 24: Young
Philander; BR1 II 18: The Peer of Leith; MGB2 10: Young
Philander; NST I 11:
Pinkie House [SMM #56.]; SM 120-121: Pinky House; MHF 51:
Pinkie House [Song is "As Sylvia in a Forest Lay"]; OC2 II #21:
Pinkie House; OS1 13: Pinkie House; MG1 21: Pinkie House; CPC1
11: Pinkie House; BR1 II 26: Pinkie House; OS4 6: Pinkie
House; FP 1: Pinkie House; MGB1 13: Pinkie House; NST I
9: Pinkie House; DCS I 5:
Pioberachd Mhic Dhomil, see Gingling Geordie.
Pipers Maggot; RBR 29:
Pippingo; JRR2 37:
Pique's Scots Measure; AMM 29:
Pitherie's Reel_Strathspey; RBR 66:
Plowman, The [SMM #165. Similarity to "Sleepy Body" has been
noted by Stenhouse, Glen, and Dick. Stenhouse gives "The
Plowman's Whistle" from MS.]; CPC4 6: Jolly Plowman, The; RBR
89:
Plummer/ Miss Betty Plummer; NSR 64:
Polwart on the Green [SMM # 183.]; OC1 24: Polwart on the Green
[SMM #183.]; SM 6-7: Polwart Green; CST 36-37: Polworth on the
Green; MHF 69: Polwart on the Green; OC2 I #24: Polwart on the
Green; MG1 12: Polwart on the Green; CPC1 6: Polwart on the
Green; BR1 II 4: Polwart on the Green; OS4 4: Polwart on the
Green; FP 14: Polwart on the Green; MGB3 21: Polwart on the
Green; NST I 24:
Port a Bhodich, or the Carle's Rant; AMR 28:
Port Athol [SMM #349, titled "Miss Muir." Glen, ESM p. 171, says
tune not found before SMM. Dick, SRB p. 366, identifies "Miss
Muir" as that in CPC. Bunting, 1840 claims one of this title
is by Rory Dall O'Cahan/ Morison.]; CPC8 11: Port Athol; DD 11:
Port Gordon; CPC8 25: Port Gordon; DDM 27:
Port Lenox [Bunting, 1840, says one of this title is by Rory
Dall O'Cahan/ Morison.]; DDM 10:
Port Patrick; CPC12 15: Port Patrick; RBR 55:
Pot Stick, The, see The Irish Footman
Prince of Wales delight, The; MG3: The Prince of Wel's Delight;
AMM 7:
Prince's Welcome into Inverness, The; AMR 19:
Princess Royal, The; AMM 13:
Pringle/ Miss Pringle; NSR 58: RMR 32:
Proud/ Miss Proud; NSR 48: Miss Proud's Reel; AMR2 46:
Pudding Maggie; RBR 50:
Purie's Farewell; CPC10 20-22:
Push about the Jorum [Song for tune (by Kane O'Hara?) in Golden
Pipin, 1773. See PMOT p. 684, for earlier tune title. "Jorum"
title may come from titleless song in The Scots Nightingale,
1779, following the one from Golden Pipin.]/Jorum, The; JCR 33:
Put in all, see You Jacobites by name.
Put up thy dagger Jamie [According to Glen, ESM p. 134, C. K.
Sharpe misidentified tune of this title as "My love she's but a
lassie yet." Glen printed tune "Put up thy Dagor Jennie" from
Blaikie MS, 1692. This is same tune as "Put up thy Dagger,
Jemy" in Fitzwilliam Virginal Book. The dialogue preceeding the
two verses in Vox Borealis, 1641, is not as straightforward as
one might desire, but it seems fairly clear that the verses
were newly made ones to a Scottish jig entitled, "Put up thy
dagger, Jamie," probably paraphrasing an older song to the
tune. As reprinted in the Harleian Miscellany, III, 1809: '
..., then they (fidler and foole) goe to singing of Scots
jiggs, in a jearing manner, at the Covenanters, for
surrendering up their castles. The fidler he flings out his
heels, and dances and sings:
Put up thy dagger, Jamie,
And all things shall be mended;
Bishops shall fall, no not at all,
When the parliament is ended.'
Then the foole sings a verse.]
Put ye Gown on ye Bishop [SMM #450.]; ADC: Put the gown upon
the Bishop; MG3: Put the Gown upon the Bushop [sic]; CPC7 21:
Put the Gown upon the Bishop; MGB3 15:
Quaker's Wife, see Merrily danced the Quaker.
Queen of May, The; CPC6 24: The Qeen [sic] of the May; CPC10 11:
Queen Mab; AMM 15:
Queen Mary's Lamentation [Song commencing "I sigh and lament me
in vain," followed on p. 27 with same song arranged for two
voices. Unverified- Song by Mrs. John Hunter, tune by
Giordiani]; DCS I 26:
Queensbury House, see Ye're welcome Charlie Stewart.
Queensbury' Scots Measure, see Salt fish and dumplings.
Queen's Fancy, The; AMM 35:
Quick Dream, see mbruadar Grad.
Quoth the Master to the Man; OST 15:
Rae/ Miss Rae's Jigg; GSR2 29:
Ragged Sailor, the; CPC2 20:
Rakes of Perth; J. Walsh, Twenty Four Country Dances for the Year
1750:
Ram Horns; RBR 30:
Ramsay/ Lady Betty Ramsay; DDR 16:
Miss Ramsey's Reel; RBR 3:
Rantan Roran Highland-man [SMM #297, "Drap O, Capie O." Glen,
ESM p. 157, notes earlier printed copy.]; RBR 31:
Rashes/Rasses, The, see When the King comes over the water.
Ratha Fair; RBR 1:
Ratling Roring Willie SMM #194, Glen, ESM p. 123, notes tune is
in Blaikie MS and Leyden MSS.]; CPC7 9:
Raza's Reel, see John Roy Stewart.
Reel in Love in a Village, A; NSR 60:
Reel of Harden, The [in 9/8 time]; CPC12 3:
Reel O' Stumpie [SMM #457. Glen, ESM p. 201, notes tune in Aird's
(AA2 #44) and later collections as "Stumpie" and notes it in
Walsh's Caledonian Country Dances, book i, (1733), as "Butter'd
Pease." Glen unjustly attacked Stenhouse for saying the tune
was "Jockey has gotten a Wife" in Coffey's The Female Parson,
1730. In this ballad opera both tunes are given, but with the
titles switched around. Stenhouse was correct, and as "Butter'd
Peas" the tune was also printed in The Fashionable Lady (1730),
The Boarding School (1732), Achilles (1733), The Decoy (1733),
and The Whim (1734). Wooldridge quotes a letter of Feb., 1740,
in his re-edition of Chappell, Old English Popular Music, I, p.
300, which shows English and Italians knew the tune by that
date. There is a tune "Stumpie" in a Drummond Castle MS
compiled by David Young, 1734.]/ Stumpie Strathspey; GSR1 35:
Reel of Tulloch; RBR 84: The Reel of Tulloch; BR2 4-5:
Reeves Maggot, see Lochaber.
Reidhead/ Mr Reidhead; NSR 1:
Ring, The; NSR 31:
Rise lazy lubber; ACR 8:
rising Breeze, The; CPC12 18:
Ritchie/ Miss Lillie Ritchie; JRR2 36:
Mrs. Ritchie; JRR2 30:
Road to Berwick, The; WMR1 3:
Robertson/ Colnl. Robertson of Strewan's Welcome home; GSR2 12:
Colnl. Robertson's Strathspey; GSR2 12:
Major Robertson's Strathspey; GSR2 2:
Miss Robertson of Tullybelton's Reel; GSR1 7:
Mr. Robertson of Ludes Strathspey; GSR1 31:
Mrs. Robertson's Reel; AMR2 30:
Robi donna Gorach __ Daft Robin, see Johnny Armstrong.
Robin Adair, see Aileen Aroon.
Robin Cushie [SMM # 478. "Robin quoth she." Glen, ESM p. 208,
prints Blaikie MS tune, "Kind Robin," 1692. 17th century
English broadside version of song, "Scotch Moggy's Misfortune,"
is in The Pepys Ballads, III p. 288, 1987. A few other English
broadside ballads called for the tune. Tune not identified by
Simpson in BBBM. An unrelated tune is "Scotch Moggy," in The
Dancing Master, II, p. 156, 1728.]; MG1 36: Roben Cushie; MGB3
17:
Robin Hood's delight; CPC11 1:
Robins Complaint; CPC8 5:
Rob Shear'd in Herst [Song is in SMM #543, to the different tune,
"Bob and Joan," or "The Rakes of Stoney Batter," or "The Keys
of the Cellar." Glen, ESM p. 226, notes "Rob shear in Harvest"
in Walsh's Caledonian Country Dances, book II, (1736). Tune
called for in Scottish ballad opera, The Dissapointed Gallant,
Edin., 1738, as "Robin shore in Har'st."]; CPC5 11: Robin shore
in herst; RBR2 103:
Rock and a wi' Pickle Tow, A [SMM #439. Glen, ESM p. 197, notes
tune in 17th century English books, including title "Montrose's
March."]; OS1 16: Rock and a wi Pickle Tow, A; CPC1 8: A Rock
and a wi pickle Tow; MG3: A Rock and a wi pickle Tow; MGB2 27:
Role the Rumple Sawny [Not Row your Rumple Sauney, CPC4 28];
ADC:
Rory Dalls Port [SMM #347. Not the same tune as that in Straloch
MS. There were several Rory Dalls. David Johnson, Scottish
Fiddle Music, suggested Scots Rory Dall Morison or Irish Rory
Dall O'Cahan as composer. Bunting, 1840, thought these two were
the same person. Glen, ESM p. 170 noted tune in a Walsh
collection of country dances, as "Rosey Doll."]; CPC8
24:Highland Port by Rory Dall, A; OS3 30:
Rose Tree, see Old Lea Rigg.
Rosline Castle [SMM #8, Glen, ESM p. 62, and p. 246ff. Favorite
funeral march in USA, c 1795 - c 1825.]/ The House of Glams or
Rosline Castle; MG2 31: Roselana Castle; CPC4 3: Rossland
Castle; OS3 20: Rosline Castle; BR1 II 26: Rosline Castle [Song
commences "Twas in that season of the year."]; OS4 16: Rosline
Castle; FP 21: Rosline Castle; MGB2 7: Roslin Castle; NST I 4:
Roslin Castle; DCS II 22:
Ross/ Capt. Ross's Reel; RBR 8:
Miss Agnes Ross's Reel; WMR1 12: Miss Agnes Ross's Reel_by Mr.
Marshall; AMR2 21:
Miss Jeanny Ross's Reel; WMR1 10:
Miss Ross's Reel; WMR1 11:
Mrs. Ross's Reel; RBR 20:
Mrs. Ross's Reel; WMR1 4:
Mrs. Ross's Rant; AMR2 12:
Ross House; NSR 26:
Rothamurches Rant_Strathspey; RBR 42: Rothemurches Rant; AMR 17:
Row your Rumple Sauney; CPC4 28:
Royal Circus [In section 'Fashionable Dances in Edinr.
1787-88.']; GSR2 34:
Royal Edinburgh Volunteers; JCR 49:
Royal Glasgow Volunters; JCR 49:
Royall Lament, The; CPC8 2:
Roy Stuart's Reel; Rutherford, 60 Country Dances, c 1754:
Roy's Wife of Aldivalloch, see Ruffian's Rant.
Ruffian's Rant_Strathspey, The [SMM #156, #342. Glen, ESM p.
111-112, 168, notes earlier title, "Lady Frances Weemys Reel"
and later copies of tune.]; RBR 43: The Ruffean's Rant; AMR 22:
Dutchess of Hamilton; ACR 3:
Run down the Town in haste; WMR1 2:
Runaway, The; RRR 27:
Sae merry as we twa have been [SMM #59. Glen, ESM p. 76, points
out Skene and Straloch MS tunes.]/ So merry as we have been;
CST 1: Sae merry as we have been; OC2 II #3: Sae merry as we
have been; MG1 6: So Merry as we twa have been; BT1 6-7: So
Merry as we have been; CPC2 21: Sae Merry as we ha'e been; BR1
II 12: Sae merry as we ha'e been; OS4 2: Sae Merry as we have
been; MGB3 4: Sae Merry as we ha'e been; NST I 13: Sae Merry as
we have been; DCS I 28:
Sailers lead a merry Life; CPC7 10:
Sailor Laddie, see My soger laddie.
Sailor Lassie, The; RBR2 107:
Sailor's Wife, The; RRR 24:
St. Martins Church Yd. [Oswald's business address in London. He
claimed tune in index.]; CPC3 25:
St. Patrick's Day; CPC11 22:
Sally Kelly; RRR 40:
Salt fish and dumplings [SMM #437. Glen cites tune as "Salt Fish
and Dumplings" in Aird's Airs, and in Sinkler MS as
"Queensbury's Scots Measure." R. D. Cannon, FMJ, 1972, reprints
tune as "Salt Fish and Dumplings" from Walsh's Third Book of
Jigs, c 1730, and notes tune as "The Shepherd's Hornpipe" in
O'Farrell's Pocket Companion II, p. 18, c 1811.]; AA3 #487:
Sandy o'er the Lee or Mr. Baird's favourite [SMM #274 is
Anglo-Scots song to a tune by James Hook. Stenhouse gave
earlier version of Gow's tune from MS, and stated original song
was similar to that in SMM.]; GSR2 1:
Sandy Gow's three Pints, see Tri Peanndin shanndi Ghou.
Sauney's Pipe [SMM #206.]; CPC9 20:
Saw ye a Lassie of fifteen Years; CPC8 17:
Saw ye Johnny coming, see Fee him father.
Saw you my father; R. Bremner, SS song with music, 5 verses,
Folger M1497/C52
Saw you nae my Peggy. [SMM #11. Glen, ESM p. 62 notes tune in
Sinkler MS, 1710.]/ The Toast to the Tune of Saw ye nae my
Maggie; OC1 37: Saw you my Peggy; SM 46-47: Saw ye my Peggy
[Song is "The Toast"]; OC2 I #37: Saw ye my Peggy; MG2 25: Saw
ye my Peggy; CPC3 22: Saw ye nae my Peggy; BR1 II 24: Saw
ye my Peggie; OS4 26: Saw ye nae my Peggy; MGB3 18: Saw ye nae
my Peggy; NST I 7:
Scornfu Nancy, see Nancy's to the Green Wood gane.
Scotch Gig, see The Moudiwart;
Scotch Jemmy, see MacLeod's Reel.
Scotch Lamentation; ADC:
Scotch Queen, The [SMM #190.]; CPC12 1:
Scotch Wedding, see And the kirk would let me be.
Scots Bonnet; RBR 28:
Scots Jenny [Claimed by Oswald in CPC index.]; CPC5 7:
Scots Lament by Mr. Oswald; CPC2 19:
Scots of Yarrow, The; CPC7 28-29:
Scots Queen, see Scotch Queen.
Scots Recluse, The [SMM #201. Claimed by Oswald in CPC.]; OS1 14:
The Scots Recluse; CPC1 13:
Scots wha' hae, see Hey tutti tatti.
Scots Wriggle, The; CPC6 25:
Scott/ Lady Frances Scot; DDR 26:
Miss Jean Scott; NSR 59: RMR 33:
Scotts Gavot, The; CPC8 10:
Seaforth/ Earl of Seaforth's Reel, The; AMR 19:
Lord Seaforth, see Highland Plaid.
Seaforth's Farewell; CPC11 7:
Seaforth's Salutation __ Failte Mhic Caoinnich; DDM 1:
Seaton House; CPC7 13:
secret Kiss by Mr. Oswald, see My bonny Mary.
Secret stream, The; CPC11 16:
Se gaol a bhobain Fionnlla__Finlay iis [sic] his Fathers Darling;
DDM 33:
Se mo ruin a ntogan __ I Love the Youth; DDM 17:
Seme rune Tallanach, see Fouller's Rant.
Shamboe Breeches; NSR 35:
Shambuy, see Over the water to Charlie
Sharp/ Mr Sharp; JCR 67:
Mr. Charles Sharp of Hoddom's Giga; GSR1 26:
Shaun Truish Willichen, see Deal stick the minister.
Shaw/ Miss Betty Shaw; NSR 62:
She griped at ye greatest on't, see East Nook of Fife.
Shepherd Adonis, The [SMM #159. Common, in TTM 1740 and on a
broadside English single sheet song with music c 1725.]
Shepherd of Neath, The; CPC12 7:
Shepherds of Yarrow, The [Claimed by Oswald in CPC index.]; CPC5
12:
Shepherd's Pipe by Mr. Oswald, The; CPC2 31:
She rose and leit me in [SMM #83. Glen, ESM p. 35, has long
argument. Simpson, BBBM p. 211, notes it to be D'Urfey song and
Farmer tune.]; ADC: She raise and loot me in; OC2 II #14: She
rose and let me in; OS1 8-9: She rose and let me in; CPC1 21:
She rose and let me in; MG3: She rose & let me in; BR1 I 12:
She rose and let me in; FP 3: She rose & let me in; MGB1 9: She
rose and let me in; NST II 19: She rose and let me in; DCS I
31:
She rose and let me out; CPC1 21:
She's Sweetest when she's naked [Later version, "Miss Faw's
Minuet," in James Gillispie Fiddle Book (MS), 1768, NLS MS.
808, according to David Johnson, Scottish Fiddle Music, p.
153. See code in NTI.]; OS1 35: She's Sweetest when she's
Naked; CPC1 26:
She wou'd not die a maid [burden of "The Maid's Resolve" single
sheet song with music commencing "'Twas when the Sun began to
shine." Tune in Momus turned Fabulist, 1729 and The Decoy,
1733]; CPC12 20:
Shoe Maker's Daughter [SMM #470. Glen, ESM p. 205.]; NSR 72: The
Suttor's Daughter; AMR 6: Dutchess of Buccleugh; ACR 4: see
Shoemaker's Daughter. Nithian a Ghreifich__The Suttor's
Daughter; GSR1 21:
Shoemaker's March [SMM #572.]/The cordwainer's march; AA1 #176:
Shogallie's Reel; ACR1 20: Cuddie's Wedding; RRR 6:
short Apron, The ["Bonny Lass with the Short Apron," with dance
figures, The Merry Medley, 1744. Although the same tune, it has
considerable differences.]; CPC10 4: Short Apron; RBR 9:
Symon Brodie [Song in Herd. Hecht's Herd, p. 173.]; CPC8 8: Symon
Brodie; JCR 76: Siomen Broddie [spelling corrected in later
ed.]; GSR1 23: Symon Brodie; AMR2 23: Old Simon Brodie
Strathspey; GSR2 19:
Sir John Malcolm [SMM #354, #455. Glen, ESM p. 172, notes tune
in Walsh's Caledonian Country Dances, book iii, (c 1740) as
"Alister".]: RBR 96: [?]; AA2 #195:
Sishada mar so tha finn__Duke of Athol's march_a Pribrach; DDM
44:
Sinclair/ Captain Sinclair; DDR 13:
Lady Doll Sinclair's Reel, see The King of France he run a
race.
Skinner/ Miss Polly Skinner's Reel [Also in D. Rutherford's
Twenty Four Country Dances for the Year 1758, p. 12.]; RBR 2:
Sleepy Body; J. Ralph, ballad opera The Fashionable Lady, Air
#28, 1730: Sleepy Body [SMM #390. OC2 text page (111) following
tune apparently never printed]; OC2 II #50: Sleepy Body; CPC3
17: Sleepy Body; MG3: Sleepy Body; MGB3 2:
Sleepy Maggie; CPC10 9: Sleepy Maggie; RBR 48: Sleepy Maggie;
AMR2 35:
Slingsbie's Province; AMM 17:
Small Pin Cushion, The [Identified by Bayard2, #447, as "Haste to
the Wedding," however Oswald's printing is earlier than the
1767 date of latter. It is entitled "Carrick Fergus" in
Brysson's Curious Collection (1791), and in Gillespie MS,
1768.]; CPC10 8:
Smiling Kattie; RRR 11:
Sodger Laddie, see My soger Laddie.
Soldier and a Sailor, A [For Congreve's song ?]; CPC9 12:
Soldier's Joy [Single sheet song with music, c 1760, BUCEM, "When
the shrill trumpet sounds on high." Also with music in Vocal
Music, or the Songster's Companion, c 1778.]; JCR 56: The
Soldier's Joy; AMM 32:
Solitude, The; CPC5 18:
Song of Selma [SMM #119.]
Song of Selma [SMM #256.]; NST I 29, 30:
Sour Plums of Gallashiels [SMM #151.]/ To the Tune of
Gallowshiels [Song, "Ah the poor shepherd's mournful fate"];
OC1 41: Sour Plumbs in Gallashiels; CST 6-9: Sowr Plumbs of
Gallashiels; MHF 24: Galla Sheils; MUN: Galla Shiels [Song is
"Ah the poor Shepherd's mournful fate"]; OC2 I #41: Sour Plumbs
[sic]; MG1 22: Sour Plums; CPC2 30: Gallow Sheils; BR1 II 4:
Gallow Shiels; FP 31; Sour Plumbs; MGB3 26: Gallow Sheils; NST
I 23:
Souters of Selkirk [SMM #438.]/ The Sutters of Selkirk; CST
28-29: The Sulters of Selkerke; ADC: The Souters of Selkirk;
MUN: The Sutters of Selkirk; MG2 31: The Souters of Selkirk;
CPC1 34 [continues thru p. 35]: The Sutters of Selkirk; MGB3
19:
Sow's tail to Geordie, The [Dick, SRB p. 368, also notes tune
in AA2 #182.]; AMM 39-41: The Sow's tail &c the Variations by
the late Mr. Nisbet of Direlton; GSR2 32:
Spa Dance, The [German Spa, qv?]; AMM 42:
Space and Compass; RRR 4:
Spark's Rant; NSR 22:
Spell, The; RBR 73:
Spinning Wheel, The [Song, "The Bonny Scot: or, the Yielding
Lass," 1685-88? Simpson, BBBM p. 681. Simpson does not mention
Scots traditional survival.]; CPC10 10:
Spoigan; RRR 8:
Sport, The; ACR 10:
Steer the Gil [Rutherford, Choice Collection of 60.., "Stur the
Guill," c 1754.]; RBR 13:
Sterling/ Mrs. Sterling; JCR 70:
Stewart, Stuart/ Lady Catherine Stewart's Strathspey; GSR1 20:
Lady Grace Stewart's Strathspey; GSR2 11:
Lady Margaret Stewart's Reel; GSR2 22:
Miss Ann Stewart Reel; WMR2 4:
Miss Barbara Stewart's Reel; WMR1 8:
Miss Grace Stewart; NSR 54: RMR 35:
Miss Jean Stewart's Reel; WMR2 2:
Miss Jessy Stewart's Reel; AMR2 23:
Miss Stewart of Grandtully; DDR 2:
Miss Stewart of Grandtully's Strathspey; GSR1 7:
Miss Stewart's Reel; GSR1 8:
Miss Stuart of Urrard; DDR 16:
Mr. John Shaw Stewart's Strathspey; GSR1 4:
Mrs. Stewart of Allanbank's Strathspey; GSR2 21:
Sir John Stewart of Grandtullie's Reel; AMR2 8: See Jackie
Stewart's Reel
Sir John Stuart of Grandtully; DDR 15:
Sir John Stuart of Garntullie's Rant; NSR 29:
Sir John Stewart of Grandtully's Strathspey; GSR1 30:
Stewart's Rant [Bodleian MS, 1740]/ Dick a Dollis; OST 9:
Stuart's Rant,The; RBR 45: Was you at the Wadding; JCR 22: The
Stewart's Rant; AMR2 20:
Stingo, see Up in the morning early.
Stir her up, and hold her ganging [SMM #504.]; OST 6: Steer her
up and had her gaun; MG1 7: Steer her up and had her gaun; CPC2
25: Steer her up and had her gaun; MGB2 29: Steer her up and
had her gan; AMM 11: Steer her up and had her gawn; ARC2 19-21:
Stolen Kiss, The [Oswald's tune for song #2 in Colin's Kisses,
1742. Verses by R. Dodsley. Song commences "On a mossy bank
reclin'd." Also issued as single sheet song.]; CPC10 9:
Stormont's Ghost; CPC10 24:
Straglass House; RBR2 100: Straglass House; AMR 8:
Strathdown; WMR1 10:
Strathspey Reel, A; NSR 50:
Strathspey Wriggle, The; CPC10 7:
Struan Robertson's Rant; NSR 19: Struan Robertson's Rant; AMR2
20:
Struen Robertson's Rant; RBR 17: Davie Rae; AMR 14:
Stuart, see Stewart.
Stumpie, see Reel O' Stumpie.
Sturmont Lads Strathspey; GSR2 10:
Such a parcel of rogues, see A parcel of rogues.
Sugar Candy; RBR 91:
Sun beam, The; CPC12 13:
Sutherland/ Countess of Sutherland, The; DDR 24:
Countess of Sutherland's Reel, The; GSR1 30:
Countess of Sutherland's Strathspey, The; AMR2 45:
Suttor's Daughter, see Shoe Maker's Daughter.
Swallow, The; NSR 36:
Sweet Annie fra the Sea Beach came [Dr. Greene's tune, 1739,
according to Glen, ESM p. 84.]; CPC6 6: Sweet Annie from the
Sea Beach came; OS3 29: Sweet Anny frae the sea beach came; FP
10: Sweet Annie frae the sea Beach came; NSS 2:
Sweet is the Lass that dwells Among the Heather; AMR2 31:
Sweet Molly; NSR 11: See Hoptoun House.
Sweet's the lass that love me [SMM #360.]/ Cosen Cole's Delight;
OST 15: Sweet's the Lass that loves me; CPC5 10:
Swinton/ Miss Swinton; NSR 52:
Tail Toddle [SMM #572. Glen, ESM p. 234, notes tune as "Fiddle
Faddle" in Walsh's Caledonian Country Dances, bk. 1, and
untitled version in Sinkler MS, 1710. It's "Tail Todle" in
Walsh's Compleat Contry Dancing Master, book the third, 1735.]/
Tail Toddle for the Harpsichord and German Flute by Mr. Nisbet;
GSR1 32:
Tak your Auld Cloak about you [SMM #250. Tune "take thy old
Cloake about thee" called for in MS jig of December, 1601,
discovered by C. J. Sisson, with text published in Lost Plays
of Shakespeare's Age, Plate II, and pp. 135-40.]; CPC2 29: Tak
your Auld Cloak about you; BR1 I 14:
Tarry Woo' [SMM #45.]; MG2 20: Tarey Wool; CPC2 3: Tarry Wool;
MGB4
Taylor's March, see Beware the Ripples.
Taymouth; DDR 12:
Taymouth House; AMR2 10:
Tears of Scotland, The [SMM #141. Claimed by Oswald in CPC.
Appeared as single sheet song with music, c 1745. Copy in
Library of Congress, Music Div.]; CPC4 14:
Tenant of my own, A [English. "There was a pretty lass and a
tenant of my own," see: The tune is given at the end of
Coffey's The Beggar's Wedding, 4th ed., 1729, entitled "There
was a pretty Lass." See Chappel's PMOT, p. 595-6, for song and
many ballad operas employing the tune. Journal of the Folk-Song
Society, #8, p. 190 (1906). ODNR, p. 423]; CPC9 15:
Tender, Bonnie Susie [Cf. Bonny Susie]; CPC5 26:
Terror of Death __ c eagal leam a mbas __ by Rorie Dall, the; DDM
31:
Thainig a ntuisga beatha__the whisky; DDM 46:
There are few good fellows when Jamie's awa', see There'll never
be peace till Jamie comes home.
There was a Lad and a Lass in a Kilogie, see Bannocks of Bear
Meal.
There was a Maid and she went to the Mill; CPC9 14:
There was a Pretty Lass, see A Tenant of my own.
There'll never be peace till Jamie comes home [SMM #315.]/ There
are few good fellows when Jamie's awa'; OS1 22: There'll never
be peace till Jamie comes home; MG1 30: There are few good
fellows when Jamie's awa; CPC1 20: Ther are few good Fellow's
when Jamie's awa; CPC6 19: There'll never be Peacetill Jamie
comes hame; MGB3 26:
There's three good Fellows ayont yon Glen [SMM #442.]; MG2 18:
Ther's three good fellows down in yon Glen; CPC5 1: There's
three good fellows ayont yon Glen; MGB2 22:
There's my Thumb I'll ne'er beguile thee [SMM #65.]; OC1 42:
Ther's my Thumb; SM 140-141: Ther's my Thumb I'll nere beguile
you; CST 44: There's my Thumb; MHF 37: There's my Thumb; OC2 I
#42: Thers my Thumb I'll nere beguile you; MG2 28: There's my
Thumb I'll nere beguile you; CPC3 18: There [sic] my Thumb I'll
ne'er beguile you; OS3 25: There's my Thumb; BR1 I 22: Ther's
my Thumb I'll ne're beguile you; MGB3 9: There's my Thumb I'll
ne'er beguile thee; NST II 18:
There's nae harm done goodwife; WMR1 7:
This is no mine ain House (1), see Deil stick the minister.
This is no mine ain House [Dick, SRB p. 382, notes tune in
Blaikie MS, with title "Abbeyhills rant." Stenhouse gave
version from Crockat MS, 1709.]; OC2 II #32: This is no mine
ain House; CPC11 8: AA2 #176: This is not my ain House
Strathspey; GSR1 31:
Thistle's Beard, The; CPC12 18:
Thomas and Sally; NSR 66:
Thomas you cannot [SMM #465. Song in SMM, "My Minnie Says I
Manna," is evidently a slightly revised version of one in Wm.
Hick's Grammatical Drollery, p. 75, 1682. Tune also called "Tom
Trusty." For English history and original song for tune see
Simpson, BBBM p. 703.] My Mother says I Mannot; CPC8 3:
Thomson's got a dirk, see Canty Body:
Tho' for seven years, see Bannocks of Bear Meal
Thou are gane awa [SMM #339. Song commences as title]; DCS II 14:
Thug Bonny Peggie dham hsa Pog __ Bonny Peggie kiss'd me; DDM 26:
Three Graces, The; JCR 63:
Three Sheep Skins [Dancing Master, 1698]; CPC7 10:
Thornton/ Colnl. Thornton's Strathspey; GSR2 14:
Thro the Long Mair I follow'd him Home [SMM #499. Glen failed to
recognize tune. Dick notes CPC tune and Aird's]; CPC7 30: AA1
#34:
Thro' the Moor she ran; RRR 20:
Throw the Wood Laddie [SMM #154. Glen, ESM p. 110, notes it is
English. Simpson, BBBM p. 705.]; OC1 4: Throw the Wood Laddie;
SM 90-91: Throw the Wood Laddie; CST 23: Throw the Wood Laddie;
OC2 I #4: Thro' the Wood Laddie; BT1 20-21: Through the Wood
Laddie; CPC2 24: Thro the Wood Laddie; MG2 6: Throw the Wood
Laddie; BR1 II 16: Thro' the wood Laddie; FP 7: Thro the Wood
Laddie; MGB1 26: Thro' the Wood Laddie; NST I 15:
Tibbie Fowler [SMM #440. Glen ESM p. 197-8, notes following is
same tune.]/ Genty Tibby; SM 144-145: Tibby Fouller O' the
Glen; AMR 3: Dunrobin Castle; RRR 26:
Tinkar's occupation, The, see Clout the Cauldron.
To Daunton me [SMM #182. Glen, ESM p. 120, cites tune in Atkinson
MS, 1694, as "This Wife of mine."]/; Be Valiant still [Logan,
The Pedlar's Pack, p. 164, 1869, notices this as the title of a
broadside ballad of c 1700, sung to the tune of "The old carle
to daunton me." A song of the title "To daunton me", and to the
tune of "To daunton me," given in J. Hogg's Jacobite Relics, II
p. 89, is evidently of much later date.]; MHF 38: To Dauntin
me; OS1 38: To daunton me; MG2 27: To dauntin me; CPC1 16: To
danton me; MBG2 23:
To the weaver's gin ye go [SMM #103.]; AA2 26:
Todlen Butt and Todlen Ben; OC2 II #41:
Tri Peanndin shanndi Ghou __ Sandy Gow's three Pint's; DDM 17:
Trip to Clumber; AMM 38:
Trip to London, A: RBR 18:
Trip to Marrow-Bone, English title for "Maggie's Tocher," qv.
Trip to Oatland, A; AMM 1:
Troon House; JRR2 56:
Trotter/ Miss Katty Trotter; NSR 59: Miss Katty Trotter; RMR 31:
Tullochgorum [SMM #289.]/ Tulloch Gorm; RBR 16: Tulloch Goirm;
AMR 4: Tulloch Gorum; GSR1 18:
Tullybardine/ Marquis of Tullibardine's Giga; GSR1 18:
Marquiss of Tullybarding's Reel, The; AMR2 16:
'Twas within a Furlong to Edinburgh [SMM #48. Title from D'Urfey
song]; CPC4 32:
Tweed side [SMM #36. Glen, ESM p. 69, notes tune in Leyden and
Blaikie MSS of 1692. The tune is printed in nine ballad operas,
tying it with "The Bush aboon Traquair" as the most often used
tune after "Derry Down".]; OC1 16: Tweed Side; SM 8-9: Tweed
Side; CST 12-13: Tweed-side; MHF 35: Tweedside; MUN: Tweed
Side; OC2 I #16: Tweed Side; MG1 10: Tweed Side; BT1 12-13:
Tweed side; CPC1 28: Tweedside; BR1 I 16: Tweed Side; OS4 32:
Tweed Side; FP 6: Tweed Side; MBG3 8: Tweed Side; NST II 28:
Tweedside; DCS I 16:
Tweeddale/ Marchioness of Tweeddale's Delight; GSR2 30:
Una's Lock. SMM #447, noted as Irish Air. Glen, ESM p. 199, notes
tune in Shield's Opera Marian, 1788 and Whatlen's Collection of
1798. Song, "Onagh's Waterfall," (Una's Lock) mentioned by
Burns, is in The Festival of Anacreon, 1789, and The Giblet
Pye, 1806. It is curious that the song title appears in
two reels that won't fit the song: "Downey's (Darby's) Lock,"
or "The Lock Downey Pissed Through," is in Gale Huntington's
edition of MS, William Litten's Fiddle Tunes, p. 13, 1977, and
"The Cumberland Reel or Una's Lock" in Longman and Broderip's
Second Collection of the most favourite Country
Dances, Reels, &c. p. 5, nd, c 1791. Latter tune is the same as
"Miss Gibson's (or the Cumberland) Reel" in 2nd bk. of Gow's
Complete Repository.
Under her Apron [SMM #. Glen, ESM p. 231-2, notes tune in
McFarlane MSS, c 1740. Traditional copies in Grieg-Duncan and
English collections]
Under the Green wood Tree [Simpson, BBBM p. 724.]; CPC11 16:
Up and ware them a Willie [SMM #188. Glen, ESM, p. 122, notes
tune in Walsh book (Caledonian Country Dances, book 2). A
later song in NLS MS 19.3.44 is apparently related: "Up and rin
your wa' Willie , Up and rin your wa's, Cullodens Lawrells you
have lost, That gain'd your heart such applause"]; CPC3 1: Up &
war them a' Willie; OS3 18: Up & war them a' Willie; RBR 60:
Up in the Air; SM 146-147:
Up in the morning early [SMM #140, Glen, ESM p. 28-30, discuses
tune and prints variants. Simpson, BBBM p. 687ff, "Stingo, or
The Oyle of Barley."]; MG3: Up in the morning Early; CPC12 5:
Up in the morning early; MGB1 8: Up in the morning early; BR2
1:
Up with Aily Aily [17th century, "The New Corant", Simpson,
BBBM. 728. According to Simpson's discussion, this form used
for "We're gayly yet." 18th century single sheet song with
music, c 1745, 'We're gayley yet Sung by Mr. Beard.' (Copy,
Lib. of Congress), [verses and music on my website] It is
really two songs strung together with different music for
each. Song and tune reprinted in Musical Miscellany, Perth [and
Edinburgh], 1786, and Calliope, 1788. The cuckolding of John
Thomson in the song is mentioned in a Scots poem of 1694.];
CPC7 25:
Urquharts Scots measure/ Wrquaharts Scotts Measure; CPC8 11:
Valiant Joky [D'Urfey song. Simpson, BBBM p. 733-4, notes tune in
G. F. Graham's transcript of Leyden MS.]; OS1 18: Valiant Joky;
CPC1 13:
Vertigo; AMM 1:
Vocal Shell, The; CPC12 21:
Voice of my Love, The; CPC11 8:
Vows of endless Love, The; CPC8 27:
Waefu' Heart, The [Song commences "Gin living worth could win my
heart."]; DCS II 12:
Wae's my heart [SMM #131. Glen, ESM p. 103, corroborates
Stenhouse on Skene MS version.]/ A ways my Heart that we mun
sunder; OST 14: Woe's my Heart that we shou'd Sunder; OC1 9:
Woes my heart that we shoud sunder; SM 10-11: Waes my Heart,
that we shou'd sunder; MHF 36: Wae's my Heart that we Shou'd
Sunder [Song is "Colin and Grissy parting."]; OC2 I #9: Woe's
my Heart that we shou'd sunder; CPC3 5: Woes my Heart that we
should sunder; OS3 28: Woe's my Heart that we should Sunder;
BR1 I 28: Woe's my Heart that we shou'd sunder; OS4 14: Woes my
heart that we show'd sunder; MGB1 20: Woe's my Heart that we
shou'd Sunder; NST II 27:
Wallace/ Lady Wallace; JRR2 16:
Miss Wallace; JCR 26:
Mrs. Wallace; JCR 79:
Lady Wallace; RMR 12:
Wallace's Lament; CPC7 7:
Wallace March; MUN: Wallace March; BT1 25-25: Wallace's March;
CPC6 22:
Walley Honey [SMM #451. SMM song is Ferguson's "Hallow Fair."];
CPC7 3: Walley Honey; OS3 34:
Wully Honey, see And the kirk wad lat me be
Wallking of the Plaidding, The; GSR1 21:
Wally's the Lad for me; CPC11 17:
Walli's Humour in Tapping the Ale; OST 12:
Waly Waly [SMM #158, #446.]/ Wale' Wale' up yon Bank; OC1 34:
Waly, Waly; OC2 I #34: Wally, wally; OS1 12: Waly Waly; MG1 23;
Wally Wally; CPC1 5: Waly, Waly; BR1 II 12: Waly Waly; MGB3 27:
Waly, Waly; NST I 21: Waly Waly; DCS II 11:
Wap at the Widow [SMM # 124. Glen, ESM p. 101, notes tune in
Graham MS, 1694. A. Ramsay's "Wap at the Widow, my Laddie,"
'replacing an indelicate old song', In Shirburn Ballads, p.
285, 1907, is an early 17th century song, "A new Song
intituled: To wappe with a widdow. To a new Northern Tune."
The chorus ends "The bravest sport that a man can devise, is to
wap with a widdow berlady." However, it does not fit the tune]/
Wappat the Widow my Lady; OST 10: Wap at the Widow, my Laddie;
MHF 70: Wappat the Widow; ADC: The Widow; OC2 II #5: Wap
at the Widow my Laddie; MG2 26: Wap at the Widow my Laddie;
CPC3 18: Wap at the Widow my Laddie; MGB2 25: Wap at the Widow
my Laddie A Scots Measure; AMM 6:
Wars Alarm's, The; CPC8 2:
Was ye at the Bridal; CPC8 7:
Was you at the Wadding, see Stuart's Rant.
Wat, see What.
Wate you how the Play began [SMM #488. Glen, ESM p. 157,
210, notes tune in Sinkler MS, 1710, as "New Killiekrankie."];
CPC11 24: Merry Maids Wedding, The; AMR 31: Haugh's of
Cromdale; ACR 15: Waterman, The JCR 58: The Waterman; AMM 15:
Waterman's Rant, The; RBR2 105:
Watie Laing or the lifting of the Linnen Reel; GSR1 14:
Watson/ Miss Watson's Reel; WMR2 4:
Watson's Class Strathspey; GSR2 10:
Watson's Scots Measure, see I wish that you were dead gudeman.
Wawking of the Faulds, The [SMM #87. Later revised to "Paddy on
the Turnpike."]; OC2 II #6: The Wawking of the Faulds; CPC3 20:
The wawking of the Fauld; NST I 27: Waaking of the Fauld, The;
MGB4: way to Air, The; AMR2 8:
Way to Elgin, The; AMR2 11:
Weaver and his shuttle, see Jocky's Gray Breeches.
Wedderburn/ Miss Jenny Wedderburn, see Burn of Carnie.
Miss Wedderburn; JCR 75:
Miss Wedderburn's Reel; WMR2 4:
We're a kiss'd sleeping [Song, Herd's MSS, Hecht's Herd, p.
182? Tune also in D. Rutherford's Twenty Four Country Dances
for the Year 1758, p. 5]; CPC11 4:
We're all merry; NSR 40:
Wiell a' to Kelso go [SMM #561. Glen, ESM p. 231, notes tune is
version of "The geud man of Ballangigh; to a new Scotch Jig,"
in Dancing Master, 1696.]; CPC6 11: We'll all to Kelso go; RBR2
105:
We'll Kiss the World before us [SMM #550]; CPC12 4:
Weary pound of Tow, The [SMM #350.]; CPC8 4:
Weaver and his shuttle, see Jockey's Grey Breeches.
Weaver's March [SMM #389. Simpson, BBBM p. 90, notes earlier
copies of tune "Frisky Jenny" than Glen, ESM p. 182, or Dick,
SRB p. 395, as well as other later names. Bayard2 #294 gives
additional European and American names and sources.]
Wedding, The, see My ain kind dearie.
Welcome from Vigo; CPC5 8:
Welcome to all Strangers; AMM 21:
Well a day [Cf. Alack and well a day]; CPC10 16:
Wellwood/ Miss Wellwoods Fancy; AMR2 45:
Welsh/ Miss Polly Welsh; NSR 56:
Were na my Heart light I wad Dye [SMM #121.]; OC1 40: Were na my
hearts light I wad Die.]; OC2 I #40:
Wet and Weary [There is a lost English song and tune of this
title, of 1655. The song was belatedly entered in the
Stationers' Register in 1658.]; NSR 25:
Wemyss/ Colonel Wemyss Reel; AMR2 22:
Colonel Wemyss Strathspey; GSR1 27:
Honb.le Coln.l W.m Wemys's Reel; GSR2 25:
Lady Betty Wemyss's Reel; RBR 21:
Lady Nelly Wemyss's Reel; RBR 13:
What Beauteous scenes; CPC11 9:
What shall I do to shew how much I love her ? [Henry Purcell's
tune?]; CPC4 1: What shall I do to shew how much I love her?;
OS3 4:
What shou'd a Lassie do wi an auld Man [SMM #316.]; CPC6 5:
What the Devil ails you; CPC10 3: What the D--l ails you; RBR
67:
What will I do ann my Hoggy die [SMM #133, Glen, ESM, p. 104
notes tune in ARC as "Moss Plate," and, (p. 261) in a work of c
1727, as "Cocks Louns walie hoyn." Also one of the tunes called
"New way of wooing", but not that in Oswald's CPC]; AMM 11:
Moss Plate; ARC2 1-2:
What/ Wat ye wha I met yestreen [SMM #171.]; SM 122-123: What ye
wha I met ystreen [sic]; MHF 61: Coming thro the Broom my Jo;
CPC8 6: Coming throw the Broom my Jo [Printed by Glen, SDM I p.
23.]; RBR 25: Young Laird, The [Song commences "Now what ye wha
I met yestreen"]; OS4 22: Wat ye wha I met the streen or Lord
Haddo's Favourite; GSR2 11:
Wheem, see Whim.
When absent from the Nymph I Love [Tune is SMM #71, where song is
"Her absence will not alter me." Verses are SMM #53, set to "O
Jean I love thee." or, "My love is lost to me."]; OC2 II #22:
When absent from the Nymph I love; OS1 24: When absent from the
Nymph I love; CPC5 30:
When she came ben she bobbed [SMM #353. Glen, ESM p. 172 notes
tune in Leyden MS, 1692, Crockat MS, 1709, and Sinkler MS,
1710. Diem gives the tune from the Leyden MS, p. 175. Glen also
notes later appearance in English collections as "Buckingham
House." Under this title it is in Walsh, Hare and Randall's
Twenty Four New Country Dances for the Year 1708, p.
12.]; SM 96-97: When she cam ben she bobed; OS1 40: When she
came ben she bobed; MG1 32: When she cam ben she bobed; CPC1
14: When she came ben she bobed; MGB1 22:
When the Kine had give a Pail full [D'Urfey song in Pills, II,
27, 1719.]; CPC12 8:
When the King comes over the water [SMM #351, with tune
mistitled. Glen, ESM p. 171, notes tune as "Playing amang the
Rashes", in the William Graham Flute Book, 1694, as found by
John M. Wood. Dick, SRB, notes tune as that for "The dowie dens
of Yarrow" from singing of Tibbie Shiel's grandaughter in
Kidson's Traditional Tunes, p. 21, 1891. Cf early version, "The
Bottom of the Punch Bowl."]; MG3: The Rashes; CPC5 26: When the
King comes over the water; CPC11 23: When the King comes over
the Water; MGB2 12:
Where Helen Lies; MGB4: [Helen of Kirkconnell]
Where will our goodman lie [SMM #324, Where wad Bonie Annie ly.
Glen, ESM p. 324, notes it as "Red House" in Dancing Master,
1695. Dick, SRB p. 353, adds a Northumberland MS, 1694,
(Atkinson MS?) as "Rood House Rant," and in AA1 #95.]; MG3:
Where will our good man Lave; CPC7 22:
Whigs of Fife ["Whigs of Fyffe" in D. Rutherford's Twenty Four
Country Dances for the year 1758, p. 3.]; NSR 24:
Whim, The; RRR 12: The Wheem; AMM 38:
Whistle o'er the leave o't [SMM #249. Glen, ESM p. 143. Also in
D. Rutherford's Twenty Four Country Dances for the Year 1758,
p. 8.]; CPC12 15: Whistle o'er the leave o't_Strathspey; RBR
56: Whisle [sic] O're the lave o't; AMR 31:
White Cockade, [SMM #272, 1790? Glen, ESM, says tune first
printed in Aird's Airs, vol. I, #1, as the Ranting Highland
Man.]
White Jock [Cf "Black Joke."]; RRR 38:
Whiteford/ Lady Whiteford; JRR2 38:
Lady Whitfoord's Reel; AMR2 6:
Miss Whitefoord['s Reel?]; NSR 69:
Miss Whiteford; JRR2 57:
Miss Whiteford; RRR 15:
Sir John Whitefoorde's Strathspey; GSR1 12:
Widow, see Wap at the widow.
Widow, are ye waking? [SMM #432. Glen, ESM p. 195, prints OST
tune. "Keep the Widow Wakeing," a libelous jig of the 1620's,
is in C. J. Sisson's Lost Plays of Shakespeare's Age, p. 103.
It was sung to the tune of "The Blazing Torch,' possibly
another name for "I'll never love thee more," qv.]/ Widow gin
thou be waking; OST 14: Widow are ye Waking; MG2 21: Widow are
you Wakeing; CPC3 12: Widow are you wakeing; OS3 16:
Widow's Lilt, The; CPC8 9:
Widow's shall [all] have Spouses, The [English.]; CPC11 16:
Wild Irishman, The [In R. Bride's Twenty Four Country Dances for
the Year 1770, and J. Bryson's Curious Collection (1791), which
is mostly Irish tunes, and later in Hime's collection of 48
Irish country dances. Also know as "Noran Kista" and given by
Bunting as "Norah with the purse." It is also in
Aird's Airs]; AMM 36:
Will you go and marry Kettie [SMM #459]; NSR 22: Will you go
and Marry Ketty; AMR 20: Mulchard's Dream; ACR 17: ? Marry
Ketty Strathspey; GSR2 6:
Will you go to Flanders [SMM #46. Song for tune in Herd's MSS,
Hecht p. 102, and Herd's Scots Songs, 1776. SMM #46 has three
songs for tune: (1) "The maid in Bedlam," (2) George Ogle's "As
Down on Banna's banks I stray'd," (London Magazine, Sept., p.
578, 1774) and (3) "Had I a heart for falsehood framed." Glen,
ESM p. 71, was unsure whether tune Scots or Irish. I have not
discovered where tune is first called 'Molly Astore.' Bunting's
brief comment, p. 97 of Ancient Music of Ireland, 1840, says
little and he gives version of it as #90, "Little Molly."]; MG2
2: Will you go to Flanders; CPC1 36: Will you go to Flanders;
MGB2 2: Will you go to Flanders; BR2 20: Will ye Go to
Flanders [Song, "One morning very early,"i.e., "Maid in
Bedlam."]; NSS 21: Gramachree Molly [Identified as Irish Air,
with G. Ogle's song, "As down on Banna'a Banks I strayed."];
DCS I 29-30:
Will you go to Sheriff Muir; CPC6 10: Will you go to Sheriff
Moor; RBR 49:
Will yo go to the ew-bughts, see Ew=Bughts.
Will you lend me your Loom Lass, see Let me in this ae nicht.
Wilt thou be my dearie, see Shoe Maker's Daughter.
William and Margaret [i], see I'll never love thee more.
William and Margaret [Names same only, none are those in OC1,
OC2.]/ William and Margaret [?]; OS1 25:
William and Margaret [II] [This is tune on single sheet song with
music. Chappell gave it a bit differently, PMOT, I, 383.]; CPC1
9:
William and Margaret [III]; CPC5 28:
William's Ghost [Oswald's tune not that for song in SMM #363,
according to Glen, ESM p. 175.]; CPC5 25: Williams Ghost; FP
30: William's Ghost; MGB4:
Williamson/ Miss Jeanny Williamson's Reel; WMR1 7:
Willy's Rare [SMM #525. Glen, ESM p. 222, gives tune as "Sweet
Willie" from Blaikie and Leyden MSS.]; OC2 II #49:
Willy was a wanton Wag [SMM #137. Glen, ESM p. 105, notes tune in
Agnes Hume MS, 1704. Willey was a wanton Wag; J. Ralph, The
Fashionable Lady, Air 20, 1730]: OC2 II #26: Willie was a
Wanton Wagg; CPC5 24: Willie was a wanton
Wag; MG3: Willie was a wanton Wag; OS3 22: Willie was a wanton
wag; MGB1 12: Willie was a Wanton Wag; NSS 5: Willie was a
wanton wag Scots Measure; AMM 6:
Willie Winks_Strathspey; RBR 61:
Willie Winkies Testament [SMM #526.]; OC2 II #44: Willie Winkies
Testament; CPC6 5:
Wilson/ Miss Wilson of Collins Reel_by Mr. Marshall; AMR2 3:
Winchester Wedding [English.]; MHF 76:
Winding of the stream, The; CPC11 12:
Winter it is past, The [SMM #200. Song: Ebsworth printed an
eighteenth century copy entitled "The Lovesick Maid" in
Roxburghe Ballads, VI, p. 240, and noted another copy in The
London Rake's Garland (NLS, Lauriston Castle Collection). Two
other eighteen century copies have been more recently printed
by Hollowell and Black in Later English Broadside Ballads, (I)
p. 127, as "The Irish Lovers," and p. 152, "The Lamenting
maid." Glen, ESM p. 125, discusses Oswald's tune and Irish
claims.]; CPC10 9:
With tuneful Pipe [and merry glee. From single sheet 'Scotch'
song with music. Tune also in ballad operas]; MHF 53:
Wives of Kilwinnin, The; RBR2 111:
Wives of Torphichan, The; RBR 42:
Wo betyd thy wearie body, see Bonny wi thing.
Wo is me what Man I do [D'Urfey song in Pills, I, p. 54, 1719.
Simpson, BBBM p. 795]; CPC7 15:
Woes my heart, see Wae's my heart.
Woman's work will never be done, see The Black Eagle.
Woo'd and Married and a' [SMM #10. Glen, ESM p. 53-4, prints RBR
tune and "I made love to Kate."]; CPC10 5: Woo'd and Married &
a'; RBR 52:
Woods of Burgenny; JRR2 31:
Wounded Huzzar, see O'Kain.
Wright/ Mrs. Wright of Laton's Strathspey; GSR1 14:
Wright's Rant, The; RBR 92:
Wrquaharts Scotts Measure, see Urquaharts Scots Measure.
Ye Gods was Strephen, see The Fourteenth of October.
Yeal Yeal; RBR 68: Yell Yell; AMR 11: Yell Yell; GSR1 27-8:
Yellow=Hair'd Laddie, The [SMM #122. See Simpson, BBBM pp. 803-5
for late 17th century English broadside calling for tune, and
additional sources.]; OC1 7: Yellow hair'd Laddie; SM 84-85:
The Yellow haird Laddie; CST 15: The Yellow-hair'd Laddie [Song
is "In April, when Primroses paint the sweet Plain"]; OC2 I #7:
The Yellow hair'd Laddie; MG1 31: The Yellow hair'd Laddie;
BT1, 4-5: The Yellow Hair'd Laddie; CPC2 12: The Yellow Hair'd
Laddie; BR1 I 24: The Yellow hair'd Laddie; FP 7: The Yellow
haird Laddie; MGB3 25: The Yellow hair'd Laddie; NST II 8: The
Yellow haired Laddie; DCS II 6:
Yellow Stockings [SMM #558. Song there is "The Kitten." Single
sheet issue of song, with music, c 1725, is headed "A New Song
for Young Mothers, & Nurses." Song was said to be by Johnathan
Swift. Single sheet issue has diff. version of the (unnamed)
tune. This latter version, with some differences, is that
printed with the song in The Convivial Songster, p. 26, 1782.
Tune in ballad opera The Boarding School, Air #9, 1732. An
instrumental score published by Daniel Wright. c 1715, is
reprinted in an article 'English Bagpipe Music,' by R. D.
Cannon, Folk Music Journal, 1972, as example 13b, but he
did not know of Swift's authorship of song, or of the early
vocal scores. SMM #558 tune is his example 14a. "Yellow
stockings" is also in the Neal's Choice Collection of Country
Dances, Dublin, c 1726. The tune is a member of the family
"Virgin Queen/ Mad Moll/ Yellow Stockings/ Follow her over the
border/ Brose and Butter (qv)/ Drops of Brandy/ Faraway
Wedding/ Cumilium." "Drops of Brandy," and "Hey my Nanny" are
in Emerson's listing of contents of a Drummond Castle
MS of 1734, in Rantin' Pipe and Tremblin' String. Breandan
Breathnach adds to his list, "Hey my Nanny," qv, and "The
Honeymoon." There are also much earlier printings of "The
Faraway Wedding" and "Cumilium," than the ones noted by
Cannon. The former is in Wright's Compleat collection of
celebrated county dances, c 1742, reprinted in facsimile in
Music in Colonial Massachusetts, I, p. 24, 1980, and with the
claim it is Irish, in O'Farrell's Pocket Companion for the
Irish or Union Pipes, II, p. 57, c 1811. It is also in
the second part of Gow's Complete Repository, p. 27:
"Cumilium," according to Breathnach, is in Jackson's Celebrated
Irish Tunes, c 1780, and was used by Thomas Moore as the
setting for his song commencing "Fairest, put on a while."
Cannon suggested that a possible predecessor of "Yellow
Stockings" was "Up with Aily, Aily," qv.]
Yemon O Nock [Gaelic, 'Eamonn an cnuic' for 'Edmund (Ned) of the
Hill,' Edmund Ryan. Oswald's tune appears, almost identically,
in a late reissue, c 1770, of BTH2, but not in issues printed
from original plates. Different tunes of this title were
published subsequently. A Gaelic song of this title, to a
different tune, is in Donal O'Sullivan's Songs of the Irish,
1960]; CPC11 10:
Ye'll ay be Welcome back again [SMM #149, "Duncan Davison." Glen,
ESM p. 109, cites Leyden MS tune "Stick upon a Strogen" as
original. This doubted by Bayard2, #348.]; CPC10 1: Ye'll ay be
welcome back again; RBR 56: Duncan Davie; JCR 51: Duncan
Davidson; AMR 14: Duncan Davidson with Variations; GSR1
15: Ye're welcome Charlie Stewart [SMM #471. Glen, ESM p. 205,
also notes Walsh printing of tune as "The Confederacy," (1736).
Stenhouse, SMMI p. 415, says tune formerly called "Miss
Stewarts Reel," and quotes song "You're welcome Charlie
Stewart."]/ Queensberry House; RBR 40:
You Jacobites by name [SMM #371. Original song is in The Battle
of Falkirk Garland, 1746. Only first verse is similar to that
in SMM. It was to be sung to "Captain Kid" (sic). Simpson, BBBM
p. 672, discusses ballads and songs to the tune. There are gaps
in history. Tune apparently first cited as "Sound a Charge,"
1654, for song noted in Joseph Frank's Hobbled Pegasus, p. 328,
1968, then as "Touch and Go." "Put in All" tune, appeared in
Walsh, Hare, and Randall's Twenty Four New Country Dances for
the Year 1708, and subsequently in The Dancing Master and the
Compleat Country Dancing Master.]
Young Collin is ye Pride of the Plain; CPC4 9: Young Collin
["Young Collin is the pride" in CPC index, where Oswald claims
tune.]; CPC10 7: Young Colin the pride of the Plain; OS3 33:
Young Jockie, see Jockie was the blythest Lad.
Young Laird, The, see What ye wha I met yestreen.
Young Man's Dream (SMM #146, minor mode, SMM #126. Irish tune.
That in Bunting's 1st collection is rather variant. That in
Hime's New Selection, c 1800, and elsewhere, is close to that
in SMM. Song is in Scots MS of 1740's, [on this website] but
proves to be a light reworking of "Loves Fancy, or the Young
Man's Dream" = "She lay all naked in her bed". See Simpson,
BBBM. James Tytler's song, SMM #123 is a major recasting into
a 'parlor' song.')
Young Philander, song, for tune see Pier of Leith.
Your welcome into Bervie; RRR 16:
your welcome to your feet again; RBR 14:
You've been long away, Wellcome home my dearie; NSR 20:
Untitled:
Untitled tune in 9/8; CPC1 35: Untitled short tune in
common time; CPC1 36: Untitled tune in 2/4; CPC2 13: Untitled
tune in common time; CPC2 32: Untitled tune in 9/8; CPC4 10: MGB1
6: [Untitled]; MGB1 19:
[Untitled]; MGB3 7:
[Untitled] An old Welsh Tune; FP 15: [Untitled] Danc'd by
Aldridge; AMM 16:
[Untitled]-Danced in Harlequin Highlander; AMM 29: [Untitled]
Danced by Aldridge;
AMM 34: [Untitled] - Danc'd by Aldridge; AMM 37:
Hornpipe, A; WMR1 8: Hornpipe; AMM 29: Hornpipe Danc'd by
Aldridge; AMM 37:
Hornpipe; GSR2 29:
Jig/ Jigg; MG2 13: Gig; CPC1 17: Gig; CPC2 33: Gigg; CPC2 36:
Gig; CPC4 17: Gig;
CPC6 4: Jigg; CPC5 20: Gig; CPC6 14: Gig; CPC6 18: Gig; CPC7 19:
Gigg; JCR 28:
Gig; JCR 71: Jig; AMM 3:
Minuet; CPC1 33: Minuet; AMM 20:
Strathspey/ A new Strathspey Reel [First of two on page. Claimed
by Oswald in CPC index.]; CPC3 23: A new Strspey Reel [Second of
two on page. Claimed by Oswald in CPC index.]; CPC3 23:
Not Found:
Sandy Crosy, in Maidment chapbook.
Devil fly o'er the water wi' her [SMM #597.]; Aird's Reels?
Boar the Gimlet; for song in Maidment chapbook, Not 'The Giblet'
(The Old Lea Rigg) in CPC, but possibly that in Peacock's
Northumberland Collection, c 1805.
Bonny Moor/Muir Hen. [Hogg's Jacobite Relics]
Madam Cossy, Dick, SRB p. 431, 432. (Possibly 'Madam Cassey' from
O'Keefe's song commencing 'The British Lion is my sign.' Many of
O'Keefe's airs were from Irish folk and old popular songs, it is
in GSR2 1788 and Calliope of the same date. MS.
Cumnock Psalms.
Donald Blue, SRB p. 353.
Scroggam SMM #539, I Hae laid 3 herrings in saut.
I am a man unmarried for SMM #551.
Jackie Hume's Lament for SMM #566. Notes, p. 56, Burns identified
Air as SMM #323, Soger Laddie. Not J--- Home's Reel LB6. Jacky
Hume's Reel BL 29371? Hume's Lamentation, Shepherd's Delight, #3,
1781, c 1798.
Some tunes, probably Scots, in dance collections printed in
London (copies in Lib. of Congress):
MM-NN;Pub = Twenty four (or Twelve) (New) Country Dances for the
Year 17NN; Publisher
Mary Nairn; 24-1758, Rutherford
Highland Queen; 24-1758, Rutherford
We are all dead with drinking; 24-1758, Rutherford
McFarlane's Reel; 24-1758, Rutherford
The Highland Reel; 12-1763, Rutherford
Lady Jane Stewart's Reel, 24-1766; Bride
Lady Susan Gordon's Reel, 24-1766; Bride
Lady Charlotte Dundas' Reel, 24-1766; Bride
Carrick's Reel; 24-1766, Bride (RBR)
Glasgow Lasses; 24-1769, Bride
Ranting Highland Man; 24-1769, Bride.
Miss Mc.Donald's Reel, or the 4th of June; 24-1769, R. Bride
Killy Kallum; 24-1769; R. Bride:
Lads of Air; 24-1769; R. Bride
Blair Drummond's Reel; 24-1770; R. Bride.
Duchess of Gordon's Reel; 34-1770; R. Bride.
Lady Mary Menzies Reel; 24-1770; R. Bride.
Sr. Alexander McDonald's Reel; 24-1779; R. Bride
Lord Mc.Donald's Reel; 24-1794; J. Fentum.
The Millers Daughter; 24-1770; R. Bride.
Reel of Tulloch; 24-1779; R. Bride.
Lady Ann Erskin's Reel; 24-1770; R. Bride.
Maggy's Weam is fu' I trow; 24-1770; R. Bride.
Knit the Pocky; 24-1770; R. Bride.
Cuzle together; 24-1770; R. Bride.
Athole Brose; 24-1794; J. Fentum.
Lady C:Campbell's Reel; 24-1794; Preston.
Reel of Bogie; 24-1794; Preston.
Miss Strachan's Reel; 24-1795; T. Dodd.
Many more in Wm. Campbell's undated collections, c 1795-1810.
Seven of his twenty-seven or so books are in Lib. of Congress.
Insert:
There's Nae luck about the house; [SMM #44. Glen notes tune in
Johnson's Country Dances, 1742, but does not note title there.]
There's nae luck about the House; AA4 #51:
There's nae luck; AA1 69 #198: [Now Janny Cameron.]