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THE GLEN COLLECTION OF SCOTTISH MUSIC
Presented by Lady DOROTHEA Ruggles-Brise to
the National Library of Scotland, in memory of her
brother, Major Lord George Stewart Murray,
Black Watch, killed in action in France in 1914.
28th January 1927.
THE
DANCE MUSIC OF SCOTLAND
A COLLECTION OF ALL THE BEST
REELS AND STRATHSPEYS
BOTH OF THE HIGHLANDS AND LOWLANDS
FOR THE PIANOFORTE
ARRANGED AND EDITED
J. T. SURENNE.
SIXTH EDITION.
* OF SCOTLAND j
EDINBURGH:
WOOD AND CO., 49 GEORGE STREET.
INTRODUCTION.
This Collection contains two hundred and forty-five of the hest Eeels and Strathspeys of the
Highlands and the Lowlands of Scotland, arranged expressly for the Pianoforte. The correct nota-
tion of the tunes has been carefully attended to, and their harmonic arrangement is new. The tunes
are distributed into sets of three, as they are generally danced ; that is to say, Eeel, Strathspey,
Reel. The proper tempo of each tune is indicated according to Maelzel's Metronome. In some rare
instances the key is changed in order to facilitate Pianoforte performance ; and in many of the tunes
- the proper fingering of certain passages is marked. Several Dance-tunes are not included in this
Collection, because they have become intimately associated with Songs by Burns and other Scottish
Poets. These tunes, however, will be found in " Wood's Songs of Scotland," and also in " Wood's
Melodies of Scotland without Words." To increase the usefulness and popularity of this Volume,
the writer of the Introduction has given, from a scarce work, a complete description of all the true
Highland Steps of the Eeel and the Strathspey, with their original Gaelic names. By means of that
description, and of the numerous tunes given in this Collection, the dancing of Eeels and Strathspeys
may be learned and practised by the families of Scottish settlers in the remotest parts of the globe.
As this volume is devoted to the National Dance Music of Scotland, viz., Reels and Strathspeys, we think it unne-
cessary to say much about other Dance Music which was brought hither from France or England. In the oldest
Scottish Collections of manuscript music' we find Allemandes, Branles, Courantes, Gaillardes, Gavottes, Voltes2—dances derived by us from France, although not all ofthem of French origin—and along with these some Scottish dance-
tunes and a few English ones. These MSS. show the preponderance of foreign dances and dance-tunes in Scotland at
that time, and long before then at the Scottish Court, when Reels and Strathspeys were as yet only among future
possibilities of fashion. 8
Fifty years ago, the fashionable Dances taught in Edinburgh and other large towns in Scotland, were Minuets,
Cotillons, Reels and Strathspeys, and Country-Dances. Now, with the exception of the Reels and Strathspeys, al]
these Dances have disappeared and made way for the Waltz, the Polka, &c, &c. ; which last will, in turn, yield their
places to some other saltatory novelties. But the Reels and Strathspeys have held their ground, manfully and
womanfully, in both Scotland and England to this day ; and we are not sure that they have not, of late years, found
their way even to France, that soil of all soils the most bedanced by merry lads and lasses. The high popularity of
the Reel and the Strathspey, all over Great Britain, induces us to dwell more particularly and minutely upon these
Dances, which are really the only National Dances of Scotland ; all our other Dances of ancient or modern times
having been derived by us from France or from England.
In the Collection of Highland Airs, published in 1781 by the Rev. Patrick M'Donald,4 he mentions (in the Preface)
some particulars regarding the manner in which these airs are sung or played by the natives. " The slow plaintive
1 The Straloch, and Skene, and Rowallan, and Leyden MSS. See List appended to this volume.
2 The Volte was anciently a common dance in Provence, and was originally the Italian Volta. It somewhat resembled the Modern Waltz.
For a description of " La Volta," and of various other dances of the sixteenth century, see Sir John Davies' poem on Dancing, written about
1590. Byron's bitter attack upon the Waltz is well known.3 It will be seen afterwards that these Scottish Dances were much in vogue fifty years ago, and were taught at the Court of England Hei
Majesty Queen Victoria, on first visiting the Highlands, was much struck with these dances, and has since patronized them.
4 See No. 24 of List given in this volume.
IV INTRODUCTION,,.
tunes are sung by the natives in a wild, artless, and irregular manner. Chiefly occupied with the sentiment and
expression of the music, they dwell upon the long and pathetic notes, while they hurry over the inferior and con-
necting notes in such a manner as to render it exceedingly difficult for a hearer to trace the measure of them.
They themselves, while singing them, seem to have little or no impression of measure." (P. 2.) As his work is
now rare, we subjoin what he says regarding the Harp Music of the Highlands. " The Airs above-mentioned, and
others of similar structure, are valuable, as probably being the most genuine remains of the ancient Harp
Music of the Highlands. This was once the favourite music in the Highlands of Scotland, as it has long con-
tinued to be in Ireland. The fate, however, which it has experienced in the two countries, has been very different.
In Ireland the harpers, the original composers and the chiefdepositaries of that music, have, till lately, been uniformly
cherished and supported by the nobility and gentry. They endeavoured to outdo one another in playing the airs
that were most esteemed, with correctness, and with their proper expression. Such of them as were men of abilities,
attempted to adorn them with graces and variations, or to produce what were called good sets of them. These were
communicated to their successors, and by them transmitted with additions. 1 By this means the pieces were pi-eserved,
and so long as they continued in the hands of the native harpers, we may suppose that they were gradually
improved, as whatever graces and variations they added to them, were consistent with, and tending to heighten and
display the genuine spirit and expression of the music. The taste for that style of performance seems now, however,
to be declining. The native harpers are not much encouraged. A number of their airs have come into the hands
of foreign musicians, who have attempted to fashion them according to the model of the modern music ; and these new
sets are considered in the country as capital improvements. The Lady in the Desart, as played by an old harper,
and as played according to the sets now in fashion, can hardly be known to be the same tune. It is now abundantly
regular in its structure ; but its native character and expression, its wildness and melancholy, are gone- The varia-
tions are such as might have been composed at this day in Italy or Germany. In the Highlands of Scotland, again,
the harp has long ceased to be the favourite instrument ; and, for upwards of a century, has been seldom heard.
The encouragement of the people has been transferred to the bagpipe, an instrument more congenial to the martial
spirit of the country. In consequence of this, many of the pieces that had been originally composed, and had been
chiefly performed or accompanied by the harpers, are irrecoverably lost ; and those which have been preserved by
tradition, may naturally be supposed to have been gradually degenerating."—P. 3.
" A considerable number ofthe airs contained in this first division2 are what the country people call Luinigs, and
are sung when a number of persons are assembled, either at work or for recreation. They are generally short ; their
measure is regular, and the cadences are distinctly marked. Many of them are chorus songs. Particular parts of
the tune are allotted to the principal singer, who expresses the significant words ; the other parts are sung in chorus
by the whole company present.3 These pieces being simple and airy, are easily remembered, and have probably
been accurately preserved."
In the Dissertation4 prefixed to the same Collection, Mr. Young tells us that the people of St: Kilda, at the close
of the fishing season, when they have laid up their winter store, meet together rejoicingly in the store-house, and there
sing and dance to one of their best reel tunes, (p. 9.) He mentions also the luinigs and the iorrums, or boat-songs
of the men, to which they keep time with their oars when rowing, (p. 10.) " The St. Kildians too are very fond of
music. Being great lovers of dancing, they have a number of reels, which are either sung or played on the Jew's
harp, or trump, their only musical instrument. One or two of these sound uncommonly wild, even to one that can
relish a rough Highland Reel. Some of the notes appear to be borrowed from the cries of the sea-fowl which visit
them at certain seasons of the year, and are considered as their benefactors. Their elegiac music is in a better strain,
pathetic and melancholy, but exceedingly simple. Like the other peculiarities of the Highlanders, the custom of sing-
ing these songs regularly at work is declining apace, especially in the eastern countries and the districts which have
much intercourse with the Lowlanders. Yet, less than a century ago, it was practised by their forefathers. However
wild and artless some ofthe luinigs may be, and however ill others of them are sung by the common people, yet a number
of beautiful original ones may still be collected in the Highlands. The greater part of them appear to be adapted to the
harp, an instrument which was once in high estimation there."
—
(Ibid., p. 11.) Giraldus Cambrensis,5 who visited
1 This is quite opposed to Bunting's strange assertion, that the oldest Irish airs were preserved by tradition unchanged, through a series of
generations of harpers.
2 Chiefly from Ross-shire and Sutherlandshire.
s These songs appear to have some analogy to those of the Faroe Isles mentioned at p. 8 of Introduction to " Wood's Vocal Melodies of
Scotland without Words." Mr. Robert Jamieson, the editor of the " Northern Antiquities," intended to procure from Orkney the popular melody
or chant to which the Norse Song of " The Weird Sisters," which the Orcadians call " The Enchantresses," was commonly sung ; all traces of it
having long since been lost in Scandinavia. We know not whether he did procure that melody.
4 Written by the Rev. Walter Young, afterwards D.D. He became Minister of Erskine in Renfrewshire in 1772, and died at an advanced
'ice on 6th August 1814.
* Gir. Cambr. Topog. ITib., lib. ii. c. ii.
INTRODUCTION. V
Ireland about the year 1185, gives a curious account of the skill of Irish harpers, and mentions that the Scots and
Welsh learned their art from the Irish, and that, in the opinion of many, the Scots far excelled the Irish. John Major1
tells that in the fifteenth century the Irish and the Scottish Highlanders were the most eminent harpers then known.
Mr. Young says,—" But beyond all memory or tradition, the bagpipe has been the favourite instrument of that
people, (the Highlanders.) The large bagpipe is their instrument for war, for marriage or funeral processions, and
for other great occasions. They have also a smaller kind upon which dancing-tunes are played. In their hours of
merriment and relaxation, young people ofboth sexes danced with great alacrity to a species of wild airy tunes, the
nature of which is universally known."—Ibid., p. 12. Mr. Young states, that " that peculiar species of martial music,
the pibroch or cruineachadh, was sometimes sung, accompanied with words, but more frequently performed on the
bagpipe." " The contrast between the pipe and the harp tunes is so striking, that one could hardly imagine them to be
the music of the same people. Indeed, none of the luinigs is adapted to the bagpipe." 5—Ibid., p. 13.
Besides the modern Irish Bagpipe, which has the softest sound of all Bagpipes, the Irish claim for themselves an
ancient Bagpipe, large and loud, of the same kind as our Scottish Highland one. Bunting states that the large Bag-
pipe was the proper military musical instrument of the Irish in the fifteenth century, and Mr. Petrie, the Irish anti-
quary, informs us that the bagpipe is often mentioned in Irish poems, varying in date between the tenth and sixth
centuries.
For many years the Violin has taken place of the Bagpipe in most parts of Scotland, for playing of Reels, Strath-
speys, and other Highland dance-tunes. Captain Simon Fraser, in his Collection of Highland Airs, mentions that
Grant of Sheugly, who was a poet and a player on the violin, bagpipe, and harp, gave the preference to the violin for
Dance Music.3 Neil Gow and his sons greatly promoted the use of the violin for the Dance Music of Scotland.
Francis Peacock, who published the Collection of Scottish Airs cited in No. 20 of the List given in this volume,
was an eminent Dancing-Master in Aberdeen, and died there in June 1807, aged 84, leaving a considerable bequest
of money to the charitable institutions of that town. In 1805, he published " Sketches relative to the History4 and
Theory, but more especiaUy to the Practice of Dancing," &c, &c, 1 vol. 8vo, pp. 224. Aberdeen, Angus and Son :
London, Longman and Co. : Edinburgh, Archibald Constable. As that volume contains some curious information
regarding the Dance Music and Dances of Scotland at that time, and is now very rare, we quote the following
passages from it, leaving our readers to make due allowances for the author's professional enthusiasm in some par-
ticulars. It is worth while to record what these National Scottish Dances really were half a century ago. 5
" Sketch V. Observations on the Scotch Reel, with a description of the fundamental steps made use of in that
Dance, and their appropriate Gaelic names.—The fondness the Highlanders have for this Quartett, or Trio, (for it is
either one or the other,) is unbounded ; and so is their ambition to excel in it. This pleasing propensity, one
would think, was born with them, from the early indications we sometimes see their children shew for this exercise.
I have seen children of theirs, at five or six years of age, attempt, nay, even execute some of their steps so well as
almost to surpass belief. I once had the pleasure of seeing, in a remote part of the country, a Reel danced by a herd
boy and two young girls, who surprised me much, especially the boy, who appeared to be about twelve years
of age. He had a variety of well-chosen steps, and executed them with so much justness and ease, as if he
meant to set criticism at defiance. Circumstances like these plainly evince that those qualities must either
be inherent in the Highlanders, or that they must have an uncommon aptitude . for imitation. Our Colleges
draw hither,s every year, a number of students from the Western Isles, as well as from the Highlands, and
the greater part of them excel in this dance ; some of them indeed in so superior a degree, that I myself have
thought them worthy of imitation. I mention these circumstances with no other view but as an introduction
to what I am about to offer in relation to the steps most used in the Scotch Reels. To those who already know
them, all I mean to say will be useless ; but to others who have been wanting in opportunities of seeing this dance
well performed, a description of the steps best adapted to those lively tunes, which have obtained the name of the
dance to which they gave birth, may not, upon the whole, be unacceptable ; especially as it is no uncommon thing at
Edinburgh to see men of our profession, who come there with no other view but to acquire a knowledge of the proper
steps made use of in that dance. It is not long since two of them (father7 and son) came from London to Edinburgh
for no other purpose ; and, as they had their own carriage, it may be presumed they must have been men of some
reputation in their profession. They made application to the most fashionable teacher of dancing in that place, but
1 De Gest. Scot., lib. vi.
2 In the note on the Bagpipe which we furnished to Mr. Dauney for his Dissertation, p. 125, we show that, in old writers, the word " chorus"
often meant a " bagpipe."
5 See note on No. 3 of Captain Fraser's Collection, and also note at page 51 of the third volume of " Wood's Songs of Scotland."
i Any one who wishes to involve himself in the inextricable mazes of discussion regarding the dances of the Ancients, may find ample
materials for his confusion in the writings of learned commentators upon the classics.
6 We are indebted to Mr. James Davie, the well-known Teacher of Music in Aberdeen, for a perusal of this rare volume. 6 To Aberdeen.
" We are informed that these two Dancing-Masters were, most probably, Mr. Jenkins and his son. Jenkins was a native of Inver, near
Dunkeld—went to London to teach dancing—became Court Dancing-Master, and made a large fortune.
8 This must have been either Strange, or Rkhard Barnard, the owner of " Barnard's Rooms. " Thistle Street, or his successor Andrew Laurie
VI INTRODUCTION.
as he was then tuu busy preparing for a ball to be of much use to them himself, he recommended them to my partner,
who happened to be then at Edinburgh. On his return, he told me that (their time as well as his own being limited)
he attended them two or three times a day during their stay there. I mention this circumstance as a proof of what
importance they thought a right knowledge of the dance might be to them on their return to London. Before I
attempt to describe the principal steps made use of in Scotch Reels, it may be proper first to premise that I have
used my best endeavours to ascertain their Gaelic names, and have reason to think I have been successful in myinquiries. And here I am prompted by gratitude to acknowledge my obligations to a literary friend (well versed in the
Gaelic language) who has obligingly favoured me with the etymology of the terms, or adopted names of the steps I
am about to describe. These terms may be of use to the master, as they serve to distinguish the different steps from
one another, and may induce a degree of speculation in the philologist. Those who have acquired a little knowledge
of music, and are acquainted with Reel and Strathspey tunes, cannot but know that they are divided into two parts,
each consisting of four bars, which severally contain four crotchets, or eight quavers ; and that in the generality of
Strathspeys, the notes are alternately a dotted quaver and a semi-quaver, the bar frequently terminating in a crotchet'
This peculiar species of music is, in many parts of the Highlands, preferred to the common Reel ; on the contrary, the
latter, by reason of its being the most lively tune of the two, is more generally made choice of in the dance. I have
further to remark that, for the purpose of distinguishing steps, many of which do not materially differ but in their
number of motions, I make use of the previous terms, Minor, Single, and Double. The first (Minor) is when it
requires two steps to one bar of the tune ; the second (Single) is when one step is equal to a bar ; and the third (Double)
is when it requires two bars to one step. Of the Steps 1. Kemshoole? or Forward Step. This is the common step
for the promenade, or figure of the Reel. It is done by advancing the right foot forward, the left following it behind;
in advancing the same foot a second time, you hop upon it, and one step is finished. You do the same motions after
advancing the left foot, and so on alternately with each foot during the first measure of the tune played twice over;
but if you wish to vary the step, in repeating the measure, you may introduce a very lively one by making a smart
rise, or gentle spring forward upon the right foot, placing the left foot behind it; this you do four times, with this
difference, that instead of going a fourth time behind with the left foot, you disengage it from the ground, adding a hop
to the last spring. You finish the promenade by doing the same step, beginning with the left foot. To give the step
its full effect, you should turn the body a little to the left when you go forward with the right foot, and the contrary
way when you advance the left. 2. Minor Eemkossy? Setting or Footing Step. This is an easy familiar step, muchused by the English in their country-dances. You have only to place the right foot behind the left, sink and hop upon
it, then do the same with the left foot behind the right. 3. Single Kemk6ssy, Setting or Footing Step. You pass the
right foot behind the left to the fifth position, making a gentle bound, or spring, with the left foot, to the second posi-
tion ; Sfter passing the right foot again behind the left, you make a hop upon it, extending the left toe. You do the
same step by passing the left foot twice behind the right, concluding, as before, with a hop. This step is generally
done with each foot alternately, during the whole of the second measure of the tune. 4. Double Kemk6ssy, Setting
or Footing Step. This step differs from the single Kemkossy only in its additional number of motions. You pass
the foot four times behind the other before you hop, which must always be upon the hindmost foot. 5. Lematrast,4
Cross Springs. These are a series of Sissonnes. You spring forward with the right. foot- to the third or fifth posi-
tion, making a hop upon the left foot, then spring backward with the right, and hop upon it. You do the same with
the left foot, and so on, for two, four, or as many bars as the second part of the tune contains. This is a single step;
to double it, you do the springs forward and backward four times before you change the foot. 6. Seby-trastf Chas-
ing Steps, or Cross Slips. This step is like the Bahtte. You slip the right foot before the left ; the left foot behind the
right ; the right again before the left, and hop upon it. You do the same beginning with the left foot. This is a
single step. 7. Aisig-thrasdf Cross Passes. This is a favourite step in many parts of the Highlands. You springs
little to one side with the right foot, immediately passing the left foot across it ; hop and cross it again, and one step
is finished;you then spring a little to one side with the left foot, making the like passes with the right. This is a
minor step ; but it is often varied by passing the foot four times alternately behind and before, observing to make a
hop previous to each pass, the first excepted, which must always be a spring or bound ; by these additional motions
it becomes a single step. 8. Kem-Badenoch, a Minor Step. You make a gentle spring to one side with the right
loot, immediately placing the left behind it ; then do a single Entrechat, that is, a cross caper, or leap, changing the
situation of the feet, by which the right foot will be behind the left. You do the same, beginning with the left foot.
By adding two cross leaps to three of these steps, it becomes a double step. 9. Fosgladh,1 Open Step. Slip the feet
to the second position, then, with straight knees, make a smart spring upon the toes to the fifth position ; slip the
feet again to the second position, and do a like spring, observing to let the foot which was before in the first spring,
be behind in the second. This is a minor step, and is generally repeated during the half or the whole measure of the
tune. 10. Cuartag* Turning Step. You go to the second position with the right foot, hop upon it, and pass the left
behind it ; then hop, and pass the same foot before. You repeat these alternate passes after each hop you make in
going about to the right. Some go twice round, concluding the last circumvolution with two single cross capers.
These circumvolutions are equal to four bars, or one measure of the tune. Others go round to the right, and then
1 Here Mr. Peacock gives a note upon the resemblance of this rhythm with that of the Ossianic poetry, which we need not quote.
- "Or, according to its established orthography, CCumsiiibhail, from Ceum, a step, and siubhal, to glide, to move, to go on with rapidity."
3 " CSum-coisiche, from Ceum, a step, and Coiseachadh, to foot it, or ply the feet."
* " From Ltum, a leap, a spring, and Trasd, across."
6 "From Siabadh, to slip, and Trasd, across." 6 "From Aiseaff, a pass, and Trasd, across." 7 " An opening."" From Cuairt, a round, a circumvolution."
INTRODUCTION. VII
to the left. These, also, occupy the same number of bars.—Combined or Mixed Steps. These are an association ol
different steps, and which are necessary to add variety to the dance. For example; you may add two of the sixth
step (Seby-trast) to two of the third, (Single Kemk6ssy.) This you may vary by doing the first of these steps before
instead of behind ; or you may add two of the second step (Minor Kemkossy ) to one Single Kemk6ssy. These steps
may be transposed, so that the last shall take the place of the first. Again : two of the sixth step (Seby-trast) maybe added to the fourth step (Double Kemk6ssy) in going to either side. Another variety much practised is to spring
backward with the right foot, instead of forward, as in the fifth step, and hop upon the left ; then spring forward, and
again hop upon the same foot, and add to these two springs one Single Kemk6ssy, passing the right foot behind the
left. You do the same step, beginning it with the left foot. In short, without particularizing any other combinations,
I shall only add that you have it in your power to change, divide, add to, or invert the different steps described, in
whatever way you think best adapted to the tune, or most pleasing to yourself."—Sketch V. pages 85-98.
We have added to this Introduction some curious foreign dance-tunes, which cannot fail to be interesting to
Musicians. Among these tunes are some remarkable ones of Auvergne that were promised in the Introduction to
"Wood's Melodies of Scotland without Words," just published.
Peasants' Dance in the District of Bergen in Norway.
Grazioso.
EggFfFrfB^FfmSJgiS^igiliJ
Another.
Another.
gEgggp^p^-gggg
ifeEEgEBaaa=g=Egj s=t •=*3E£££= gsj^g^Jr^^^JgiB^gjgfflS^fefe
Another.
J3_|^^^p^gE^^^^r^^pBi^lghr^r r q^E^^^gp^ gEfcfe
Lively.
^e^sA
^g^»gg^^-j-i4pg
V11I INTRODUCTION.
Norwegian Dance-Tune.
jgf^rs^pi:
Norwegian Dance.
^^^^^S^^N^-rfA^Bi^gBJ^^^J^SEjB3^F^^Q3rjpT3
^mw^^^^^^^^^Ssm^^j^^gj^p=^£^g fegfe
$ ^h 73^3^5 a^f+V* * j
g=SBs^^^i^i*1 bj +-M-* *=3=^
Song for Dancing ; of Sarlat, in the ancient province of Perigord, now in the Department of Dordogne, in the
south-west of France.
ime^fef m o —•-
i—-.—-r> gT' e s- •—r—i—0-
£E * z
—
^fefDance-Tune of Lower Brittany.
g^gip^PE
i * ^ ^T£g^ v ^MAir of Auvergne, now in the Department of Puy-de-D6me, Central France,
-P c- fg—: Z3L mmm
fm Eg^m^Mmm^ s%gg^
INTRODUCTION. IX
Another.
p^^s^^^f=rm^ s^3rzffr^iHii -*—-£ ¥-=-*- m
Another.
W^¥ ^^jR=f=^B=dM-P-p-f^
I isia
Pfcp =pi I"
Da Capo.
Another.
i ^B3^3Ee z*—•--
#
iil«g=B ITT_, I Zg aZ? M. ^mThe following Dance Airs of the mountains of Auvergne were given by the Honourable George Onslow in his
Violin Quartetts, op. 10.
Allegro.
P'80 =£|
IEA-ZJzzzEz: ^^E^piz^E^^£ ££ -« *
i £9 £ 3i^---P^f^zzzzJ ~i: 3zz*EE2|S 1» r-»-^~d—0-
$ » » p -
r 84 fe#
£z=?E
#
^#J^^izEE^gai^^^gy^pMP' 76 lfcXZTh:6PTT S ^—-zzzpzzrza
^g
i
i> sr—t; eS Ipg
=5FjffXjzz- £*
£=S P£ —F—F-
X INTRODUCTION.
Italian Peasants' Dance. Given by the celebrated Violinist F. M. Veracini. He visited London in 1714, and
again in 1736.
iS^plplSj^^f^iSpEj smi
st^^SiIn Alsace, on the Lower Rhine, there is a district named Kochersberg, the inhabitants of which differ entirely
from their neighbours in manners and customs, and in their dances. The tunes of these dances have a well-marked
measure of five times, and the tradition of the country assigns to them a very remote antiquity. The following is one
cf them, as given by A. Reicha. See his " Trente-Six Fugues."
G. F. GRAHAM.
MANUSCRIPT COLLECTIONS CONTAINING SCOTTISH MELODIES.
SKENE MS.—Belongs to the Library of the Faculty of Advocates. Supposed by the eminent antiquary, David Laing,
Esq. of Edinburgh, to have been written about thirty or forty years after the commencement of the seventeenth
century. It is written in Tablature for the Mandora, and was translated into modern musical notation by Mr. G. F.
Graham, and the translation published, with a Key by Mr. Graham to the Tablature, and with a Dissertation, &c,
by the late William Dauney, Esq., Advocate, in one vol. 4to, at Edinburgh, November 1838. It contains a number
of Scottish airs, besides foreign dance-tunes. Mr. Laing says that the Collection was formed by John Skene of
Hallyards, in Mid-Lothian, the second son of the eminent lawyer, Sir John Skene of Curriehill.
STRALOCH MS.—Robert Gordon of Straloch's MS. Lute-book, dated 1627-29. The oldest known MS. containing
Scottish airs. The original MS. is a small oblong 8vo, at one time in the library of Charles Burney, Mus. Doc. ; then
in that of the late James Chalmers, Esq. of London, after whose death it was sold with his other books and MSS.
In January 1839, it was sent by Mr. Chalmers to Mr. David Laing of Edinburgh, for his inspection, and by Mr.
Laing to Mr. G. F. Graham of Edinburgh, who had permission to copy it, and to translate and publish it. Mr.
Graham made extracts from it of all the Scottish airs which it contained, and presented these extracts for preserva-
tion to the Library of the Faculty of Advocates, Edinburgh, on 26th November 1847. Some account of Robert
Gordon of Straloch, who was a distinguished person in his day, will be found in the Introduction to " Wood's Songs
of Scotland," vol. i. p. iv.
COLLECTIONS OF ANCIENT AND MODERN SCOTTISH MELODIES. XI
3 ROWALLAN MS.—A MS. Lute-book, written by Sir William Mure of Rowallan, who died in 1657, aged 63. It
was probably written about the same time as the Stralocb MS., and was a few years ago in the possession of Mr.
Lyle, Surgeon at Airth. Its contents are chiefly foreign dance-tunes, with a very few Scottish airs. Sir William
Mure was distinguished as a scholar and a poet. See " Historie and descent of the house of Rowallane," from th«
original MS. by Sir William, edited by the Kev. Mr. Muir, Glasgow, 1825 ; and " Ancient Ballads and Songs," by
Thomas Lyle, 1827.
4. LEYDEN MS.—Belonged to the celebrated Doctor John Leyden. It is now in the possession of Mr. John Telfer,
Schoolmaster, Saughtrees, Liddesdale. It is written in Tablature for the Lyra-viol, and was sent, in 1844, to Mr.
6. F. Graham of Edinburgh, with permission to transcribe and translate from it. The transcript which Mr.
Graham made from it, of all the tunes in Tablature, was presented by him, for preservation, to the Library of the
Faculty of Advocates, Edinburgh, on 26th November 1847. Its date is uncertain, but cannot be earlier than
towards the close of the seventeenth century, since we find in it, " King James' March to Ireland," and " Boyne
Water," both relating to events in 1690. It contains a number of Scottish tunes, some of which have been referred
to in the Notes to " Wood's Songs of Scotland," in 3 vols., published in 1848-49.
5. GUTHRIE (?) MS.—A number of Scottish and other tunes, in Tablature, discovered by David Laing, Esq., in a
volume of Notes of Sermons preached by James Guthrie, the Covenanting minister, who was executed in 1661, for
declining the jurisdiction of the King and Council. See Mr. Dauney's Dissertation, pp. 139-143. It is very
doubtful when these tunes were written, and whether they were written by the same person who penned the rest of
the volume.
6. BLAIKIE MSS.—The late Mr. Andrew Blaikie, Engraver, Paisley, was in possession of two volumes written in
Tablature, each containing a number of Scottish airs. One of these volumes was dated 1683, and the other 1692;
the latter in Tablature for the Viola da Oamba. The former was lost, but contained, with few exceptions, only the
same tunes as the later volume. Both MSS. were written in the same hand. See Mr. Dauney's Dissertation,
pp. 143-146.
7. CROCKAT MS.—This MS. Music-book is frequently referred to by Mr. Stenhouse in his Notes on Johnson's
Museum. It is dated 1709, and belonged to a Mrs. Crockat, of whom we have not been able to learn anything
The volume was in the possession of the late Charles Kirkpatrick Sharpe, Esq.
8. MACFARLANE'S MSS.—" A Collection of Scotch Airs, with the latest Variations, written for the use of Walter
M'Farlane of that Ilk. By David Young, W. M. [Writing Master?] in Edinburgh. 1740." 3 vols, folio.
Belongs to the Society of the Antiquaries of Scotland. The first volume was lent many years ago, and was never
returned.
Besides these MSS. there are a few others, which are mentioned by Mr. Dauney, pp. 146, 147, of his Dissertation.
One, dating about the middle of the eighteenth century ; and another, 1706, in the possession of David Laing, Esq. of
Edinburgh ; a third, dated 1704, belonging to the Advocates' Library ; and a fourth, 1715, the property of the late Mr.
Waterston, Stationer in Edinburgh. It is probable that several old muBic-books in Tablature may still be hidden in the
repositories of old Scottish families of rank ; and we would entreat the possessors of such books to rescue them from
oblivion and destruction, by sending them to some public library for preservation. We are convinced that many such
books in Tablature have been lost or destroyed within the last two centuries, through carelessness, and from ignorance of
their value.
PRINTED COLLECTIONS OF ANCIENT AND MODERN SCOTTISH MELODIES.
1. PLAYFORD'S DANCING-MASTER.—1657. Mr. Stenhouse, in his Notes on Johnson's Musical Museum,
refers to this work, and gives several Scottish airs from it. Mr. Laing says, " It passed through several editions,
but the first, of 1657, is very rare, and is interesting, as perhaps the earliest printed work that exhibits several
genuine Scottish airs." Introduction to Messrs. Blackwood's edition of Johnson's Museum, p. xxxiv.
2. D'URFEY'S COLLECTION.—1720. Sir John Hawkins, in his History of Music, vol. iv. p. 6, says, " There
ire many fine Scots airs in the Collection of Songs by the well-known Tom D'Urfey, intitled, ' Pills to purge
XII COLLECTIONS OP ANCIENT AND MODERN SCOTTISH MELODIES.
Melancholy,' published in the year 1720, which seem to have suffered very little by their passing through the
hands of these English Masters who were concerned in the correction of that book ; but in the multiplicity of tunes
in the Scots style that have been published in subsequent collections, it is very difficult to distinguish between the
ancient and modern." A sixth volume appeared in 1720.
3. THOMSON'S ORPHEUS CALEDONIUS.—1725-1733. This is the earliest Collection of Scottish tunes. It
contains fifty songs with the music, and also the tunes separately arranged for the flute. William Thomson was
a professional Scottish musician, who went to London from Edinburgh, and attracted attention at Court by his
pleasing voice and manner of singing Scottish songs, which be accompanied with the harpsichord. It would
appear that W. Thomson thus brought Scottish airs into vogue in England. In 1733, a new edition of the Orpheus
Caledonius appeared in two vols. 8vo, each containing fifty songs.
4. TEA-TABLE MISCELLANY.—About 1726. " Musick for Allan Ramsay's Collection of Scots Songs : Set by
Alexander Stuart, and engraved by R. Cooper ; Vol. First. Edinburgh, printed and sold by Allan Ramsay." This
very scarce volume, in five parts, is a small oblong, containing the music of seventy-one songs.
5. WATT'S MUSICAD MISCELLANY.—1729-1731 This Collection, in six vols, small 8vo, contains a number of
Scottish airs and songs.
6. CRAIG'S COLLECTION.—1730. "A Collection of the choicest Scots Tunes, adapted for the Harpsichord or
Spinnet," &c, by Adam Craig. Oblong folio. Craig was a violin-player and teacher of music in Edinburgh, and
died in October 1741.
7. MUNRO'S COLLECTION.—1732. Alexander Munro, a Scotsman, published in Paris a Collection of twelve
Scottish tunes with variations, adapted to the German Flute. The French Royal Privilege bears date 1732.
8. JAMES OSWALD'S COLLECTIONS.—1740-1742. There are three of these Collections ; the first published in
Edinburgh, and the two others in London. He published also several other volumes, under the name of " The
Caledonian Pocket Companion," in twelve parts. Oswald was originally a dancing-master in Dunfermline, and
afterwards came to Edinburgh, where he taught dancing and music. He finally settled in London. His hoaxing
of the public by ascribing certain Scottish tunes to David Rizzio, Queen Mary's Secretary, has been fully discussed
in the Notes to " Wood's Songs of Scotland," passim.
B. WALSH'S COLLECTION.—About 1740. " A Collection of Original Scotch Songs, with a thorough-bass to each
Song," &c, by J. Walsh, London. This consists of songs published on single leaves, and among them English
imitations of Scottish songs.
10. WALSH'S COUNTRY-DANCES.—A Collection, in eight vols., of Scottish dance-tunes then in vogue, but con-
taining many that are not Scottish.
1 1
.
BARSANTI'S COLLECTION.—1 742. " A Collection of Old Scots Tunes, with the Bass for Violoncello or Harp-
sichord," &c, by Francis Barsanti. Edinburgh. Folio, pp. 15. Barsanti %vas a native of Lucca, and born about
1690. He came to London in 1714, and afterwards to Edinburgh, but returned to London about 1750, where he was
obliged to seek for subsistence by playing the viola in the Opera and Vauxhall Orchestras, and where he died in
extreme poverty.
12. MACGIBBON'S COLLECTIONS.—1742-1755. William M'Gibbon was a Scottish violin-player of some celebrity
in his day, and for many years led the Gentlemen's Concert at Edinburgh. He was a pupil of William Corbett, an
Englishman, then leader of the Opera Orchestra in the Haymarket. M'Gibbon died at Edinburgh, 3d October 1756.
13. BREMNER'S COLLECTIONS.—1749-1764. Thirty Scots Songs for a Voice and Harpsichord. Edinburgh, about
1749. A second Set of Do. Edinburgh. Twelve Scots Songs for a Voice or Guitar, with a Thorongh-Bass
adapted for that instrument. Edinburgh, 1760. Two Collections of Scots Reels or Country-Dances, witha Bass for
the Violoncello or Harpsichord. London, 1764 ? A curious Collection of Scots Tunes, with variations, for the Violin
and a Bass for the Violoncello or Harpsichord. 1759. The Songs in the Gentle Shepherd, adapted to the Guitar.
1759. Thirty Scots Songs, by Robert Bremner. The words by Allan Ramsay. London. The Freemason's Songs,
&c. 1759. Robert Bremner died at Kensington, 1 2th May 1789.
14. BURKE THUMOTH'S AIRS.—About 1760. Twelve Scotch and twelve Irish Airs, with variations, set for the
German Flute, Violin, or Harpsichord, by Mr. Burke Tliumoth. Vol.1. London. Royal 8vo. A second volume
was published, containing the same number of airs.
COLLECTIONS OF ANCIENT AND MODERN SCOTTISH MELODIES. xiii
15. GENERAL REID'S MINUETS, &c.,—1770. A Sett of Minuets and Marches, inscribed to the Right Hon. Lady
Catharine Murray, by J[ohn] R[eid,] Esq., London;printed and sold by R. Bremner, in the Strand. Oblong 4to.
General Reid published also " Six Solos for the German Flute or Violin, with a Thorough-Bass for the Harpsichord,
by J[ohn] R[eid,] Esq., a Member of the Temple of Apollo. London;printed for J. Oswald." Oblong folio.
" A Second Sett of Six Solos," &c. " Captain Reid's Solos." Sold also by Bremner.
16. CLARK'S FLORES MUSICS.—1773. " Flores Musics, or the Scots Musician, being a general Collection of the
most celebrated Scots Tunes, Reels, Minuets, and Marches, adapted for the Violin, Hautboy, or German Flute, with
a Bass for the Violoncello or Harpsichord. Published the 1st June 1773, by J. Clark, plate and seal engraver, prin-
ter, &o." Folio, pp. viii. 8vo. This contained twenty-two tunes. The work was advertised to be published in
20 numbers, but all that is now known of it consists of 82 pages containing 126 tunes, most of them with variations.
17. LORD KELLY'S MINUETS, &o.—1774. " The favourite Minuets performed at the Fete Champetre, given by
Lord Stanley at the Oaks, and Composed by the Right Honourable the Earl of Kelly. London : William Napier,
Strand." The Earl of Kelly distinguished himself as a violinist and composer. He was the first Scotsman who
composed overtures for an orchestra. He studied music in Germany under the elder Stamitz, and died at Brussels,
9th October 1791, in the fifty-first year of his age. Dr. Burney, in his History of Music, (vol. iv. p. 677,) says of
Lord Kelly :—
" He had a strength of hand on the violin, and a genius for composition, with which few professors
are gifted."
18. NELL STEWART'S COLLECTIONS.—" Thirty Scots Songs adapted for a Voice and Harpsichord. The words
of Allan Ramsay. Edinburgh, Book 1st. N. Stewart and Co."—The same, Book 2d—The Bame, Book 3d. " ANew Collection of Scots and English Tunes, adapted to the Guitar," &c.—About 1760. "A Collection of the
newest and best Minuets," &c.—About 1770. Contains some of Lord Kelly's Minuets. " A second Collection ol
Airs and Marches, for two Violins," &c. " A Collection of Scots Songs, adapted for a Voice and Harpsichord," &c
Folio. About 1790.
19 DOW'S MINUETS.—About 1775. " Twenty Minuets and sixteen Reels or Country-Dances, for the Violin,
Harpsichord, or German Flute. Composed by Daniel Dow. Edinburgh," &c. Oblong 4to, pp. 36. " Collection
of Ancient Scots Music, (Highland Airs,) by Daniel Dow." " Thirty-seven new Reels and Strathspeys for the
Violin," &c. Edinburgh. About 1770. Oblong folio, pp. 44. Dow was a teacher of music in Edinburgh.
20. PEACOCK'S AIRS.—About 1776. " Fifty favourite Scotch Airs, for a Violin, German Flute, and Violoncello,
with a Thorough-Bass for the Harpsichord," &c, &c, by Francis Peacock. London.
21. MACLEAN'S COLLECTION.—About 1773. " A Collection of favourite Scots Tunes, with variations for the
Violin, and a Bass for the Violoncello or Harpsichord. By the late Mr. Charles M'Lean, and other eminent
masters." Edinburgh : N. Stewart. Oblong folio, pp. 37.
22 M'GLASHAN'S COLLECTIONS.—About 1778. " A Collection of Strathspey Reels, with a Bass for the Violon-
cello or Harpsichord. By Alexander M'Glashan, Edinburgh. Printed for A. M'Glashan, and sold by Neil Stewart."
Oblong folio, pp. 34. " A Collection of Scots Measures, Hornpipes, Jigs, Allemands, Cotillons, and the fashion-
able Country-Dances, with a Bass for the Violoncello or Harpsichord. By Alexander M'Glashan. Edinburgh :
Neil Stewart." Oblong folio, pp. 36.
23. CUMMINGS COLLECTION.—1780. " A Collection of Strathspey or Old Highland Reels. By Angus Cum-
ming, at Grantown, in Strathspey. Edinburgh, 1780." Oblong folio, pp. 20.
24. MACDONALD'S HIGHLAND AIRS.—1781. " A Collection of Highland Vocal Airs, never hitherto published
To which are added a few ofthe most lively Country-Dances, or Reels, of the North Highlands and Western Isle9 :
and some specimens of Bagpipe music. By Patrick M'Donald, Minister of Kilmore in Argyleshire." Edinburgh.
Folio, pp. 22 and 43.
25. NEIL GOW'S REELS.—" A Collection of Strathspey Reels, with a Bass for the Violoncello or Harpsichord. By
Neil Gow, at Dunkeld. N. Stewart, Edinburgh."
26. NATHANIEL GOW'S COLLECTIONS.—1799-1824. Six different Collections of Strathspeys and Reels. Edin-
burgh. Folio. Three volumes of Selections from the three first Collections, with additions. Edinburgh. Folio.
Four volumes of a Repository of Scots Slow Airs, Strathspeys, and Dances. Edinburgh. Folio. Two volumes of
Scots Vocal Melodies. Edinburgh. Folio. A Collection of ancient curious Scots Melodies. Edinburgh. Folio
See Mr. R. Chambers's Biographical Dictionary, Neil and Nathaniel Gow.
XIV COLLECTIONS OF ANCIENT AND MODERN SCOTTISH MELODIES.
27. JOHN AND ANDREW GOW'S COLLECTION of Slow Airs, Strathspeys, and Reels. Folio, pp. 36.
28. AIRD'S COLLECTION.—About 1784. A Selection of Scotch, &c, Airs, adapted to the Fife, &c. 3 vols, small
oblong; each containing 200 Airs. Glasgow.
29. JOHN RIDDELL'S COLLECTION.—A Collection of Scots Reels, Minuets, &c, &c. Composed by John Riddell,
in Ayr. 2d Edition. Glasgow : James Aird. Oblong 4to, pp. 60.
30. MACDONALD'S REELS.—About 1786. A Collection of Strathspey Reels, &c. Composed by Malcolm Mac-
donald. Glasgow : J. Aird. Oblong 4to, pp. 24. In the third volume of Aird's Collection, Malcolm Macdonald is
called " Violoncello-player to Neil Gow."
31. CORRI'S COLLECTION.—About 1788. " A new and complete Collection of the most favourite Scots Songs," &c.
Edinburgh: Corri and Sutherland. 2 thin vols, folio. Contains a portrait of Neil Gow.
32. NAPIER'S COLLECTIONS.—1790. " A Selection of the most favourite Scots Songs," &c. By William
Napier. London. One vol. folio. " A Selection of Original Scots Songs," &c. Harmonized by Haydn. London
One vol. folio, 1792. A third volume was entered at Stationers' Hall in 1794.
33. CAMPBELL'S COUNTRY-DANCES.—About 1790. " Campbell's First Book of new and favourite Country-
Dances and Strathspey Reels," &c. Printed and sold by William Campbell. London. Oblong 4to. Twelve Books.
34. BRYSON'S COLLECTION.—1791. " A curious Collection of favourite Tunes," &c. J. Bryson, High Street,
Edinburgh.
35. THE MUSICAL MISCELLANY.—1792. " The Edinburgh Musical Miscellany," &o. Selected by D. Sime.
Edinburgh : W. Gordon. One vol. 12mo. A second volume, printed for John Elder, Edinburgh, 1793.
36. GEORGE THOMSON'S COLLECTIONS.—1793, &c. A particular list of these, furnished by Mr. Thomson him-
self, will be found in the Introduction to the first volume of" Wood's Songs of Scotland," 1848. Mr. G. Thom-
son's Collections are now, by purchase, the property of Messrs. Wood and Co., Edinburgh.
37. MACKINTOSH'S REELS, &c—1793. " Sixty-eight new Reels, Strathspeys, and Quick Steps," &c. Composed
by Robert Mackintosh. Printed for the Author.
38. DALE'S COLLECTION.—1794. A Collection of Scottish Songs, in 3 Books.
39. RIDDELL'S COLLECTION.—1794. " A Collection of Scotch, Galwegian, and Border Tunes," &c. Selected by
Robert Riddell of Glenriddell, Esq. Edinburgh : Johnson and Co. Folio, pp. 37. " New Music for the Piano-
forte or Harpsichord," &c, consisting of Reels, Minuets, &c. [By Robert Riddell, Esq.] Edinburgh : James John-
son. Folio.
40. RITSON'S COLLECTION.—1794. Scottish Songs, in two vols. 12mo. London.
41. URBANI'S COLLECTION.—About 1794. " A Selection of Scots Songs," &c. By Peter Urbani. Edinburgh and
London. Three vols, folio, 1794-97-99-
42. THE VOCAL MAGAZINE.— 1797-98-99- Royal 8vo. Edinburgh : C. Stewart & Co.
43. ROSS'S COLLECTION.—" A Select Collection of ancient and modern Scottish Airs," for the voice, with accom-
paniments, &c. By John Ross, Organist, St. Paul's, Aberdeen. Edinburgh : John Hamilton. Folio, pp. 62.
44. WHYTE'S COLLECTION.—" A Collection of Scottish Airs," &c. Harmonized, &c, by Joseph Haydn, Mus
Doc. Published at Edinburgh by William Whyte. Two vols, folio. 1806.
45. JOHN ELOUIS' SELECTION of Scots Songs. Two vols, folio. 1806-7.
46. ARCHIBALD DUFF'S (ABERDEEN) SELECTION of Airs, &c, with Reels, Strathspey, and Country
Dances. Folio, pp. 50. 1812.
47. CAPTAIN SIMON FRASER'S COLLECTION of Highland Airs. Folio. Edinburgh, 1816.
18. ALEXANDER CAMPBELL'S ALBYN'S ANTHOLOGY.—Two vols, folio. Edinburgh, 1816 and 1818.
49. WALKER AND ANDERSON'S MINIATURE MUSEUM of Scots Songs and Music. 1818. 2 vols. 12mo.
Edinburgh.
COLLECTIONS OF ANCIENT AND MODERN SCOTTISH MELODIES. XV
50. MARSHALL'S COLLECTION.—One vol. folio. Edinburgh : Alexander Robertson. 1822.
51. R. A. SMITH'S SCOTTISH MINSTREL. Six vols. 8vo. R. Purdie, Edinburgh. The 6th vol. dated 1824.
52. POPULAR NATIONAL MELODIES.—Adapted for the Pianoforte. By James Dewar. Six Numbers, folio.
Alexander Robertson, Edinburgh. About 1826.
53. DAVIE'S CALEDONIAN REPOSITORY of the most favourite Scottish Slow Airs, Marches, Strathspeys, Reels,
Jigs, Hornpipes, &c, &c. Expressly adapted for the Violin. In four Books, oblong 8vo. Wood and Co.,
Edinburgh. 1829.
54. D. M'EERCHER'S (DUNKELD) COLLECTIONS (3) of Strathspeys and Reels. Edinburgh, 1830, et seq. Folio.
55. THE VOCAL GEMS OF SCOTLAND.—Arranged with new and appropriate Symphonies and Accompaniments
for the Pianoforte. By J. M. Muller. In two vols, folio. Wood and Co., Edinburgh. 1837-1839.
56. DUN AND THOMSON'S COLLECTION.—New edition of the Vocal Melodies of Scotland, arranged with
Symphonies and Accompaniments for the Pianoforte. By Finlay Dun and John Thomson. Published by Pater-
son and Roy, Edinburgh. This Collection consists of four vols, folio, each containing thirty-six songs. First vol.
published in 1837.
57. JOHNSON'S SCOTS MUSICAL MUSEUM.—New Edition, with notes. Six vols. 8vo. Blackwoods, Edinburgh,
1839.
58. JAMES DANIEL'S COLLECTION of Airs, Strathspey Reels, &c. Aberdeen, 1840. Folio, pp. 39.
59. THE DANCE MUSIC OF SCOTLAND.—A Collection of all the best Reels and Strathspeys, both of the High-
lands and Lowlands, arranged for the Pianoforte. By J. T. Surenne. In one volume, folio. AVood and Co.,
Edinburgh, 1841.
60. THE GARLAND OF SCOTIA, &c—The Airs are for Voice, Flute, or Violin. One vol. 8vo. Glasgow : William
Mitcbison. 1841.
61. WILSON'S SONGS OF SCOTLAND.—Eight Books, folio. 1842.
62. VOCAL MELODIES OF SCOTLAND.—Arranged for the Pianoforte, with an Accompaniment for the Flute
and Violoncello, (ad libitum) By Alfred Devaux. Six Books, folio. London : Cramer and Co. Edinburgh .
Paterson and Roy. 1842.
63. GEMS OF SCOTTISH MELODY.—With new and appropriate Symphonies and Accompaniments for the Piano-
forte. Edited by W. Montignani. One vol. 4to. T. and W. MDowall, Edinburgh. 1844.
C4. LOWE'S COLLECTION of Reels, Strathspeys, and Jigs, being a new and complete Selection of the best Dancing
Tunes in their proper keys, carefully arranged with appropriate basses for the Pianoforte and Violoncello. In six
Books, folio. Paterson and Roy, and Wood and Co., Edinburgh. 1844-45.
65. WOOD'S SONGS OF SCOTLAND.—Edited by G. F. Graham. Three vols, royal 8vo. Edinburgh : Wood and Co
1848-49.
66. ORAIN NA'H ALBAIN.—A Collection of Gaelic Songs with English and Gaelic words, and an Appendix
containing traditionary notes to many of the Songs. The Pianoforte accompaniment arranged and revised by
Finlay Dun. One vol. folio. Wood and Co., Edinburgh, &c, &c. 1848.
67. HAMILTON'S SELECT SONGS OF SCOTLAND.—Folio. Glasgow, 1848.
68. LAYS FROM STRATHEARN.—By Caroline, Baroness Nairne, &c, arranged, &c, for the Pianoforte by Finlay
Dun. One vol. folio. London : Addison and Co. Edinburgh : Paterson and Roy, and J. Purdie. 1850.
69. NAPIER'S SELECTION of Dances and Strathspeys. London. Folio, pp. 36.
70. JOHN HAMILTON'S COLLECTION of Strathspeys and Reels. Edinburgh. Oblong 4to. Caledonian Museum.
Three books. Edinburgh.
71. JOHN MTNTYRE'S COLLECTION.—Edinburgh. Folio, pp. 40.
72. DONALD GRANT'S COLLECTION.—Edinburgh. Folio, pp. 38.
XVI COLLECTIONS OF ANCIENT AND MODERN SCOTTISH MELODIES.
73. ISAAC COOPEE OP BANFF'S COLLECTION.
74. T. H. BUTLER'S SELECT COLLECTION of Scottish Airs with Accompaniments. Edinburgh: Muir, Wood,
and Co.
75. GEORGE JENKINS' COLLECTION of Scottish Slow Airs and Dance Music. Folio, pp. 70.
76. JOHN CLARK'S (OF PERTH) COLLECTION of Strathspey Reels and Country-Dances. Folio, pp. 21.
77. JAMES WALKER'S (OF DYSART) COLLECTIONS (2) of Reels, Strathspeys, Jigs, &c. Folio.
78. JOHN GUNN'S THIRTY FAVOURITE SCOTCH AIRS, for Violin, Flute, or Violoncello. Folio. London.
79. DOMENICO AND NATALE CORRI'S SELECT COLLECTION of forty Scots Songs, with Accompaniments,
&c. ; 4th Edition. Edinburgh.
80. JOSHUA CAMPBELL'S COLLECTION of New Reels and Strathspeys. Glasgow. Folio, pp. 48. Collection
of Favourite Tunes with Variations, for Violin, &c. Glasgow. Royal 8vo, pp. 81.
81. JOHN ALEXANDER MAY'S SELECTION of Songs, &c, for German Flutes. Glasgow. Oblong royal 8vo.
pp. 120.
82. J. M'FADYEN'S REPOSITORY of Scots and Irish Airs, Strathspeys, &c, for two Violins and Bass. Oblong
royal 8vo, pp. 128.
83. CHARLES DUFF'S (DUNDEE) COLLECTION of Strathspey Reels, &c. Folio, pp. 36.
84. ABRAM MACINTOSH'S Thirty new Strathspey Reels, &c. Edinburgh. Folio, pp. 11.
85. ALEXANDER LEBURN'S (AUCHTERMUCHTY) COLLECTION of Strathspey Reels, &c. Edinburgh.
Folio, pp. 12.
86. WILLIAM CHRISTIE'S (CUMENSTOWN) COLLECTION of Strathspey Reels, &c. Edinburgh. Folio,
pp. 40.
87. DANIEL ROBERTSON'S COLLECTION of Reels, Strathspeys, &c. Edinburgh. Folio, pp. 26.
88. ALEXANDER MACKAY'S (ISLAY) COLLECTION of Reels, Strathspeys, &c. Glasgow. Folio, pp. 36.
89. WILLIAM MORRISON'S COLLECTION of Strathspeys, Reels, &c. Inverness. Folio, pp. 36.
90. ROBERT PETREE'S (AT KIRKMICHAEL) COLLECTIONS (4) of Strathspey Reels, &c. Edinburgh and
London. Folio.
91. MALCOLM M'DONALD'S (DUNKELD) COLLECTIONS (4) of Strathspey Reels, &c. Folio. Edinburgh.
92. JOHN BOWIE'S (PERTH) COLLECTION of Strathspey Reels, &c. Edinburgh. Folio, pp. 35.
93. WILLIAM SHEPHERD'S COLLECTION of Strathspey Reels, &c. Edinburgh. Folio, pp. 26.
94. ROBERTMACKINTOSH'S COLLECTIONS (4) of Airs, Reels, Strathspeys, &c. Edinburgh and London. Folio.
95. JOHN MORRISON'S (OF PETERHEAD) COLLECTION of Strathspeys and Reels. Folio, pp. 23.
96. JAMES PORTEOUS' COLLECTION of Reels and Strathspeys. Edinburgh. Folio, pp. 40.
97. THE CALEDONIAN MUSEUM, &c, for the Flageolet, Flute, or Violin. Three Books, oblong 4to. Edinburgh :
Alexander Robertson.
Vc te.—To Mi'. A.J. Wighton of Dundee, who possesses an extensive collection of printed Scottish Music, we are indebted for
the titles of some of the works contained in the above List. G. F. G
INDEX
THE DANCE MUSIC OF SCOTLAND.
PAGE PAOB
Amulree, Reel 38 Fair fa' the Minstrel, Reel 38
An fhir'ghrunig, Reel 121 Fight about the Fireside, Reel 31
As a thoiseacli, .Reel 133 Fill the Stoup, . Reel 50
Athole House, . Reel 69 Floors Castle, Reel 118
Ben Lomond, Strathspey 72 General Wemyss, Strathspey 94
Ben Nevis, Strathspey 86 Gillie Callum, . Reel 139
Black but comely, Reel 159 Giornovichi, Reel 66
Bonnie Annie, Reel 114 Glen Lyon, Reel 161
Borlum's Ra.pt, . Reel 141
Brechin Castle, . Strathspey 4 Harvest Home, . Strathspey 144
Brodie House, Reel 127 Highland Whisky, Strathspey 148
Brown's Reel. Reel 36 Hilton Lodge, Strathspey 96
Cairngorm, Reel 163 I'll gang nae mair to yon Toun, Reel 57
Callam Shiarghlas, Strathspey 124
Cameron's Wife, Strathspey 122 Jenny dang the Weaver, Reel 27
Captain Byng, . Reel 98 Jockey Latin, Reel 95
Captain Keeler, . Reel 42 John Cheap the Chapman, Reel 35
Captain Kennedy, Reel 16 Johnnie's friends are ne'er pleased, Reel 20Captain Macduff, Reel 61 Johnnie made a wedding o't, Reel 136
Captain Pringle of Yair, Strathspey 92 John Roy Stewart, Strathspey 130Cawdor Fair, Reel 81 John Stewart, Reel 66
Charlie Stuart, . Reel 9
Cheap Meal, Reel 163 Keep it up, Reel 133
Clydeside Lasses, Reel 3 Kincaldrum, Reel 82
Coilantogle, Strathspey 98
Colonel M'Bain, Reel 6 Lady Ann Stewart, Strathspey 74
Corimonie's Rant, Strathspey 136 Lady Baird, Strathspey 142
Coutie's Wedding, Strathspey 90 Lady Betty Boyle, Reel 68
Cuttymun an' Treeladle, Reel 153 Lady Binning, . Strathspey 42
Lady Charlotte Campbell, Strathspey 30Daintie Davie, Strathspey 102 Lady Charlotte Campbell, Strathspey 84
Dalkeith House, Reel 83 Lady Charlotte Campbell, Reel 85
Dairy House, Strathspey 76 Lady Doune, Strathspey 52Delvin House, Reel 97 Lady Dumfries, . Reel 45Delvin Side, Strathspey 106 Lady Elizabeth Lindsay, Strathspey 58Donald Dow, Strathspey 44 Lady Grace Douglas, Reel 104Don Side, Strathspey 132 Lady Gwydyr, . Strathspey 160Duchess' Slipper. Strathspey 68 Lady Harriet Hope, Reel 32Duillater House, Reel 36 Lady Lucy Ramsay, Strathspey 64Dunrobin Castle, Reel 109 Lady Mackenzie of Coul, Strathspey 154Dunse dings a', . Reel 99 Lady Madelina Sinclair, Strathspey 40
Lady Madelina Sinclair's Birth-day, Reel 34Earl Marischal, Reel 67 Lady Margaret Stewart, Reel 106
XV111 INDEX TO THE DANCE MUSIC OF SCOTLAND.
PAGE PAGB
Lady Mary Dundas, Reel 103 Mrs. Garden of Troup, . Strathspey 18
Lady Mary Ramsay, Strathspey 26 Mrs. M'Donald of Clanranald, Reel 154
Lady Mary Stopford, Reel 39 Mrs. Macleod of Rasay, Reel 11
Lady Montgomery, Reel 5 Mrs. Moray of Abercairney, S trathspey 134
Lady Shaftesbury, Strathspey 14 Mrs. Rachel Gibson, Reel 92
Lady Susan Harriet Ker, Reel 124 Mrs. Robertson of Alexandria, Strathspey 128
Lamberton Races, Reel 101 Mrs. Scott Moncrieff, Reel 123
Lennoxlove to Blantyre, Reel 2 Mrs. Wilson, Reel 140
Lieutenant Colonel Baillie of Le;7S, Strathspey 162
Loch Earn, Reel 24 New Christmas, Reel 26
Lord Alexander Gordon, Strathspey 116 Niel Gow, Strathspey 20
Lord Dalhousie, . Reel 12 Niel Gow's Recovery, Strathspey 110
Lord Doune, Strathspey 104 Niel Gow's Wife, Strathspey 34
Lord Kelly, Reel 146
Lord Macdonald, Reel 84 O but ye be merry, Reel 77
Lord Macdonald, (Old Set,) Reel 116 O mither, ony bodie but the duddy
Lord Moira, Strathspey 164 Blacksmith, . Reel 116
Lord Ramsay, . Strathspey 56 O she's comical, Reel 77
Lord Seaforth, . Strathspey 80 Ossian's Hall, Reel 134
Marry Eetty, Strathspey 118 Panmure House, Strathspey 138
Mart do chro 'a Mheinanich, Reel 33 Pease Strae, Reel 117
Mary Gray, Reel 122 Pretty Pegg, Reel 87
Master Francis Sitwell, . Strathspey 16
Merry Lads of Ayr, Reel 7 Rachel Rae, Reel 145
Miss Ann Stewart, Reel 110 Ratha Fair, Reel 4
Miss Baird of Saughton Hall, Reel 102 Rory Macnab, . Reel 143
Miss Charlotte Ross, Reel 93
Miss Charlotte Stewart, Reel 78 Sally Kelly, Reel 21
Miss Drummond of Perth, Strathspey 28 Sanders Brane, . Strathspey 78
Miss Douglas, . Reel 119 Sandy o'er the lea, Reel 88
Miss Dumbreck, Reel 49 Sir Alexander Don, Strathspey 100
Miss Flora M'Donald, . Reel 29 Sir David Hunter Blair, Reel 8
Miss Forbes, Reel 100 Sir George Mackenzie of Coul, Reel 137
Miss Georgina Scott, Reel 151 Sir Ronald M'Donald, Reel 130
Miss Gibson, Reel 15 Sleepy Maggie, . Reel 03
Miss Grieve of Howdan, Strathspey 114 Struan Robertson's Rant, Strathspey 62
Miss Hamilton of Bangowr, Strathspey 108 Stumpie, Strathspey 88
Miss Hope, Strathspey 82
Miss Hopkins, . Reel 53 Taymouth Castle, Reel 91
Miss Jane Stewart, Reel 147 The Argyle Bowling-Green, Reel 71
Miss Jessie Stewart, Reel 54 The Auld Stewarts back again. Reel 74
Miss Johnston, . Reel 65 The Ayrshire Lasses, Strathspey 24
Miss Lyal, Strathspey 138 The Back of the Change House, Reel 23
Miss Mary Anne Robertson, Reel 129 The Banks of Spey, Reel 142
Miss Maule of Panmure, Reel 96 The Boatman of Pitnacree, Reel 48
Miss Nisbet of Dirleton, Reel 94 The Bobers o' Brechin, . Reel 160
Miss Ramsay, Reel 120 The Braes of Mar, Reel 157
Miss Rose of Tarlogie, . Reel 158 The Braes o' Tullymet, . Strathspey 12
Miss Ritchie, Reel 125 The Bridge of Bracklin, Reel 70
Miss Stewart of Garth, . Reel 149 The Bridge of Perth, Reel 51
Miss Wedderburn, Reel 76 The Bridge of Turk, Reel 73
Miss Whiteford, . Reel 55 The Cameronian Rant, . Reel 79
Monro's Rant, . Strathspey 158 The Circus, Reel 128
Monymusk, Strathspey 8 The Countess of Elgin, Reel 135
Mr. Menzies of Culdares, Reel 148 The Countess of Haddington, Reel 108
Mr. Moray of Abercairney, Strathspey 146 The Countess of Loudon, Strathspey 2
Mr. Robertson of Lude, . Strathspey 152 The Countess of Sutherland. Reel 19
Mrs. Adye, Strathspey 54 The Deil amang the Tailors, Reel 28
Mrs. Alexander Brodie, Reel 162 The Diamond, Reel 46
Mrs. Baird of Newbyth, Strathspey 150 The Drummer, . Reel 17
Mrs. Compton of Carham-Hall, Reel 86 The Duchess of Athole, . Strathspey 68
Mrs. Drummond of Logiealmonci , Reel 155 The Duchess of Gordon, Strathspey 22
INDEX TO THE DANCE MUSIC OP SCOTLAND. XIX
The Duchess of Gordon, Strathspey
PAGK
CO The Marquis of Huntly's Farewell, Strathspey
PAGE
48
The Duchess of Hamilton, Strathspey 120 The Marquis of Huntly, (Highland
The Duchess of Manchester, Strathspey 156 Fling,) Strathspey 10
The Duchess of Roxburghe, Reel 1 The Marquis of Tullybardine, . Reel 115
The Duke of Gordon's Birth-day, Strathspey 38 The Mason's Apron, Reel 22
The Duke of Perth, Reel 25 The Merry Lads of Foss, Reel 152
The Duke of Eoxburghe, Reel 40 The M'Farlane Rant, . Reel 43
The Earl of Breadalbane's Hermitage, Reel 107 The Miller of Drone, Strathspey 50
The Earl of Dalkeith, . Reel 150 The Mullin Dhu, Reel 138
TheEarlofEglinton, Reel 131 The Nine Pint Coggie, . Reel 132
The Earl of Loudon, Strathspey 140 The North Bridge of Edinburgh, Strathspey 70
The Fife Hunt, . Reel 18 The Old Man, . Reel 72
The Fisher's Wedding, . Reel 112 The Parks of Fochabers, Reel 44
The Fox Chase, . Reel 89 The Perthshire Hunt, . Reel 62
The Fyket, Reel 75 The Pirriwig, Reel 121
The Gathering, . Reel 13 The Reel of Bogie, Reel 47
The Glasgow Lasses, Reel 113 The Reel of Thulicban, . Reel 90
The Haughs of Cromdale, Strathspey 112 The Reel of Tulloch, Reel 90
The Highlandman, Reel 37 The Reticule, Reel 59
The Highland Skip, Reel 111 The Royal Recovery, Strathspey 32
The High Road to Linton, Reel 10 The Stewarts' Rant, Reel 60
The Houourable Captain Maitland, Strathspey 46 The Whigs of Fife, Reel 126
The Honourable Colonel Wemyss, Reel 156 The Wind that shakes the Barley, Reel 41
The Honourable Miss Charteris, Reel 105 The Yetts of Muckart, . Strathspey 126
ThelsleofSkye, Reel 14 Thro' the Wood of Favie, Reel 64
The Keel Row, . Reel 144 Thro' the Wood she ran, Reel 58
The'Kirn, Strathspey 144 Tilt-Side, Reel 24
The Lass of Ballantrae, Reel 52 Torry Burn, Reel 30
The Marquis of Beaumont, Reel 80 Tullochgorum, . Strathspey 6
The Marquis of Hastings, Strathspey 164
The Marquis of Huntly, Strathspey 36 Willie Winkie, . Strathspey 66
THE DANCE MUSIC OF SCOTLAND.
NOTE.
It will be observed that the tunes are in general arranged in sets of three, a Keel, Strathspey, and
Reel, this being the succession in which they are usually performed. A chord has been added at the end
of those sets where the last tune does not finish in the key ; this is of course to be played once only, at
the close of the dance.
As there are but two distinct movements throughout the work, the Editor has deemed it unneces-
sary to aflix the Metronome mark to each tune.
I
The movement of the Reel is d = 126 Maelzel.
that of the Strathspey is e) = 94 Maelzel.i
i
The only exception to this is the Reel of Thulican, or Tulloch, the time of which is d = 120.
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20 THE DANCE MUSIC OP SCOTLAND.
JOHNNIE'S FRIENDS ARE NE'ER PLEASED.
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THE MASON'S APEON.
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24 THE DANCE MUSIC OF SCOTLAND.
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26 THE DANCE MUSIC OP SCOTLAND.
NEW CHEISTMAS.
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28 THE DANCE MUSIC OF SCOTLAND.
THE DEIL AMANG THE TAILOES.
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30 THE DANCE MUSIC OF SCOTLAND.
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32 T1IE DANCE MUSIC OP SCOTLAND.
LADY HAKEIET HOPE.
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DUILLATER HOUSE.JftOWK'S SEEL. BBEL.
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38 THJS DANCE MUSIC OF SCOTLAND.
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40 THE DANCE MUSIC OP SCOTLAND.
THE DUKE OF EOXBURGHE.
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42 THE DANCE MUSIC OF SCOTLAND.
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THE BOATMAN OF PITNACEEE.
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LADY MARGARET STEWART.
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MISS ANN STEWART.
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