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