glen collection of scottish music

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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^FfmSJgiSîgiliJ

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 qÊ^^^gp^ gEfcfe

Lively.

ê^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^3rzffrîHii -*—-£ ¥-=-*- 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: ^Ê^pizÊ^^£ ££ -« *

i £9 £ 3i^---P^f^zzzzJ ~i: 3zz*EE2|S 1» r-»-^~d—0-

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=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


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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