EarlyScottishMelodies 10151749 PDF

E ar y S c o t t i sh M e o di e s
I N CL U D I N G E ! A M PL E S FR O M M SS . AND E A R LY
P RI N T E D W O R KS ,
A LON G W IT H A N U M BE R
OF C O M PA RA T I V E T U N E S, N O TE S ON
FO R M E R A N N O TA T O R S , E N G L I S H
AND OTHE R C LA I M S , AND
B I O G R A PH I CA L
N OTI CE S ,
E TC .
W R ITT E N A N D A R RA N G E D
JO H N GLEN .
Fa c t s a r e c hi e l s t h a t win n a d i ng ,
An d d o w n a b e d i s p ut e d — B u R N s
.
”
.
E D INBURGH
J. R . GLE N , NORTH BA NK S TRE E T .

D I N B U R GH
E
P R I NTE D BY DA V I D M AC DO NA L D , 42 H A NO V E R S TR E E T .
! A LL RIG H TS RE S E RVE D ]
SI R A LE ! AN D E R C . M A C KE NZ I E ,
M Us . D OC .
,
P R I N C I P AL OF TH E R O Y AL A CA D E M Y OF M US IC ,
TH SI V O LU M E IS DED I C A TE D
( W I TH P E R M I S S I O N
)
TH E A U T H OR .
P R E FAC E .
IN placing thi s vo lume befo re the public we have little d o ubt that many
,
may think it uncalled for . Our Scottish Songs have already been publi s hed
in so m any and so varied f o rms that any further issue may well s eem
,
superfluous . Our in tention however is , , n ot to add to the number of these

edi tions but, to reclaim M e lodi es whi ch p ri m a r i ly a nd prop er ly be long to
S cotla n d , and to ren ounce o thers errone ou s ly s upposed to be Sco tti s h pro duc
tion s . The necessity for such a w o rk will be apparent when i t i s under s to od
that a c o nsiderable number of our National Mel o die s have been claimed
for England while on the other hand many Anglo Scottish tunes manu
,
-
fa cture d in London and elsewhere for the English ma rket have found ,
admittance into o ur National Collections and , so given ri se to perplexities

and misunders tandin gs . One great tran sgre s sor in the domain of Sc ottish
S ong is the late William Stenh o u s e wh os e w o rk , ,
“
Illustrations of the Lyric
Poetry and Music of Scotland , contains many errors of this and other
descriptio ns . We may well believe that this Auth or sin ned chie fly in
ignorance or at w o rst in careles s ne s s but as he is frequently accepted
, , ,
as an authority it becomes a matter

, of imp ortance to indicate and as far ,
as possible c orrect his numerous inaccuracie s all the m ore becau s e many
, ,
later annotators have quo ted largely from hi s pages wit hout taking trouble
to verify his statements or to c o llate them with
.
o riginal so urces of
inform ation . Another offender is the late William Chappell who , ,

in his
otherwi s e admirable w ork , Pop ular Music o f the Olden Time appropriate s ,
as English Melodies a number of undoubtedly Scotti s h Tune s s imply

because they happe n ed , for reas ons hereafter explained ,
to be first publ ished
viii PREFACE .
in London . These Lo ndon C o llections i ncluded also a quantity of the spur

io us Anglo Scottish specie s which being performed at Vauxhall and other
-
,
places of entertainment and circulated in their pri nted form in Scotland

,
as well as England naturally gave ri s e to the errors and mi sunderstandings

,
already alluded to . In the following pages an e ffort h as been made to

dispos e of many absurd allegations which have gained credence on both
sides of the Border . Our purpose is n ot to ass ert but to convi nce by
, ,
furnishi ng appropriate evidence f or the statements which we shall bring

forward . Whether we succeed or fail we shal l at least have the
,
consciousness of having made an honest e ff ort and shall leave the result
,
to the judgment of our readers .
We have to acknowledge our indebtedness for aid and information to

Mr Frank Ki dson Leeds ; Mr T W Taphouse Oxford ; Mr Alfred Mo ffat ;
, . .
,
Mr A W Inglis Edinburgh
. .
, ; and other Gentlemen ,
f or whose kind and
cordi al ass i s tance we tender our warmest thanks .
3 0 th N ove m be r 1 9 00 .
CO NT E NTS .
CHAPTE R I .
S C OTTIS H M E LOD I E S
CHA PTE R II .
ANNOTATOR S ON S C OTTI S H M E LO D I E S
CHA PTE R III .
M ANU S CR I PTS AN D E A R LY P R I NTE D WOR K S
CHA PTE R I V .
WI LLI AM C H A PPE LL
CHA PTE R V .
E NGL I S H C LAI M S
CHA PTE R V I .
TH E S C OTS M U S I CA L M U S E U M
CHA PTE R V II .
E A R LY S C OTTI S H M U S I C I ANS A ND E NORA V E RS
APPE ND I X
I ND E X
I N DE X OF C OM PA R ATI V E A N D R E FE R E NC E TUN E S
B I B L I O G R A P HY
MANU S CRI PTS AND P RI NTE D WORKS

IN CHRONOLOGICAL ORDER .
Th e Da t e s of th os e w ork s wit h i n B ack e t s h a v e b e e n de fin it l y as ce rt a i ne d

r e , an d
t h s e with an A s t ri sk pre fi d are i n our poss e ss i on

o e xe .
R ow a l la n M a nu s cri p t , ci rca 1 625 .
Stra loc h M a n u s cri p t , 1 627 29 -

.
Skene M a nu s crip t s .
Gut h rie M a nu s crip t .
B la i k i e M a nu s cri p t .
Leyd en M a nus crip t .
Hum e ( Agnes ) M a nu s crip t .
a rga ret M a nu s cri p t

* Sink er
1 ( M ) .
Wa ters t on M anu scrip t .
M Fa rl a n M a nu s crip t
‘
.
V ox B oreali s o r t h e No rt h ern D i s cove ri e Lond on 1 641 ”

.
, , .
Th e E nglis h D a ncing M a s ter 1 65 1 — Th e D a ncing M a s ter o r D ire ction s f o r , .

,
D a n cing Country D a n ce s w it h t h e Tu ne s to eac h D a nce e t c 1 65 2 1 665 , , .

, , ,
1 670 1 68 6
,
By J o h n Pla yford Lo nd on a n d la ter ed itions by h i s s on a n d
.
,
s ucce ss o rs .
A Booke Of Ne w Le ssons f o r the Gittern Conta ining m any Ne w a n d Plea s a nt

Tu ne s b o t h E a s i e a n d D e li gh tf u ll f or a ll Yo ung Pra ctitioners
,
John .
Playford London 1 652 , , .
M u s i ck s Hand ma id e p re s enting Ne w a nd Plea s a nt Les s ons f o r the Virgina l s

’
-
.
Jo h n Pla yford Lond on 1 663 a n d 1 678 , , .
M u s ick s D eli ght on the Cit h ren R es t o re d a n d R efined t o a mo re E a s i e a nd

’
,
Plea s a nt M anner Of Pla ying t h a n formerly : e tc John Playford Lond on .

, ,
1 666 .
M us ick s R e creation
’
on t h e Viol Lyra w a y Being a ne w C ollection of Les s on s
,
~
.
Lyra Way e t c
-
, . John Playford Lond on 1 669 a n ot h er edition Jo h n , , ,
Playford Lond on 1 68 2 , , .
Choice Ayres 8: S ongs t o sing to the Theo rbo Lute or Bass V iol . B ook I firs t .
edition 1 673 Book I 1 676 B II 1 679 B III 1 68 1

. . . . . . . . . B I V 1 68 3
. . .
B V 1 68 4
. Jo h n Pl ayfo rd Lon d on
. .
, .
xii BIBLIOGRA P HY .
C a ntu s S ongs a n d Fa ncies to s e v era l M usi cal l Pa rts B ot h Ap t f o r Vo ices a n d

, , , .
Viol s e tc Jo h n Forbes Aberd een 1 68 2

, .
, , .
*
Ap ollo s B a nqu et : cont a ining Ins tru ctions a n d Va riety of N e w Tunes Ayre s
’
, , ,
Jiggs a nd s e v era l Ne w S co t c h Tu nes f or the Treble Vio lin To w hi ch i s

,
-
.
a d d e d Th e Tu nes Of t h e ne w Fren c h D a n ce s n o w u s e d a t C o u rt a n d in
, ,
D a n cing S c h ool s Th e 5th E d ition w ith n e w Ad d ition s

-
. Jo h n Pl ayfo rd , .
,
Lond on 1 68 7 , .
* C lle cti n o f Origina l S co t c h Tu ne s

o o ( Fu ll o f t h e Hig h la nd Hum o urs ) f o r t h e -
,
V iolin Being t h e Firs t o f t h is K ind yet Printed M o s t o f t h em being in

t h e C o m p a s s o f t h e Flu te Henry Pla yford Lond on 1 70 0 .
, ,
.
Wit a n d M irt h o r Pills t o Pu rge M ela n c h oly ; B eing a C ol lection of t h e bes t

M erry Ba lla d s a n d S ongs Old a n d N e w 6 v ol s 1 71 9 1 720
’
T D U rf e y , . . . .
-
( rep rint ) J Tons on Lon d on . .

, .
*
S cot s S ongs By Al la n R a m s a y Th e Au t h or E d inbu rgh 1 720
. .
, ,
.
*
Orph eu s Ca l e d on i u s o r a C ollec ti o n of t h e be s t S co t c h S ongs s e t t o M us i ck by
,
W Thoms on Th e Au t h o r Lond on n d
. .
, , . .
M us ick f o r t h e S cots S ongs in t h e Te a Ta ble M is cella ny Alla n R a m s ay -

.
,
E d inb u rgh n d , . .
A C ollectio n of Origina l S co t ch Tu nes f or t h e V iolin Th e w h ole Plea s a nt a n d .
Com i ca ll being f u ll of t h e Highla nd H u m o u r Jo h n Y o ung L ond o n m d .

, , . .
*
Th e Begga r s Op era Written by M r Ga y Jo h n Wa tt s Lond on 1 728
’
. .
, , .
T e Q u a ker s Op era
* h J R obert s Lon do n 1 728
’
. .
, ,
*
Th e M u s ica l M is cell a ny B eing a C o lle ctio n Of C h o ice S ongs s e t t o t h e V iolin
a n d Fl u te By t h e m os t E minent M a s ters Jo h n Wa tt s Lo nd on 1 729
. .
, , .
*
Th e V illa ge Op era Written by M r Jo h n s on J Wa tts Lon d on 1 729
. . .
, , .
*
Th e Cob l e r s Op era T Wood L ond on 1 729
’
. .
, , .
* P lly an
Op era Being t h e Second Pa rt Of t h e Beggar s Op era Written by ’
o , . .
M r Ga y T Th om s on Lond o n 1 729
. .
, , .
M omu s Tu rn d Fa bu lis t o r V u lca n s Wedd ing J Wa tt s Lond on 1 729

’ ’
, .
,
. .
,
*
Th e Begga r s Wedd ing A n e w Op era By M r C h a r C off ey 2n d ed itio n
’
. . . . .
Ja s (it Joh n K na p t on Lon d o n 1 729

.
, , .
*
A C o lle ctio n Of t h e C h o i ces t S co t s Tu nes a d a p ted f or t h e H a rps i cord o r S p inn et
a n d w ithin the C o m p a ss o f t h e V oi ce V i o li n o r Germ a n Fl u te By Ad a m .
Cra ig E dinbu rgh m d

, , . .
Th e C h a m ber M a id a B a lla d Op era J Wa tt s London 1 73 0 . .

, , .
Th e Lo v er s Op era By W R Ch e t wood J Wa tt s Lond on 1 730

’
. . . . .
, , .
Aria d i C amera being a C h oice Collection of S co t ch Iris h dz Wels h Airs f or t h e

, ,
V iolin a n d Germ a n Flu te By the follo w ing M a s ters M r Alex a n d er . .
U rqua h a rt of E d inbu rg h M r D e rm t O Co n n a r of Li m ri ck M r H u gh
’
. .
E d w a rd s Of Ca rma rthen D a n Wright (it D a n Wrig h t J u n r Lond on . . . .

, ,
ci r ca 1 730 .
*
Th e J ovi a l Cre w , a C om i c Op era J Wa tt s , Lond on, 1 73 1 -
. . .
* Pati
c a n d P eggy ; o r the Fa ir Fo u nd ling, a S co t c h B a ll a d Op era J Watts, . .
Lond on, 1 73 1 .
*
Th e Highla nd Fa ir : o r, Union o f t h e Cla ns , a n O p era w ritten by M r M itchell .
J Watt s, Lond on, 1 73 1

. .
*Sil v i a
; or, the C ountry buria l, an Op era J Wa tts , London, 1 73 1 . . .
Flora , a n O p era Lond 1 73 2 . . .
*
Orpheu s Ca l e don i us : o r, A C olle ctio n o f S co t s S ongs Set t o M u s ick By . .
W Thoms on 2 v ol s ( s e cond ed ition ) Author, Lond on , 1 73 3

. . . .
*
Th e Britis h M u s ica l Mi scell a ny o r, the D elightf u l Gro v e : Being a C olle ctio n
Of Celebrated E ngli s h a n d S co t ch S ongs , By the Be s t M a s ters , Set f or the
V iolin , Germ an Fl u te, t h e C ommon Fl u te, a n d Ha rps i co rd 6 v o ls J . . .
Wal sh, London , n d . .
* C le
a d onia n Co untry Da n ces Being a C ollection of all the Celebrated S co tch .
BIBLIOGRAPHY . xiii
and E nglis h C o u ntry D a nces n ow in V ogu e , w ith Pro p er D ire ctio n s to ea c h

D a n ce Pe rf orm d a t C o urt, a n d Pu blick E nterta inm ent s F or t h e
’
. .
H a rp s ichord , V io lin, H ob oy , o r G erm a n Flute J Wa ls h , Lon d on, n d . . . .
*
Th e Te a Ta ble M is cella ny : o r a C ol lectio n of S co t s S a ngs , e t c
- Th e Tent h .
E d ition Being t h e W h ole t h a t a re con ta i n d in the Th ree V olum es j u s t

.
’
Pu blis h ed B y Alla n R a m sa y
. George R is k, D u blin, 1 73 4 Title Of . .
Th ird V olu me, A C olle ction Of Celebra ted S ongs .
s f o r the Fl u te Wit h a Th o ro u g h B a s s f o r t h e H a rp s i c h o rd
* Air A le x r B a illie, . .
E d inb u rg h , 1 73 5 .
* C a lli o p e o r E n li s h H a rm o ny A C o lle c ti o n o f the mos t Celebra ted E ngli s h a n d

g
S cot s S ongs 2 v ols Jo h n Sim p son , Lond on, 11 d
. . . .
*‘
A C urio u s C olle ction of S co t s Tu ne s f o r a V io lin B a ss V io l o r Germ a n Fl u te ,
w it h a Th o rou g h B a ss f or t h e H a rp s i ch ord , e tc By Ja m es Os w a ld , .
M u s icia n in E d i n r , m d . . .
*
A C ollectio n of C urio u s S co t s Tu ne s f or a Vio lin Germa n Fl u te or H a rp s i c h o rd .
By M r Ja m es Os w a ld 2 v ols J Sim p s o n , Lond o n, n d . . . . .
*
A C olle ction o f S co t s Tu nes som e w it h Va ria tion s f or a Vi olin H a u tboy o r
G erm a n Flu te w it h a B a s s f o r a V io lo n cello o r Ha I ps i ch o rd By Willia m .
M Gi b b on
‘
R ic h a rd C o op er, E d inbu rg h ,
. 1 755 .
*
Th e C a led onia n Pocket C om p a nio n B y Ja m e s Os w a ld 1 2 B ook s J . . . . .
Sim p s on, a n d J Os w a ld , Lond on . .
“
Tw el v e S co tch a n d Tw el v e Iri s h A irs w it h V a ria tions Set f or the G erm a n
Flute Violin or Ha rp s ic h o rd , by M r B u rk Th um o th J Sim p son , London , . .
n d
. .
*
Tw el v e E ngli s h a n d Tw el v e Iris h Ai rs w it h Va ria tio n s , Set f o r t h e Germa n
Flute, Violin o r Ha rp s ic h ord By M r Bu rk Th u m oth Bo ok t h e Se cond . .
J Sim p son, Lond on, m d

. . .
*‘
A Co lle ction of Old S co t s Tune s Wit h a B a s s f or Violoncello or Ha rps ic h o rd . .
Set a nd mos t h u m bly D edi ca ted to the R ight H onou ra ble Th e Lad y
E rskine by Fra n ci s B a rs a nti A B a illie, M ess rs Hamilt on dz Kinca id , . .
E di n r , n d . . .
*
Tw enty Fou r C ou ntry D a nce s f o r t h e yea r 1 750 D a v R u t h erfo rd , Lond on . . .
*
C ou ntry D a n ces Sele cted A s p erfo rmed a t C ou rt a n d a ll Pu blick A ss emblies
a nd E ntert a inm ent s Fo r t h e Ha rp s ic h ord , V i olin , Germ a n Fl u te , o r
.
Hob oy J Wa l s h , Lond on, m d

. . . .
*
Th irty S cot s S ongs f o r a V oice (it H a rp s ich ord Th e M u s ic ta ken from the .
mos t genui ne Set s ex tant ; Th e Word s from Alla n R am sa y R Bremner, . .
E d inbu rg h , n d . .
*
A Second Set Of S co ts S ongs f o r a Voi ce Harp s ich ord R Bremner, . .
E d inbu rgh , n d . .
*
A C olle ction o f S cot s R eel s or C ountry D a n ces Wit h a Ba ss f or a Violincello .
o r H a rp s i ch o rd R o bert Brem ner, E d inbu rgh , n d

. . .
*
A C ollection Of 4 3 S co ts Tu ne s w it h V a ria tions Pa rticula rly Ad a p ted f o r the .
Violin a n d H a rps i cord By Ja mes Os w a ld J Bla nd, L ond on, n d . . . . .
*
A Colle ction of the Bes t O ld S co tch a n d E ngli s h S ongs se t f o r t h e Vo ice w ith
Accomp a niment s a n d Tho roug h B a ss f or t h e H a rp s ich ord , e t c , b y Jame s .
Os w a ld C h a m ber Comp os er t o H i s M a j e s ty J O s w a ld , Lond on, 11 d . . . .
C omplea t Colle ction s of 200 C ou ntry D a nces 4 v olum es p u blis hed by the
Thomp sons Lon d on 1 1 d ci rca 1 758 to 1 78 0 . . .
*
Country D a nces Selected A s Pe rf orm d at Court a nd a ll Pu blick A s s em blie s
’
a nd E n tert a inments , e tc J Wa lsh, London, 11 d , ci r 1 760 . . . . . .
*
Part I , V ol 2 Ca led onian C ou ntry D an ces 4 B ooks or Volume I , ci rca
. . . . .
1 748 V ol II cons is ted p ro ba bly Of o ther 4 B ooks , ci rca 1 760

. . . As it i s
sa id t o h a v e e x tende d t o 1 0 B ooks , w e p re sume o n e o r b o th o f the latte r
w ere publis hed by J Wa ls h s s u cce s s o r, Willia m R a nd a ll

’
. .
xiv BIBLI OGRAPHY .
Fifty Fa v ourite S cot c h Airs Fo r a V iolin Germ a n Fl u te a nd V iolon ce llo .

, .
With a Th orou g h Ba ss f or the H a rp s i c h ord e tc By Fra n ci s Pea cock , . .
Th e Publis h er Aberd een n d , , . .
*
M Gi bb on s Co llectio n of S co t s Tune s f or a V i olin or Germa n Flu te w ith a
‘ ’
Bas s R obt Bremner E d inbu rgh n d

. .
, , . .
*
A C ollection Of S co ts S o ngs Ad a p te d f or a V o ice a n d Ha rps ichord Neil .
Ste w a rt E d inburg h n d , ,
. .
*
Thirty S co t s S o ngs A da p te d f or a Voi ce a n d Ha rp s ich or d Th e Wo rd s by .
Alla n R a m s ey N Ste w a rt dz CO E di nbu rg h n d . . .

, , . .
* h irty S
T co t s S o ngs Ad a p te d f o r a V o i ce a n d H a rp s i ch o rd Th e Word s by .
Al la n R a m s ey N Ste w a rt E d inbu rgh n d . .

, , . .
Vocal M u s i c o r the S ongs ters C om p a nion E d ition s 1 772 1 775 R o bt .

, . .
H o rs fie l d Lond on a n d Sele ction from t h e Firs t a n d Second Vo lumes

, , .
J Be w London n d
.
, , . .
Flores M u s icas o r the S co ts M us icia n J Cla rk E d inbu rg h . .

,
*
An cient a nd M o d ern S co ttis h S ongs Hero ic Ba ll a ds e tc In tw o v olum es , , . .
D a vi d Herd J a m e s D ick so n a n d C h a rle s E lli o t E d inbu rg h 1 776

( ) .
, , .
*
A C o lle ction of Ancient S co ts M u s i c f o r t h e V io lin H a rp s i cho rd o r German
Flute Ne v er before Printed C on s isting o f Po rts S a l u ta tion s M a rches o r
.
P i b ra ch s dzc By D a niel D ow Th e Pu blis her E d inbu rg h n d

. .
, , . .
*
A Ne w dz C om p lete C ollec tion Of the m os t Fa v ou rite S co t s S o ngs In clud ing a
fe w E ngli s h dz Iris h w it h p ro p er Gra ces a n d Orn a m ent s p eculiar to t h eir
C h a ra cter likew is e t h e ne w m et h od of A ccom pa nym e n t of Tho rough Ba s s
, .
By S i gr C orri 2 B ooks C orri dz S u t h erl a nd E d inbu rgh n d

. .
, , . .
*
A C olle ction Of Stra t h s p ey R eel s Wit h a B a s s f or t h e V ioloncello o r .
Harp s ichord by Alex and er M Gla sh a n Neil Ste w art E dinburgh n d ‘

.
, , . .
1 780 )
*
G
A h oi ce COlle cti on Of S co ts R eel s or C ountry D ances dz Stra th s p eys With a .
Ba s s f or t h e V iolin cello or Ha rp s icho rd R obert R os s E d inburgh m d .

, , . .
1 78 0
*
A C i
o ll e c si on of Stra t h s p ey R eels Wit h a B a s s f or t h e Vio lon cello o r .
H a rp s ichord . C omp os ed by Wm M a rs h a ll Neil Ste w art E d inburg h . .

, ,
md ( 1 78 1
d
. .
*
Co llectio n f S co ts M ea s ures H ornp ip es Jigs Allem a nds Co tillons A n d t h e
A .
fa shion a ble Cou ntry D a n ces w ith a B a s s f or t h e Violon cello or Ha rp si chord .
By Alex a nder M Gl a sh a n N Ste w art E dinbu rgh n d ‘

. .
, , . .
*
A C ollection o f t h e Ne w es t dz bes t R eel s a n d M inuet s ; w ith I m p ro v ements
Adap ted f or the Violin o r Germ a n flu te w ith a Ba s s f or t h e Violoncello or -
,
Harp s ichord By Jos h u a Cam p bell J Aird Glasgo w n d

. . .
, , . .
*
A C o lle ction Of S cots R eels M inu et s dzo For the Vi olin Harp s ichord or .
, ,
Germ a n Flu te C om p os ed by J o h n R idd ell in Ayr Second E dition

. . .
James Aird Gla sgo w n d , , . .
*
A C ollection o f t h e mo s t Fa v ou rite S co t s Tune s With V aria tion s fo r the
_
.
H a rp sich ord by A R e i na gle Ja mes Aird Gla sgo w n d . .

, , . .
*
A C o llection of Straths p eys o r Ol d Highla nd R eels by Angu s C umming a t ,
Gra nto w n in Strath sp ey Jame s Aird Gla sgo w n d .

, , . .
*
A Selection Of S co t ch E nglis h Irish a n d Foreign Ai rs Ad a p ted t o the Fife , , , ,
Vio lin or German Flu te 6 v ols Ja m es Ai rd Gla sgo w m d ( 1 78 2

,
-
. .
, , . .
*
Thirty Ne w Strath s p ey R eels f or the V io lin o r H a rps i co rd Com p os ed by .
I s aac C o op er Jame s I m la ch Ba nff dz R t Bremner E d inburgh

.
, ,
.
,
*
A C olle ction Of Hig h la nd Vocal Airs Ne v er hitherto pu blis h ed TO w h i ch . .
are add ed a fe w Of t h e mos t li v ely Co untry D an ces or R eels of the No rth ,
Highla nds dz Wes tern I s le s A nd s ome s p ecim en s of Ba gpipe M us ic By

,
.
Pa tri ck M D ona ld C orri dz S utherla nd E dinburgh md

‘
.
, , . .
A C ollection Of S t raths p ey R eels w it h a Ba s s f or t h e V ioloncello or H a rp s ic h ord ,

xv i BIBLI OGRA P HY .
Th e Siller Gun A Po em in fi v e C a nt os by John M a yne Thoma s C a dell

. .
,
Lond on 1 8 3 6 , .
*
An cient S co tis h M elod ies fro m a M a n us crip t Of t h e R eign o f K ing Ja m es V I, .
,
e tc By Willia m D a u n e y E s q E S A S co t E d inbu rg h 1 8 3 8
.
, , . . . .
,
*
Th e S o ngs of S co tla nd Ad a p ted t o t h eir App rop ri a te M elod ies Arra nged .
w it h Pia n o fo rte A ccom p a niment s e tc By G F Gra h a m 3 v ols Wo od , . . . . .
dz CO E d inbu rg h 1 8 48 9
.
, ,
-
.
*
Illus tra tions o f t h e Lyric Poetry a n d M u s ic o f S co tla nd B y t h e la te Willia m .
Sten h ou s e Origina lly co m p iled to a ccom p a ny t h e S cot s M u s ica l M u s eum

.
,
e tc W m B la ck w o o d a n d S on s E d inbu rg h 1 8 53
. .
, ,
.
*
Th e Petrie C o lle c tion o f t h e An cient M u s i c o f Irela nd Arra nged f or t h e .
Pia no Forte E d ited by Geo rge Petrie LL D

-
. e tc , . .
, .
M H G ill D u blin 1 8 55
. .
, , .
*
Po p u la r M u s ic o f t h e Old en Tim e a C ollection of Ancient S o ngs Ba llad s a n d , ,
D a n ce Tu ne s Ill u s t ra ti ve o f t h e Na tiona l M u s i c of E ngla nd e tc

,
By , .
William C h a pp ell F S A 2 v ols Cra m er B eale dz C h a pp ell Lond on

, . . . .
, , ,
n . d .
*
An cient Iris h M u s i c com p ris ing On e Hu nd red Airs h it h ert o unp u blis h ed
, ,
many of t h e Old Popu la r So ngs a n d Se v era l Ne w S ongs C oll ected a nd

E dited By P W J oyce LL D . M Gla s h a n a n d G ill D ubl in
. .
, . .
,
‘
, ,
1 8 73 .
”
Tra d itiona l B a lla d Airs Arra nged a n d H a rm onis ed f o r t h e Pia n o forte a n d
.
H a rm oniu m , from co pie s p ro cu red in t h e C ou ntie s of Aberd een , B a nff, a n d

M o ra y, by W C h ris tie, M A , a n d t h e la te W m C h ri s tie, M on qu h i tte r
. . .
2 v ols E d m on s t on dz D o u gla s , E d inb u rg h , 1 8 76, 1 8 8 1

. .
*
Ancient M us i c of Irela nd from t h e Petrie C o lle ction Arra nged f or the .
Pia noforte by F H ofl m a n n Pigo tt dz CO , D u blin, 1 8 77

'
. , . .
*
Biographica l D i ctiona ry of M u s icia n s w it h a Bibliogra ph y of E nglis h
Writings o n M u s ic By Ja m e s D Bro w n Ga rd ner, Pa is ley dz Lond on ,
. . .
1 886 .
D i ctiona ry o f M u s ic a n d M u s icia n s 4 v o ls George G ro v e Lond on , 1 8 79 8 9 . . .

-
.
St ories of Famou s S ong, by S J Ad a ir Fitz gera ld Nim mo, Lond on , 1 8 9 7 . . . .
N ote .
— We have includ ed in o u r Bibliogra ph y t h e Crocka t M S s o Ofte n
not .
qu ote d by Sten h ou s e We h a v e fa iled t o fi n d a n y tra ce of it a n d

.
,
con s e quently ca nn o t v erify i ts co ntent s .
Th e Stra loch t h e B l a i ki e a n d t h e Leyden ha v e p roved

“
,
“
,
”
equ a lly u n a tta in a ble b u t in e a c h ca s e w e h a v e s een tru s t w orthy trans

,
c ri ts Of a t lea s t a p orti o n o f the co ntent s

p .
It w ou ld be v ery d e s irable to a s certa in w here thes e M S S (if s till in .
ex is ten ce) ca n be fo und .
In qu oting from Autho rities t h e o rigin a l s p elling h a s in all ca ses ,
been reta ined .

EARLY SCOTTIS H MELODIES .
C H A P TE R I .
SCOTTISH MELODIES .
MUC H has been written in the attempt to prove by analy s is wha t a re the
characteristic features Of Sco ttis h as Oppo s ed to English and Iris h mel o dy ;
but n o twith s tanding this fact n o hard and fas t rules can be drawn S ome
, ,
.
writers on the s ubject lay great stress upon scale s and imagine the ancient ,
scale Of Sco tland to have been pentat onic relying on the suppositio n that
,
some in s trument p os ses s ed only Of five n o te s or s o unds was fo rmerly i n use

, , ,
tho ugh they have failed to dis cover any s uch in s trument With o ut seeking .
to enumerate in detail the mu s ical instruments used in Scotland in early

times we may state that am ong the m o re primitive were the harp h orn
, , ,
and pipe or bagpipe The firs t of these i e the harp f or s ome centuries
.
, . .
,
was strung with twenty eight or thirty s trings and alth o ugh it may or
-
,
may n ot have been tuned in accordance with modern meth o ds it was ,
at all events capable o f pr o ducing all the s o unds Of o ur diat onic

s cale . The h o rn a gain is unders t ood to have been a small instrument
, ,
frequently referred to by early his torian s It was a wind i n s tru.
ment from which except it were c onstructed of long dimen s i ons

,
Only two to five or si x s ound s c ould be pr o duced The tone s it .
emitted being harmonic were C G C E G C which actually meant only

, , ,
three distinct n o t es th e C s and G s being repeated in o ctave s It was

,
’ ’
.
con s equently minus D F A B the s ec ond fourth sixth and seventh

, , , ,
intervals Of the present gamut and therefore c ould n ot furnis h a pentatonic

,
scale The pipe or bagpipe is a reed instrument and whether it i s blown

.
,
direct fro m the mo uth or in flated by mean s of a bell o ws it has a scale o f

, ,
nin e n o te s pro duced like those o f o ther reed instruments by opening the
,
eight finger h o les or ventages with which the pipe or chanter i s furnished .
The gamut consists Of the f oll o wing notes G A B C D E F G A which , ,
admit Of no modification or change o f any kind ; and the usual pitch of th e

instrument is A major We do not Of course a ffirm that it posse s ses a
.
A
2 EARLY SCOTTISH MELODIES .
perfect scale in any key and we may explain tha t neither of i ts t wo G s or

,
’
s ev e nth s can be called natural sharp or flat The same h o lds goo d Of
, .
C its third Whether thi s be the rea s on why bagpipe music fails to be
, .
universally appreciated we do n ot venture to say .
Chappell while he admit s that he never knew Of any instrument

,
wantin g either the fourth or seventh far less bo th Of the s e in terval s o f ,
the m o dern scale hin ts that the collect ors Of Scottis h music have
,
endea vo ured to trace the origin of the i r melo dies to some such ancient
instrument He further say s The Sc otch Highland bagpipe h as n ot
.
,
“
only a fo ur th but al so the two s event h s maj or and min or can be pro , ,
d uce d upon it
.
The bagpipe cann o t therefore c ome under the de signatio n
.
o f a pentat oni c i nstrument In di s missing the imper fect instrument the ory
.
,
we do n ot deny that many Sc ottis h mel o dies want either the fo urth or the
s eventh of the scale and that other s lack b o th o f the s e intervals
,
The .
following querie s n everthele ss s til l demand an an s wer z— Were our ancest ors
, ,
i ncapable o f singing any o f the intervals of the s cale because on certain ,
occa s ions they did not make use o f them ? Can it be asserted that the
use of the fla t or minor seventh in many c omp os iti ons shewed inability
to produce the sh arp o r maj o r interval ?
Instead of dis cussing o ther characteristic s Of Sc o ttish music s uch ,
as the employment Of the minor seventh modulations sequences and , , ,
cadence s or cl o ses we shall rather p o int ou t the rea son why the four th
, ,
and seventh in tervals of the s cale were s o s pari ngly used In o ur .
Opini o n the basis or fo undatio n o f the Scotti s h scale c o n s i s ts of the first

, ,
second third fifth and sixth intervals Of the m o dern gam u t with the flat
, , ,
seventh afterwards added and we think that here is fo und the true
,
explanatio n of the predo mi nating use of these interval s In examining .
Scottis h airs in which the o ther two interval s o ccur it will be Observed in ,
m any i nstances that they are merely pas s ing no te s which c o uld eas ily ,
be di s pensed with without injury to the mel ody

,
An other argument .
that s uggests itsel f i s thi s : o u r Ol d tunes were n ot intended for full

or intricate harmonies and th e five notes were eas il y acco m panied by a
,
simple bass The construction Of the bagpipe scale which we have a lready
.
,
given also accounts for th i s in some measure ; for the n o te s it pr o duce s

,
are better suited to a drone acc ompaniment .
Many o f o ur Scot tish tunes terminate in intervals o ther than their

keynotes but however uncouth such tunes may so und in the ears o f th o se
,
accustomed to modern or classical music s h o uld they try to alter o r ,
attempt to make those mel o dies conform to the general rule they would ,
S imply sp oil the char a cter o f the airs and make themselves ridicul ous , .
With even these deviation s fro m o rdinary rules and distinctive featur e s it i s ,
still a matter of difficulty t o prove wha t con s titute s a genuine Sc o ttish

melody for there is y e t something in the nature o f Sco ttis h mu s ic which
,
appeals alone to a Scot and which cannot be communicated expressed o r

, , ,
defined .
C H A P TE R I I .
ANN OTATORS ON SCOTTISH MELO D IES .
IT is unfortunate that we have almost n o history and s carcely any ,
record of our early musicians There is evidence h o wever that many Of

.
, ,
them had gone s o uth and apparently settled in L ondon — a fact of which ,
we are convinced from the number Of Sco ts tunes publis hed in that city
'
before they made their appearance in a printed form in Sco tland .
Pass ing over the musician s wh o were attached to the C ourt as well as ,
th os e o f the academic order we mean rather to turn o ur attentio n to

,
th os e to wh om we are indebted either as c o mp o sers or at least as pre

, ,
s ervers o f many o f o ur O lde s t nati onal mel o dies Whether our early airs .
were c omp os ed by real s hepherd s mu s ician s or persons Of gentle bloo d it

, , ,
is n ow impossible to say ; on e thin g h o wever i s certain — that they were not

, , ,
the pr o ductions Of per s ons having any kn o wledge Of rules as to the scales ,
mo de s m odulations and s y s tem s which regulate m odern music These

, , .
co mp os itio ns were s eemin gly the s pontane ou s pr o duct Of natural melody ,
irrespective of any establis hed principles whatever In the c o urse of our .
re s earch we have found the names of a number of musician s in vario us

records o f the beginning of las t century but we have n o t been able to ,
acquire the lea s t knowledge of their attainment s As teachers or members .

,
Of s o me society we kn o w however that they were in the habit Of giving

, , ,
annual concerts as well as Of accepting engagements to perform either as

vocalists or instrumentali s t s on o ther s ocial o ccasion s Printed in the .
“
Transactions o f the S ociety o f Antiquaries of Scotland vol i 1 79 2 , . .
, ,
William Tytler Esq of Woodh ouselee a mu s ical amateur inform s u s Of

, .
, , ,
s everal m u s ician s wh o t o ok part in the Fea s t o f St Cecilia at the Gentle ,

’
men s C oncert in 1 69 5 of whom he s ays Adam Craig was one of the
,
violin ists Matthew M Gi bb on was hautb ois and Daniel Th omson was
,
‘ “
,
”
“
trumpet the two latter bei n g the fathers Of Will iam M Gibb on and
,
” ‘
Willi am Th om s on M Gib b on known as a vio linis t and Thomson as a

,
-
‘
v ocalis t and publisher of the Orphe us Ca le d on i a s .
In e s timating the e fforts of f ormer ann o tators and essayi s ts on the

4 EARLY SCOTTISH MELO D IES .
subject o f Sco ttish mu s ic we s hall begin with the dissertation o f Tytler of

,
Wo odh o uselee publi s hed in 1 779 In s o far as he h as treated o f the

, .
national mel o die s he h as divided them int o four ep och s : ( 1 ) Jame s I

, .
to James IV ; ( 2) Jame s IV t o Queen Mary ; ( 3 Queen Mary t o the

.
) .
Restoration ; ( 4 ) The Re s t oratio n to the Union Of 1 70 7 A n um b e r of the .
tune s referred to by him can be traced back to the seventeenth century ,
either in print or in manuscr ipt but o ther s to which he assigns an earlier ,
o rigin have been derived o nly traditi o nally and their dates are merely ,
conjectural A s t o many of the tune s we have n o evidence except the

.
,
s imilarity o f title t o a song or dance mentioned by s o me hist o rian o r
writer Of or befor e the seventeenth century ; but whether the o riginal

melody be the s ame a s that n ow kn o wn we are left in d oubt With o ut .
taking any n o tice of the fo ol ish allegations that Ri z z io was either the
c omp o ser or the improver o f any of o ur melo die s Tytler proceed s to say , ,
The most ancient Of the Scottish ( airs) so ngs s till preserved are extremely , ,
s imple and v o id o f all art

, They c onsi s t Of on e measure only and have
.
,
no sec ond part as later or more modern airs have They mu st therefo re
, .
, ,
have been c o mposed for a very s imple instrument — s uch as the shepherd s ,
’
reed or pipe of few n o tes and of the plain di a ton i c sca le without using the
, , ,
semi tones or sharp s and flat s

-
, We are unable to under s tand this reason
.
”
'
ing f or we have never seen n or heard of any instrument being in use in

,
Sco tland with a diato nic scale of few n o tes The bagpipe which we .
,
co nsider the mo st limited in scale or c o mpa s s has no fewer than nine ,
n o tes Th os e that have c o me d own to us as the shepherd s pipe Sc ot s whis tle

.
’
, ,
or fl u te a bec ( fo rmerly o r anciently called the comm o n flute ) po ss ess a

- -
,
’
more extended s cale : th ose denominated shepherd s reed pi pgorn and , ,
stock and h orn are s imilar to th e chanter Of the bagpipe and have the
, ,
same compass Tho ugh a number Of our melodie s are pentatonic — vi z

.
,
having only five n o tes in their c o n s truction — this fact do e s n o t prove them ,
to be Older than o thers in which the complete scale i s used Surely our .
ancestors were as competent to s ing a perfect s cale as their descendants

To supp os e a s o ng written o r an air c omposed c ommem o rative of an
, ,
historical event immedi ately after the event and to fix the date acco rdingly
, , ,
”
i s absurd Can any o n e pr o ve that the air Of Sc o ts wha hae existed
.
at the time o f the Battle of Bannockburn or even in the reign Of Robert ,
the Bruce or again that either th e s ong or melo dy Of Charlie is my

,
D arling was known at the time o f the Forty five Traditio n is quite
”
-
unreliable when unconfirmed by early writer s or hist orians Ritson .
remarks tha t Scottish tradition s are to be received with great caution

and to this remark we would add that the traditions of every nationality
are equally Open to s u s picion We entirely agree with Tytler when .
, ,
alluding to a s upp o sition that our melodies were indebted to the

church music before the Reformation he say s If the other tunes
‘
, ,
preserved Of the Ol d church mu sic were in th e same style of John come ,
kis s me now ou r fine Old melodies I think could borrow nothing from
’
, , ,
ANNOTATORS ON SCOTTISH MELODIES . 5
them We h old also to the belief that our ol d melodies owe nothi ng to
.
the educated mu s ician vers ed in theory and the rules pertaining to h i s

craft n or even to those in high station but rather to perso ns possessi ng
, ,
natural gifts who expressed their feelings in joy o r s o rr o w — song or dance

, , ,
— acc ordin g to the ci rcumstances in which they were placed .
It would be diffi cult to prove that any of our Sc ottish monarchs from ,
James I Onwards c omp os ed a s ingle mel o dy that h as descended to ou r

.
,
times or to attribute to a comp oser any of o ur melodies that existed prior

,
’
to 1 74 0 Whatever may be the value of Ty tl e r s dissertation he has
.
,
given excellent advice as to the s inging or performing Of Scottish songs

and tunes .
The next author we w ould notice after Tytler is J o seph Ritson wh o in , ,
his Scotish Song s published in 1 794 takes up this subject from an

“
,
”
,
antiquarian point of Vi ew .
While ackn owledging that we Sc o ts have many ancient tune s he reject s ,
tho se handed down enti rely by tradition and demands more direct pro of of ,
”
their antiquity His dou bts begin with the tune called Hey tutti taiti
.
,
’
said by traditio n to have been King Robert Bruce s march at the Battle of
Ban nockburn in 1 3 1 4 I t do e s n o t h o wever s eem a t all probable that
.
“
, ,
the Sco ts had any martial music in the time of this monarch it being their ,
cust om at that perio d for every man in the h os t to bear a li ttle horn with
, , ,
the blo wing o f which as we are t o ld by Froi ss art they would make such a
, ,
horrible noise as if all the devils Of hell had been among them It is not . .
therefore likely that these unp olished warri ors would be cu rious to move
,
’
in perfect phalanx to the Dorian moo d of flutes and soft recorders These .
horns in deed are the only music ( instrument he means) ever mentioned
, ,
by Barbour to wh om a particular march would have been too imp ortant a

,
circumstance to be passed over in silence ; so that it must remain a m oot

’
point whether Bruce s army were cheered by the sound of even a solitary
bagpipe .
We certai nly agree with Ri tson s reasoning that there is nothing but ’
tradi tion to suggest the age Of the tune above referred to We may how .
,
ever infer fro m the fact of the di scovery in the High Treasurer s accounts
,
’
o f sums paid to pipers in the reign of David II

’
Bruce s son about thirt y .
, ,
years after Bannockburn that the bagpipe was not unknown i n his father s ,
’
day. The tune could n ot have been played on their little horns ; i t i s
commo nly played on the bagpipe at the present time .
The evidence desired by Ritson was to ascertai n how far back the
tune coul d be ac tually traced With other melodi es he pursues the same .
course demandi ng direct proof as to their age

, .
It is not to be supposed that we shall be able to trace every melody

back to its compose r or to affirm tha t the tune which is now current is the
,
same as that which was at firs t attached to th e song or dance bearing

its name unless it has come down to us from the time the words were
,
written or the dance was fashionable preserving traits of its early form , .
6 EARLY SCOTTISH M E LoDI Es .
Our own de s ire i s like Rit s on to o btain manu s cript or printed evidence
, ,
o f the mel o di e s and n o t merely t o find menti o n o f them

,
unle s s there ,
i s pr oo f that they have de s cended to us from an early time in s omething

like their o rigin al form A s an example the t u ne called the Bat tle of .
,
Harl aw said to be c o mmemo rative of the battle fo ught in 1 4 1 1 i s first

”
, ,
menti oned by D rumm ond of Hawthornden in h i s P o lemo m i ddi n i a written ,

-
”
,
’
about 1 650 but we have no tune of that name printed befo re D D ow s
,
.
collection of An cient Sco ts Music ci r ca 1 775 and th ough Stenh ou s e s tate s _ ,
in h i s Illustrations that the air he gives as the Battle of Ha rl aw i s fro m “
“
a fol io manuscript o f S cOts tunes of c o n s iderable antiquity the t wo ,
”
versions diff er c o n s iderably Which therefore can we affirm to be the .

, ,
o rigin al ? Rit s on says that the tune Pl o wden Hill or The Flo wers ‘ ’ ‘
of is one of the most beautiful Sc o tish mel o dies now extant

and if of the age s upp o sed mu s t be c o n s idered as the m o st ancient
, ,
.
Regardi ng t h e w ords of thi s s ong he s ay s i ts antiquity h o wever h as been ,

“
, ,
called in question ; and the fact is that n o c opy printed or manuscript

_ , , ,
s o Ol d a s the beginning o f the present

,
( eighteenth ) century can be now ,
pro duced He fo llo w s the Fl o wers o f the F o res t with The S o uter s o f
.
”
Selkirk and says f if it were actually comp os ed upo n the s ame o c casion
, ,
‘
,
it must be left to dispute th e precedency Next in antiquity he give s .

”
“
The Gaberlun z ie Man The Beggars Meal p oke s and Where Helen
,
” “
-
” “
”
Lies ; and after the s e the Ol d ballad of J ohnie Arms trong tho se “
,
menti oned in Wedderb u rn s C omplainte Of S cotlan de and The Co m ’
, _
“
’
u m of Godly Sangs o tices T tl e r s
”
p e n di After the la s t work he n .

y ,
assertion that ou r fine old melodies could b orr o w nothing fr om them

“
,
’
’
and say s This h o wever i s n ot so clear as J ohn c om e kiss me now
,
“
, ,
‘
”
is certainly a very fine tune He cont i nues with Robs Jock The “
,
“
bonny Earl o f Murray Tak up y o ur auld clo ak abou t ye and Waly

,
” “
, ,
waly up the bank as airs of the six teenth century and c oncludes with
, ,
“
General Leslies March ( 1 644) as on e of which he is able to fix the date ,
and The Aberdeen C o llection pri nted in 1 666 We cann o t agree w i th

“
,
”
.
NO direct evidence it i s b e li e ve d ca n be pro

’
Ri tson s statement that “
, , , ,
duce d Of the existence of any Sc o ttish t une now kn o wn prior to the year , ,
1 660 exclusive o f such as are already men t ioned ; n or is any on e even Of

, ,
those to be found n o ted either in print or manuscript be fore that period , , .

”
At the time of this assertion the exist ence Of the Straloch Mure and Sk e ne , ,
manuscripts was unkn own and in these were contained many Scottish tunes ,
other than those enumerated by him .
We would now refer briefly to William S tenhouse who u nde rtoo k , ,
an engagement to supply explanat ory n o tes re lative to the songs an d

tunes included I n the Sco t s M usical Museum ”f or Willi am B lackwoo d “
, _ ,
booksel ler wh o af ter the death of t h e o riginal publishe r Jam e s Johnson

, _ , , , ,
engraver ( to whom Bu rn s gave many of his s ongs and s ol i ci te d co n .

, .
tri b uti cns from brother p oe ts ) b e came the purchaser of that work The , .
Our Opi n i o n i t h t R it son h ad n t s e e n an e rly copy of th i s t une

s, a o a .
s EARLY SCOTTIS H MELO D IE S .
agree with certain of the change s he has made in the n otes n or with ,
some Of h i s new notes Our Opinio n i s that b e i ng a t thi s tim e in h i s

.
,
79 th year he had n ot undertaken personal re s earch but had relied 0 1 1

, ,
o thers for in fo rmati o n and had be s ide s placed c o nsiderable c o nfidence in

, , ,
Chappell s Po pular Music Of the Olden Ti me which he o cca s i onally

’
,
”
qu o te s In a prelimin ary n o te Wood unfortunately belies the title of

.
, , ,
his bo ok by stating We s til l ass ert our right to include the s e ( Engli sh )
.
, ,
“
air s in our Scottish collecti on s ; and he further s ay s In the pre s ent w o rk

”
n o attempt has been made to e li m i nate the Engli s h air s ; they have been
retained in so me ca s e s f or the purp ose of pointin g o u t that n otwi th s ta n d ,
ing the Sc ottish words they are really Englis h ; in o ther s — as in The
, ,
Banks of D oon — becau s e the p o etry has saved the English air from
,
’
Obli vi on which its o wn w o rd s never could have d o ne

, The assertion that .
The Banks Of D oo n is an Englis h tune is the re s ult of h i s fai th i n

”
Chappell s work We have alluded to thi s English clai m in ou r Sc otti s h

’
.
D ance Mu s ic but we s hall s hew also in this vo lume its wan t of f o un da

,
”
ti on This is not the o nly instance in which Woo d h as erred Hi s e ffo rt s

. .
’
have on the whole added l ittle t o Graham s w o rk ; he has omitted some
, ,
notes and o thers would have been better with out alteration A number
, .
o f the tunes in the original have been left o ut and di fferent air s in serted ,
in the Balmo ral edition With these reservations th e w ork on the whole.
,
is a go od one .
CH A P TE R I I I .
MANUSCRI P TS AND EARLY PRINTED WORKS .
THE ROWALLAN M S This Manuscript is a tablature Lute b ook and i s pro

.
—
,
bably the o ldes t Sco ttis h musical manuscript n ow in exi s tence It belongs .
to the Edinburgh Univer s ity and i s dep o sited in the C o llege Library Thi s “
.
,
s mall manu s cript bo ok was written by Sir William Mure Of Ro wal l an
ab o ut or between the year s 1 61 2 and 1 628 The bu lk o f i ts c ontent s are .
foreign air s though a few Sc ottish mel o dies are included in i ts fifty page s
,
.
At one time the v o lume was in the p o ssessio n of Mr Lyle a surgeon in ,
Ai rth Sir William Mure died in 1 657 aged 63 years A full er de scri p
.
,
.
tio n o f the MS is given by William D a u n e y in his Ancient Scotis h

.
“
”
Melodies 1 8 38 ,
.
THE S TRALOC H M S — W e cann o t do better than describe it fro m the

.
account given in the Gentleman s Magaz ine February 1 8 23 which is as ’
,
”
,
follow s Old Scotch Mu s ick The late Dr Burney possessed a valuable . .
vo lume in Manuscript Of Sco ttish Musick It had been presented to him .
from D r Skene profe s sor of Humanity and Philos ophy in Marischal

.
,
College Aberdeen June 1 78 1 and it wa s supposed the Collector was the

, ,
firs t pers on wh o received the degree o f Master of Arts in Marischal College .
The title of the work is An Playing B ooke f or the Lvte Wh e ri n ar , .
contained many cvrre n ts and o thi r m vsi cal thin gs Musica mentis .
medicina m aest as At Aberdein Notte d and c ollected by Rober t Gordon

, .
.
In the y e e re of our Lo rd 1 627 In Februarie The back of the title has a , .
drawing of a pers on playing on the lute an d named on a ribband M US ICA ,

.
With several tunes that have n o better distinguishment than A Ballat ‘

,
’
’
or A Current are others with the foll o wing titles Of which only a few
‘
, ,
are now known ( here is given a list of eighty tunes ending thus) Finis , ,
huic libro i m posi tus Annc D 1 629 Ad fin e m Decem 6 In Stra . . . .
Loth In the list o f tunes Haddi ngton s mask appears twice an d fo ur

.
’
,
tunes are marked with an asteris k that a re mentioned by Ritson in h i s

Hi s to rical Essay on Sco ttish Song ( p etc The original Man u . .
script contains so me of our Oldest Scot tish melodies In form it is a small .

10 E ARLY S COTT I SH MELO D IES .
O blo ng 8 vo It pa s sed int o the p ossessio n Of George Chalmers E s q

.
, ,
Lo ndo n and after th e death Of his son was s old along w ith the b ooks and
, ,
manuscript s that formed hi s li brary as adverti s ed in Th c A the noe a m The , . .
fo llo win g are the announcements the library being sold in two p o r tion s ,
September 25th 1 8 4 1 Mes s rs Evans will s ell at 9 3 P al l Mall on

, .
Mo n d ay next September 27th and eight f oll owing day s the very curio u s
, , ,
and valuable Library of the late George Chalmers E s q Auth or o f the ,

.
,
‘
Life Of Mary Queen Of Sc o t s Caledo nia An tiqua etc and again ,
’ ‘
,
’
.
,
March 5th 1 8 4 2 Sales by Auction — Library Of the late George

,
.
Chalmer s E s q Me s s rs Evan s will sell on Mo nday next March 7th at

, .
, ,
No 9 3 Pall Mall the Second Part of the extensive and curiou s Library of
.
,
the late George Chalmers E s q etc The Lute Bo ok was ,

.
, .
”
s ent to Edinburgh by Mr James Chalmer s f or the late Dr D La i n g s i n

’
.
s pe c ti o n in January 1 8 3 9 and Ge o rge Farquhar Graham o btained permi s si o n

,
t o copy it and t o tran s late and publi s h it

, We now qu o te fr om a c opy of .
the Extracts taken fro m the original v o lume and presented to the Faculty
of Adv o cate s in 1 8 4 7 on which G F Graham has written , I translated . .
,
the wh o le o f it and also tran s cribed exactly from the original s uch Of the
,
pieces of mu s ic as I th o ught mo st imp ortant o mitting a number Of Dance ,
Tunes as will be seen from the lis t of content s which I give below My
, .
translatio n I lent to a musical friend s ome years ago and he has l o st it , .
The o riginal was re turned by Mr Laing to Mr Chalmers and after .

,
’
Mr Ch al m e r s s death was s o ld al on g with the re s t Of his library I lately .
wr o te to my frien d Mr William Chappell 20 1 Regent Street London , , ,
a s king him if he knew what had bec o m e o f the S t ralo ch MS His answer .
’
is as follows : 9 th Sept 1 84 5 I cannot tell where Sir Robert G ordon s
‘
. .
Lute B ock went I fully intended to buy it but was deterred from goi ng
.
,
by the extravagant prices the b ooks were bei ng s old f or U n luckily i t .
went f or a mer e trifle and was bo ught in a name quite unk n o wn to ,
collectors The answer received by G F Gr aham shows evidently

. . .
, ,
that the name o f the buyer was known but perhaps it suited the interest ,
of some o n e to keep it concealed Should the manuscript Lute B ook still .
exi s t it wo uld be a ma tter o f considerable difficul ty to discover it af ter

,
a lap s e of nearly sixty years From an o ther copy Of the extracts al so .

,
written by G F Graham now in the posse s si o n of Mr T W Taphouse

. .
, . . .
,
Oxford we ge t the information that the musical friend who lost the com
‘
,
’
pl e te translation was Mr Finlay Dun In Chal m e rs s sale catalogue March . ,
1 8 4 2 the manuscript was lot N O 1 64 2 and the following note was appended
, .
,
to it : This extremely curi o us manuscript was presented to Dr Burney in

1 78 1 by Dr Skene Pr ofessor o f Humanity at Aberdeen , The C o llect o r and .
Wri ter of this MS and No tes of the Music was R Go rdon of Straloch ,
. .
He was the fir s t person wh o received th e degree of Ma s ter Of Art s at the

College of Aberdeen It contains many curious Ol d airs as the Air Gray
.
,
S teel Green gre u s ye Rashes and many others A particu lar account of
,
’
,
’
.
this MS will be found in D au n e y s Ancient Sc o ttish Melo dies p 8 4 1 4 7

.
’
,
’
.
, ,
MANUS CRI PTS A ND EARLY PRINTED WORKS . 11
and m ore in detail at p 3 68 and 3 69 where a lis t of the greater par t o f

.
,
’
the c ontents is given See al s o J oh ns on s Scots Musical Museum p 21
.
’
,
.
o f Preface and p 1 3 8 Ge o rge Chalmers died 3 1 3 t May 1 8 25 His

, .
.
library was retained by hi s son and sold a t h i s death in 1 8 4 1 4 2 , , ,

-
.
THE S KE NE M S —Thi s Manuscript which h as found a re s ti ng place in

. ,
-
the Library of the Faculty o f Advocate s Edinburgh co n s i s ted o riginally o f , ,
s even separate p orti ons It was bequeathed to that b o dy ab out the year
.
1 8 1 8 by Mi s s Eli z abeth Skene the las t s urvivor in a direct line Of the ,
family of Skene o f Curri e hi ll and Hallyards Midl o thian The Curat o rs of ,

.
the Library had the seven parts bo und t ogether i n on e v o lume A lis t i s .
’ ”
g i ven Of the air s it contain s in D au n e y s Ancient Sc o tis h Melo die s “
,
1 8 3 8 which treat s mainly of the Skene manuscript

,
This MS c ollection . .
,
which is a t ablature f or the Mand ora ( a s pecies Of Lute ) i s undated — i t , ,
was either written fo r J ohn Skene Of Hal ly ard s or by him and was ,
generally considered to have been made abo ut 1 61 5 ; but the late Dr

D avid Laing was Of op i nion that i ts age was ten or fifteen years later For .
further i nform atio n see D au n e y s w o rk and S te n h ous e s Illu s tration s ’ ’ “
”
o f the Lyric Po etry and Music of Scotlan d with additional notes ,
.
Edin burgh ,
THEG UTHRI E M S — T b is Manu s cript which belongs to the Univer s ity

.
,
Library Edinburgh was bequeathed to the College by the late David

, ,
Laing; LL D the Scottish A ntiquary wh o c o n s idered it to have been

. .
, .
written n ot later than 1 6 75 8 0 It was f ound by Laing b ound up in a -

.
vol u me of Serm on No tes preached by James Guthrie the C o venantin g ,
minister who was executed in 1 661 We have come to the conclusio n that
, .
it c o ntains no t on e o f the forty tunes supp o sed to be included in it Our .
belief is that the Guth rie MS tabla ture c onsist s entirely Of accom pani .
ments f or the tunes named written f or so me in s trument which i s n o t ,
indicated We have c opied nine of the supp o sed airs so me Of which are
.
,
well known by name ; and though we have made many e ffort s to translate
them from the tablature we have been unable to produce a single melody , .
”
The manuscript was described by D au n e y in his Ancient Sc oti s h Melodie s “
,
1 8 3 8 and we suspect attempts have been made s ubsequent to that date

,
to unravel its c on tents probably by G F Graham and o thers which h o w , . .

, ,
ever have proved fruitless further than showing tha t the melodies did
, ,
then exist In conclusion we may say there is no work that pre s ents an
.
,
example o f a tune in modern notation taken from the Guthrie manuscript .
.
THE B LAI KI E
MSS — Th e s e Manuscripts belonged to an engraver in .
Paisley named Andrew B lai ki e wh o died upwards of fifty year s ago ,

.
They were two i n number and were apparently wri tten by the same
.
,
person one of them dated 1 68 3 and the o ther 1 69 2 Both volumes

, .
were written in tablature ; the earlier one was l o st by Bla i k i e but we are ,
12 EARLY SCOTTIS H ME LOD I E S .
t o ld that its contents with few exceptions were the same as that of 1 69 2
, , .
The latter was written f or the Vi o l da Gamba Fr om a transcript .
made by the late James Davie of Aberdeen we learn that there were , ,
at leas t 1 1 2 tune s in the manu s cript of 1 68 3 and that he made a c opy of ,
fo rty air s fr om it which A J Wighton o f D undee al so transcribed and

,
. .
, , ,
which are in the collection he bequeathed to the D undee Public Library .
We have not been able to disc over wha t h as become of either o f the
o rig i nal manu s crip ts if indeed they still exist In Ancient Scotish
, .
“
Melodies 1 8 38 pp 1 4 4 5 D aune y gives th e names Of fifty three tunes

, , .
-
,
-
fro m one of them .
THE LE YDE N M S —S O far as known to us thi s Tablature Manu s cript

.
belonged o riginally to the celebrated Dr John Leyden It afterwards .
pa s sed into the po ss es s io n of J ames Telfer sch o olmaster S augh tre e s , , ,
Roxburgh s hi r e but at what date we have been unable to ascertain The

, .
manuscript is w ritten for the Lyra Vi o l and c ontai ns upwards of eighty ,
tune s in tabla t ure al ong with a few o thers in the present staff n otatio n
,
.
In 1 8 4 4 it was sen t to Geo rge Farquhar Graham wh o had permis sion to ,
c opy from it which he did to the exten t o f all the tunes written in
,
tablature His manuscript is now i n the li brary of the Faculty of

.
Advocates Edi n bu rgh The original manuscript bear s no da te ; it c ann ot

,
.
,
however be earlier than 1 69 2 for among the Scottish tunes it contains

, ,
are two airs relating to events which occu rred abou t that time VIZ , .
,
“
King James March to Irland and The Watter Of B oyne but the ‘
,
”
,
”
latter is n ot the tune n o w known by the nam e of B oyne Water Ab o ut .
three years ago we communicated with Mi ss Telfer the daughter Of the ,
schoolmaster to ascertain wha t had become o f the manuscript but that

, ,
lady could give n o information whatever as to where it had gone or its

present owner James Telfer died 1 8 th January 1 8 62 aged si xty one y ears
. ,
- .
The fol lowin g manuscrip ts in the present notation may also be noticed
THE CROCKAT MA NUS CRI PT — M r Sten house who was in possession of . ,
this Manuscript frequently referred to it i n hi s Ill ustrations to Johnson s

’
Scots Musical Museum I t is said to have bel onged to a M rs Crockat .

,
and dated 1 709 but we have not been able to Obtain any information what
,
ever regarding that lady After M r S te nh ous e s death the Man uscript became .
’
the property of the late Charles K i rkpatrick Sharpe E sq of Hoddom , , .
M ARGARE T SI NKLE R S M S — This music bo ok now in our possession has ’

.
, ,
inscribed i n it Margaret Sinkler Augh t this Music Book written By

,
“
Andrew Adam at Glasgow October the 3 1 day It al so bears the

name of George Kincaid at Glasgow the 24th May 1 71 7 and tha t of , .
G Kincaid Pitcairn 50 Castle Street

. The manuscript con tai ns
upwards of one hundred tunes one half Of the number being for the ,
harpsichord or spinnet .
MAN US CRI PTS AND E ARLY PRINTE D WORKS . 13
Other Manuscripts o f les s er imp ortance are with the exceptio n Of ,
the M Farl an mentioned by D a un e y in h i s Ancient Sc o ti s h Melo die s

‘
,
“ ”
,
1 83 8 pp 1 46 7
,
Two o f the s e belonged to the la te David La ing LL D
.
-
.
, . .
,
the earlier s upp os ed t o have been written at the beginning o f the eighteenth
century the o ther dated 1 70 6 A third i s in the Advo cates Library
,
.
’
,
bearing the inscriptio n Of Agne s Hume 1 704 and an o ther o f supp os ed , ,
date 1 71 5 i s in the pos ses s i on Of Mr George Waterst on stati oner

, , ,
Edinburgh .
THE M FARLAN MSS — The s e Manuscripts c on sisted of three vo lume s

‘
.
,
bearing on their title pages A Colle c ti on o f Scotch Airs With the Late s t ,
Variations written f or the u se Of Walter M Fa rl an Of that Ilk ( a

“
’
s ubscriber to Jame s O s wald s Curio us Sc o t s By D avid Yo ung
W M in E di nr
. . The second and third v olumes o f this col le c
.
tion were pres ented to the S o ciety Of Antiquaries Sc otland by the , ,
Hon Henry Erskine July 23 rd 1 78 2 and the first volume was also
.
, ,
presented to that body by Miss M Farl an o f M Farla n on the 1 2th o f ‘ ‘

.
,
June 1 78 4 The fir s t v olume c ontained tunes to the number o f 24 3 ; the

.
s ec ond 1 50 ; and the third 29 2 ; in all 685 airs

,
A part o f the title , , .
page of the third v olume i s t orn away but it may n ot have been ,
dated later than 1 74 2 Many years ago the fir s t v o lume was b orro wed .
and never returned A c o n s iderable number o f the melo dies in the two .
remaining volumes are n o t Sc o tti s h .
Am ong early printed c o llections c ontainin g Scottis h Mel o die s are

”
The D ancing Master and o ther w orks Of J ohn Pl ayford s e e page 1 5 , ,
Original Sc otch Tunes 1 700 Henry Playfo rd ; The Orpheu s Ca le don i us , ,

“
1 725 and 1 733 Will iam Th om so n ; The Mu s ick for the S ongs in the Tea
,
Table Mi s cellany circa 1 725 6 A C ollectio n o f the Cho ice s t Sc o t s Tune s

,
”
-
“
,
”
1 73 0 Adam Crai g A Curiou s C o llecti o n of Sc o t s Tunes 1 74 0 ; A C o llee

“ ” “
, ,
tion o f Curio u s Sco ts Tunes 1 74 2 ; The Caled onian Po cket C ompanio n ,

”
,
”
and o ther publications o f James O s wald ; A Collecti o n o f Scots Tunes “
1 742 1 746 1 755 by William M Gi b b o n ; A C o llectio n o f Old Sc o t s Tunes

‘ “
, , ,
,
1 742 by Franci s Barsanti ; and vari o us publicati ons Of Ro bert Bremner and
,
Neil Stewart besides s everal ballad operas and the yearly Dance B ook s
, ,
o f Wal s h Wright J ohn so n Th o mpson Rutherford and o ther Lo ndo n

, , , , ,
publisher s .
Queen Eli z abeth s Virginal Book see Appendix ’
, .
C H A P TE R I V .
WILLIAM CHAPPELL .
W ILLIAM C HAPPE LL S Popular Music Of the Olden Time ( a n excellent

’
-
w ork in which he s hows that the English have an abundance Of national

,
mel o dies ) was written to refute the c omm o n a ss ertio n that England
po ss es sed n o nation al music whatever In thi s w o rk h o wever he has
.
, ,
made a n umber of allu s ions to Sc o ttis h music and compo sers which
cannot be all owed t o pa s s unque s ti oned At page 57 he say s . The ,
“
writer of a quart o volume on Ancient Sc o ti s h Melodies ( D aun e y )

has a s serted that all the Ancient Englis h Mus ic in Ri ts on s or other ’
c o llection s i s o f a heavy drawling character An assertio n so at .
variance with fact must either have pro ceeded fro m narr ow minded -
prejudice or fro m his not having understo o d ancient mu s ical n otation

, .
That he c ould n o t di s criminate between Sc o tch and E n glish mu s ic i s ,
evinced by the fact o f his having appropriated some o f the bes t known
Englis h comp os itions as ancient Sco tis h mel o die s The fo llo wing s ong .
We s tern Wind ) is o ne o f th os e adduced by him in proo f of the drawling

’
of Engli s h mu s ic but I have rest ored the words to t heir proper place s and
, ,
it i s by n o means a drawling s ong It should be borne in mind that thes e

.
S pecimen s o f English mu s ic are l o ng anterio r to any Sc o tish mu s ic that h a s
b e e n pr o duced That William D aun e y expressed t e l f in any such terms

”
.
i s quite beyond the truth The passage on which Ch appell co mment s seem s
.
t o be the fo ll o wing : Al luding to the s ongs and ballad s with eas y tunes
“
,
adapted to them Hawkins s ays hardly any of the s e with the mu s ic Of them
, , , ,
are at thi s day to be met with and th os e few that are yet extan t are o nly
,
to be found in odd pa r t bo ok s & c -

Rits on cann ot conceive what common
, .
p opular tunes had to do i n o dd part b ooks ; but if he had been at all

-
acqu ainted with mu s ic of which he candidly c o nfe s s ed himself to be wh olly

,
ignorant he would have seen that Hawkins here meant it to be implied

,
that the common po pular tune s of th e En glish were a ll compo sed to be

16 EARLY SCOTTISH MELODIES
. .
after ward s transferred to the end o f the firs t v o lume published i n the ,
C ollected editio n of 1 740 under the title of The Tea Table Miscellany ;
,
“
-
o r A C o llectio n of Cho ice Songs Scots and Englis h in fo ur v o lumes ”

, , , .
Chappell s reference to the w o rks of Sc o tch p o et s as included in Engli s h

’
literature is a sufficient answer to h i s remarks on The Tea Table

,
-
”
Miscellany It appears to us that he paid little attention either to the
.
title of Ramsay s w ork or to its contents ’

.
His next complaint is that Ramsay in mixing up English with Scottish ,
s o n gs, o mits t o give the n ame s o f the tune s by which they were pre
vi ou s l y kn o wn He also names half a do z en tune s which he main

.
tain s are English c o mpositio ns These we shall refer to later on un der .
their re s pective titles Chappell pr oceed s to say If a scrutiny were

.
,
carried thr ough the s ongs in the Tea Table Miscellany in Thom son s -
,
’ ’
Orpheus Cale doni us or any other c o llectio n the bulk of Sc o ttis h music
,
’
,
w ould be s ensibly diminished ; but on the wh o le it w ould gain in symmetry .
Many goo d and p o pular tune s would be given up but a mass o f indiff erent ,
w ould be rejected at the s ame time This s or t o f reasoning go e s on the .
ass umptio n that Englis h tunes in Ramsay and others were claimed as
Sc o ttish but surely Englis h words d o not prove tunes to be English If
, .
s o m uch were t o be gained by the s crutiny wh y did Chappell n o t under ,
take i t in s tead of accusing the Scots of condo ning these alleged

,
plagiaris m s
After in s inuating an increase Of p oaching on Engl i sh pre s erves since the
time of Th omson he make s an attack on J o hn son s Sc o t s Mu s ical ’
Museum by quoting letters wr itten by Burns to two of hi s c o rr espondent s

,
”
.
The first to Mr Cand l is h i s dated June 1 78 7 : I am engaged in assis tin g

, ,
an h o nest Scotch enthu s ias t a friend of mine who i s an engraver and h as , , ,
taken it int o hi s head to publi s h a c o llectio n o f all our s ongs s e t to mu s ic ,

’
o f which the w o rd s and music are done by Sc o tchmen And agai n in .
Oct o ber to another c orresp ondent ( Rev John Ski nner ) An engraver
,
.
,
‘
,
James Johnso n in Edinburgh has n o t fr om mercenary views but fro m an

, , , ,
’ ’
h onest Sco tch enthu s iasm s e t ab out c o llectin g all o u r native songs & c
, , .
And yet within the first twenty fo ur so ngs of the only volume then -
published are c ompositions by Purcell Michael Arne H ook Berg and

, , , ,
B a tti shi l l .
Burns arrived in Edinburgh at the end of November 1 78 6 an d t ook up ,
his lodging in Baxter s Cl os e Lawn m ark e t Johnso n at that date did

’
,
.
not live there and it may be taken for granted that the p o et was not
,
acquainted with the engraver bef ore the first announcement o f the latter s ’
projected w o rk in February 1 78 7 It i s as follo ws : James Johns o n .

“
pro poses publis hing by s ubs criptio n under the in s pection of the able s t
masters a New and Complete C o llection of Sco ts English and Irish S ongs
,
for the Vo ice harpsich o rd and piano forte in two neat 8 vc Vol s each -
,
.
,
Volume containing 1 00 Songs with thorough bas s es to each so ng

Subscriptions &c The first volume of the Scots M usic al Museu m
”
, .
“
WILLIA M CHAPPELL 17
was ann ounced i n an advertisement of May 1 9 This day was publi shed .
_
D edicated o the Catch Club instituted at Edinbur gh in June 1 771 ) by

( t , ,
James J ohn s on Vol I of the Sco ts Mu s ical Mu s eum dzc The admi s si on
, .
,
”
.
of En gli sh mu s ic in this vo lume h as bee n further explained in the preface

under the heading of To the true l overs o f Caled onian Music and S ong .
Signed James Johnson Edin Bell s Wynd May 22 1 78 7 ,

The w ork o f .
’
, , .
this first v olume was pr o bably far advanced and Johnson was natur ally ,
”
unwilling to cas t it aside The title Scots Musical Museum was .
“
,
we think afterwards suggested by Robert Burns who is credited with

, ,
only o ne song ( Green Grows the Rashes) in the first volume Chappell .
proceeds to say Although the popularity o f Scotti sh Mu s ic in England

,
“
cannot be dated further back than the reign of Charles II it may be .

,
proved from various s ources that Englis h music was in favour in Sc otland ,
fro m the fifteent h century and that many English airs became s o p opular ,
”
as at le ngth to be th o roughly d omiciled there In s u pport of this .
assertion he says The Extracts from the Accounts o f the Lo rds High
,
Treasurers of Sc otland fro m the year 1 4 74 to 1 64 2 printed by Mr D au n e y

, , ,
S how tha t there were E n glish harpers luteni s ts pipers and pipers wi th , , ,
the drone or bagpiper s am ong the mu s icians at the Sco ttish C o urt besides
, , ,
o ther s under the general name o f Engli s h Minstrels The Extracts which .
contain reference to Engli s h musicians are the foll owing 1 4 8 9 A pay ,
ment to Inglis py pari s that cam to the cas tel yet and pl ayi t to the Ki n g
vi ij li vi ij s
. 1 4 9 1 Item to ii ij Ingl is pypari s vi ij u ni c orns vij li ii ij s
. . .
1 503 Aug 1 3 — Item to vi ij I n gli s m e n s tral e s be the kin gis command

.
,
xl french crown i s x x viij 1 Item to the trum pe ti s of E n gland x xvi ij 1 .

, , .
Item to the Q ue n i s four m e ns trali s that re m an i t with hir vij 1 Item

, , .
,
to the E rle of Ox fordi s twa m e n s tral e s v 1 x ij 8 Item to the five l o wd . .
m e n s tral e s x x viij 1 Aug 21 — Item that n ych t to the carti s to the king
. .
, ,
and syne gi ffin to the Inglis h arpa ri s i ij li x s I t em to Ro bert Rudman . .

, ,
Cuddy the Inglis b oy Soutar lutar Adam D i ke soun and Craik l u tari s
, , , .
,
ilk ane x a 3 nj li x s 1 504 Aug 21 — Item to twa I ngli se we m e n

, . . . . . .
,
that sang in the Kin gis pai lz e sun e xxiii s 1 505 — Item the x i iij day of , . .
,
Aprile to the twa pi pari s o f Edinburgh th e franch quhi ss al ar the Ingl i s , ,
pipar with the dr one il k man ix 8 x x x vj , , .
Extract fr om the H ouseh old bo ok Of Lady Marie Stewart C ountes s ,
of Mar Edi nburgh ( n o date ) :

, 1 64 2 J un e 20 — Item that day given .
.
.
,
to three English pi fle re ri s x vi ij s
'
. .
,
Though D aune y gives man y o ther extracts thes e are the only o ne s ,
relating to Englis h mu s icians At a glance it will be seen t h ere are nearly .
one hundred and forty years between the two las t entrie s Chappell s .
’
”
reference to the Extracts fails entirely to pr ove that any of th os e
“
English musicians belonged to the Scottish Court The pipers menti oned .
in the first t wo items were apparently stroller s while th o s e musician s ,
in the years 1 503 4 5 seem to have been some of the retinue that came
- -
,
along with th e Princess Margaret daughter of Henry V I I wh om James ,

.
,
B
18 E ARLY S C OTTISH MELODIES .
IV married The three piper s at the later date in 1 64 2 appear to have

. .
received s o me rec ompence fro m the C o untess o f Mar We m ay conceive it .
pr o bable that the s e mu s ician s w o uld carry away m ore music than they
br ought and left t o be do miciled .
Chappell then refer s to Sco ttis h manu s cripts and say s English tunes , ,
“
have hithert o been fo und in every Scottish manu s cript that c on t ains any
Sc o tch air s if wri tten before 1 73 0 There i s I believe no exception to .
, ,
this rule— a t leas t I may cite all th o s e I have s een and the well ,
authenticated tran s cripts o f o ther s They include Wo od s manu s cripts ; .

’
the Stral och the Rowal l an and the Skene MSS ; Dr Leyden s Lyra
, , .
’
vi o l b ook ; the MSS that were in the possession of the late An drew
.
Bl ai ki e ; M rs Agne s Hume s b ook and o thers in the Adv o cate s Library ;

’ ’
t h o se in the p o ssession o f Mr D avid Lain g and many o f min o r n o te , .
”
S o me o f the Sco tch manuscript s c o ntain English mu s ic exclusively .
This i s a r ather for midable li s t But i t nevertheless seems to us that .
Chappell s treatment o f the wh o le subject i s perfunctory and in co nclusive

’
.
No t that we dispute h i s s tatement— undo ub tedly the writers inserted in

their manuscripts whatever tunes plea s ed their fancy ; but we may ask if
all En gli s h manuscript s whether writte n bef ore 1 73 0 or af ter that date
, , ,
were exclusively c o nfined to E ngli Sh mel o dies ? Chappell continui n g his ,
remarks on Sc o tti s h manu s cript s s ay s Befo re the publication Of Ram s ay s , ,

’
Te a Ta ble M i sce lla ny the Sco tch tune s that were p opular i n England were
-
,
m os tly s purious and the w ords adapted to them seem to have bee n
,
invariably so Of this he think s it may s u ffice to give an instance from

.
”
A se con d Ta le of a Ta b which being printed in 1 71 5 i s within nine , , ,

’
year s of Ramsay s publication Each party call ( fell to bawling and .
“
calling) for particular tunes the blue bonnets ( i e the Sco tch ) had . .
very goo d v o ice s but being at the furthe s t end o f the ro om were n ot
, ,
dis tinctly heard Yet they split their throats ( wems ) in hollo wing out
.
B onny D undee Valiant J o ckey Sawney was a dawdy lad ! bonny lad
, ,
”
and Twas within a furl ong of E di n b orough t own
’
The s e are given as .
s ample s o f S puri o u s Sc otch s ongs — certainly the w o rd s are o f Grub Street
manufacture but it do e s n o t fo ll ow that in every instance the tunes were

, .
The auth o r s intentio n wa s to make a grotesque c ompari s on between the

’
t wo nati onalitie s and f o r that purpo s e any tunes s ufficed

,
Inquiry into .
their authenticity was quite bey ond the sc ope o f the pamphlet Next we are .
,
t o ld that the subject of the ballad ( B onny D undee ) is J ock e y s Escape

“ ‘ ’
’
fro m Dundee and it end s Adieu to B o nny Dundee fr om which the tune
, , ,
takes the title o f Adew D un di e in the Skene manu s cript and of B o nny ,
Dundee in The Dancing Master It first appeared in the latter publication .

”
in a sec o nd appendix to the editi on o f 1 68 6 which was printed in 1 68 8 , .
In this way Chappell endeav o urs to drag do wn th e age of the Skene MS .
Chappell c ontinues S ongs in imitation of the Sc o ttis h dialect seem to

,
“
have been c onfined to the stage till about the years 1 679 and Are
we to u nderstand fro m this that Scottish melodies were not popular till the
WILLIAM CHAPPELL . 19
pr o ductions of Tom D U rfe y appeared ? The contention is utterly fallacious

’
.
The use o f imitations on the s tage prove s that they wer e in demand and ,
that circum s tance point s to the favo urable receptio n of genuine Scots s ongs
and tune s hence the intro ducti on of the s purious Along with this informa
,
.
ti on ab out the imitation s we have Perhaps the earliest extant s pecimen

, ,
of a ballad printed in Scotla n d may al so be referred t o this peri o d — I

mean by ballad that which was intended to be su ng and n ot p o etry
‘ ’
,
printed on br o ads ide s without the n ame o f the tune even th o ugh s uch
, ,
may so metimes have been called ballet s but as a real ballad ‘ ’

,
intended to be S u n g abo ut the c ountry as E nglish ballad s were I kn ow , ,
n one earlier than The Banishment of P overty by his R H J D A

‘
,
. . . . .
James Duke of Alb a ny ] to the tune o f the La s t Good Ni ght This t u ne

! , ,
.
al so i s claimed by Chappe l l to be Engli sh .
Then we are regaled with a list o f spurious broads ide s that were
printed in Scotland with the names of the airs to which they were
,
s ung and further on the fo ll o win g i s intro duced : The mixt u re of “

, ,
Englis h mu s ic in Sc otch C ollection s i s n o t with out inc onvenience to

the Scotch them s elves Dr Beattie in on e of h i s publi shed letters
_
.
, ,
says o f the celebrated M rs Sidd ons She loves mu s ic and i s fond of , ,
Sco tch tune s many of which I played to her on the Vio loncello One
, .
Of the s e S h e r os e a n d l e t m e i n which you k n o w i s a fav ourite o f mine

, , ,
made the tears s tart fr om her eye s GO on s aid she and y ou will s oo n
’
.
, ,
have y o ur revenge meaning that I sh ould draw as m any tear s fro m her
a s s h e had d rawn fr o m me by her acti n g ! Life o f Jame s Beattie LL D by , . .
,
S i r W F orbe s ii
. Dr Beattie was evidently n o t aware that both
, .
the music and w ord s of S h e rose a n d le t m e i n are E n gli sh There i s .
’
al s o an o ther illu s tratio n from Dr Beattie s E ss ays I do n o t find that any
fo reigner has ever caught the true spirit o f Scotti s h mu s ic ; and he ’
il lustrates his remark by the story o f Geminiani s havi n g blotted quire s o f ’
paper in the attempt to write a sec ond part to the tune of The B room of
Cowde nknows This air i s to say the least of very que s tionable ori gin
.
, , .
”
Our remark s in reply to thi s c ontention are given under the n o tice Of the
tune page 3 5
,
.
Chappell next ass ails D a un e y in this curious fashi on It i s n o t only

by e s sayis ts that mistake s are m ade f or even in hi s to rical w orks like ,
Ancient Sco ttish Mel odie s from a Manu s cript o f the reign o f James VI .
,
by William D aun e y Air s which bear n o kind Of resemblance

,
to Sc ottish music are claimed as Sco tch Mr D aun e y seem s to have been .
a firm believer in the authenticity of th e c ollecti o ns of Scotti s h music and ,
to have th ought the evidence o f an air being fo und in a Scotch manuscript

suffi cient to prove its Sc ottish origin In such case s dates were to him o f .
”
minor importance It is imp oss ible to underst and what Chappell means by
.
such general remark s Has he dis pr oved what Dauncy said ? D aune y s
.
’
works shew plain ly that he did not believe that everything conta i ned in
Sco ttish M SS belon ged to Sc o tl and Had Chappell read carefully D au n e y s
. .
’
20 EARLY SCOTTISH MELOD IES
Ancient Sco tti s h Melodies p age 4 he would h ave fo un d that his comments , ,
were ab solutely basele ss Daun cy say s Well may the Editor in his tu rn .
,
exclaim How would Mr Rit son and hi s collaborateurs have rejoiced in the
,
recovery o f s o rich and varied a collecti on o f ancient Sco tish and E n glis h
melodies a s that which i s n o w submitted to the public ! Chappell g oe s ”
on : Fran k lin i s fled away ; When the K in g enjoys his own again ; I pray
you l ove turn to me ; Macbeth ; The Night i ngale ; The Milking pail ;
, ,
- -
Ph i l por te r s Lament and many other s are set down as airs of which Scot
’
, ,
l and may claim th e parentage ; on e would supp o se that the s e tunes were
all found in th e Skene Manu s cripts whereas The Nightin gale i s the only ,
”
on e and there i s n o t the s lightest attempt to claim it as a Scottish tune

, .
The o thers are fr o m the Bl aiki e MS He then proceeds : As to the Anglo .
Sco tti s h and English Northern songs at the very openin g of his b o ok Mr ,
D a un e y claims five in Pill s to P urge Melancholy without noticing Ri ts o n s

’
c ounter statemen t as to two ( yet appropriating them under th o se name s )

-
,
o r tha t a thir d was stated to be a cou ntry dance in the book he quote s - .
Thi s is indeed drivin g over Obs tacles It is evident rather that Chappell is .
”
driving over o bstacle s ; why is he not more explicit ? Had he mentio ned
the five tune s by name it w ould have rem oved any doubt as to those he has
,
in View ; th o ugh we presume he refer s to Dainty Davie Corn Rigs “

,
”
,
”
’
My Mother s aye gl owri n o e r; me Over the hill s and far away and ’
,
”
,
” ’
B on n y Dundee All that needs be said is that Ri ts on s reference is to
.
,
the s ong s D aun e y s to the melodies ; the so ngs in th e Pills are no doubt
,
’
Engli sh the air s in our opinion are Sco ttish

, , , .
We return to the S ke n e M a nuscrip ts Chappell say s Mr D aun e y .

,
admit s that a p o rtio n o f the air s are En gl ish but fo ll ow s the Ra m s ay ,
precedent in the title of his book ; but Chappell h i mself all ows that where ”
the preponderance is Sco ttis h or English in any w o rk it must in such a case

rule the title of the vo lume Chappell goe s on to questio n the age Of the .
do cuments He says I have recently examined the s e manuscripts with

.
,
so me care an d am decidedly of Opinion b o th from the writin g and fro m

, ,
the airs they con t ain that they are n o t and cann o t be of th e reign o f
, ,
James VI Jam e s VI of Scotland and I Of E n gland died in

. . We .
again refer to D aun e y wh o does not maintain that all the MSS are of ,
.
’
Jame s s reign ; he s tates page 1 1 There i s just o n e p o rtion of the MS , ,
“
.
which appear s to be rather newer than the rest this is Part IV There is , .
here a tune called Sir John Hope s Currant Hope was knighted and
‘ ’
.
’ ‘
app o inted a Lord o f Session in I t so happens h o wever that , ,
there has been an o bliteration in this place The name first given to this .
tune in the MS was Currant Royal This appears to have bee n deleted
. .
’
,
and Sir John Hope s Currant afterwards interpolated though evidently

’ ’
,
in the same hand Chappell expre ss es himself i n a foo tn o te thus

.
”
My
attention has recently been drawn to these manuscripts which I had not ,
seen for twenty years fro m finding in the cour s e o f my attempts at chrono
, ,
l ogical arrangement that their supposed date could not be reconciled with
,
WILLIAM CHAPP E LL 21
other evidence I have hitherto quo ted the Skene MSS as abo ut 1 63 0 or
. .
1 640 and many of the airs they contain are und oubtedly of that date
, ,
s ome like th os e o f D o wland and the masque tunes o f James I

,
unquestion .
,
ably earlier In Mr D aun e y s b o ok the airs are n o t publis hed i n the

.
’
o rder in which they are f o und in the manuscript s and s o me air s ( besides ,
duplicate s ) are omitted The printed index i s n o t very c orrect for

.
-
i n stance Let never crue l ti e dis h onour beauty i s n o t i ncluded I n it

, ,
’
.
’
The earlie s t writing appear s to be Lady will th o u l o ve me ? at the ‘
,
commencement o f Par t II but all the remai n der of that part s eems to be
.
,
a cen tury la ter Pages 62 to 8 0 are blank At the end o f the firs t
. .
manuscrip t are the w o rd s Finis qu o d Skine which Mr D au n e y co nsiders ,

’
to be the wri ting of J o h n Sken e who died in 1 64 4 Independently o f , .
o ther evide nce the large nu m ber o f dupl icates would shew the impro bability
,
o f the collecti o n havi ng been ma de for on e person For in s tance Horr e i s .

,
Gal z i ard is c o ntained i n Par ts I and III I lef t my l ove behind me

’ ’
. .
, ,
i n Par ts I I an d III — M y Lady Lau cki an s Lil t S ce rdus ti s S cull i on e

‘ ’ ’ ‘ ’ ’
.
.
, , ,
a nd Pit t o n y o ur shir t on M o nday in Part s I I I and V

‘
My Lady ,
’
. .
Ro th e m ai s Lilt in Parts 1 1 1 and VI Blew B re i ks in Parts III and

’ ’
. . .
, ,
’ ”
VII . I l ove my l ove f or love again in P art s V and V 1 , . .
He no w proceeds to give h i s o pinion on the manu s cripts and begins , ,
Amo ng the air s in the fifth we find Adieu D undee which was n o t , , ,
included i n The Dancing Master befo re the appendix o f 1 68 8 ; and Three

Sheep s kin s an Englis h cou n try dance ( not a ballad tune ) which firs t
-
,
-
,
appeared in The Dancing Mas t er o f 1 69 8 In the Sixth Peggy is over .

,
‘
the s e a with the Soldier which derives its name fr o m a c o mm o n Al dermary

’
Churchyard ballad to which I believe no earlier date than 1 71 0 can

, , ,
reas onably be assigned .
The s even tunes mentioned by Chappell are in D au n e y s Li s t Of 53 ’
taken from what i s k no wn as th e B l ai ki e manu s cript 1 69 2 We have , .
failed to se e what they are like ( w ith the exceptio n of Macbeth which ”
we go t from a transcript made about becau s e we cann o t ascertain

where the origin al manu s cript is if still in exis tence Macbeth at any , .
rate is a stage tune which fr o m i ts character may have been c omp os ed by

,
an Englishman Sco t s man or Iris hman and i ts nati o nality cannot be

, , ,
proved s i mply by the name The w o rds u se db y Dauncy ( page 1 4 3 ) are

.
Grea t par t o f the c o llectio n con s is ts o f po pular Engli s h s ongs and dances
which we need not enumerate The foll o wing are among th os e of which .
”
Scotland may claim the parentage ( here he add s a lis t ) Referring to When .
“
the King enj oys h i s o wn again w hether it can be cla s sed as Englis h or ,
”
not its pro t o type is found i n NO 55 o f the Skene MSS Part IV which
, . . .
,
we do n o t concede to be l ater th an 1 63 0 under the title o f Marie me ,

“
marie me qu oth the bo nnie la s s The Nightingale already mentio ned .

,
”
th ough n o t claimed i s pro bably a Scottis h versio n —we have seen a c o py

,
of it published i n 1 64 9 al so one o f a later date but both are much inferio r

, , .
We may remark here that Chappe l l blamed D aune y fo r having o mi tted

,
22 E ARLY SC OTTISH MELOD IES .
fr o m his index Let never Crue l ti e dis h on o ur beauty while at the same ,
time The Nightingale w a s n ot included in his o wn index t o The

“ ”
P o pular Mus i c o f the Olden Time .

”
In answer to Chappell s arguments we have to say ( 1 ) I t h as n ot

’
, ,
been proved by him that the Skene Manuscript s or part of them were , ,
written after 1 640 th o ugh David Laing expressed hi s opinio n that

,
they sh o uld pr o bably be considered as ten years subsequent in date

“
,
either to 1 61 5 or t o which D a un e y assigned them ( 2) Mr .
D au n e y did n ot pr o fe s s to give all the air s fro m the Skene MSS n or .

,
t o place them in any particular order and n o d o ubt he c o nsidered ,
it unneces s ary to print any duplicates ( 3 ) The index printed in hi s w ork .
is that of the man us cripts ( n o t of the melodies he has given ) an d i t is ,
practically c omplete barring the solitary omis s io n and the indelicate title s
, ,
o f two other tunes ( 4 ) The statement that all the writing in Part II
. .
i s a century later than the tune Lady wilt th ou l ove me given at “ ”

,
the c ommencement i s pure c onjecture ( 5) Chappell in intr o ducing

,
.
,
what he call s the large number Of duplicates ( nine ) as evidence Of the ,

”
impr obability o f the c o llecti o n having been made for one person decidedly ,
s hews want o f so me care when exami n ing the manuscripts otherwis e

”
,
he w ould h ave seen had he unders too d the tablature that the air s were
, ,
o nly transposed int o o ther keys o r had an altered fingering ; which pr oves ,
h i s s upp os itio n to be worthle s s ( )

6 The fact that Adie u D u ndee is first
.
printed in The Dancing Ma s ter appendix of 1 688 The Three Sheep

“
,
Skins in The D ancing Mas ter o f 1 69 8 and that he do es n o t believe

” “ ”
,
P eggy is over the se a with the Soldier to be Older than 1 71 0 does ”

,
not disprove th e exis tence of these tunes in manuscripts of earlier dates ,
n or does it S how that they were copied fr o m the s e s o urce s .
Chappell s sole test in judging such matter s was apparen tly The
’ “
Dancing Mas ter He s ay s When D aun e y expre s sed his opinio n that the
.
”
s i x th was the Oldest part he was evidently deceived by the shape Of

,
the ( lo z enge shaped) n o te and further that The Sco tch adhered to , ,
“
Old n o ta ti o n l onger than the Engli s h e specially in writing mu s ic on ,
s i x line s This reference to music written o n s i x line s h as n o bearing

.
on any tablature wha t ever ; that o f the Skene c o n s i s t s o f f o ur line s o nly ;
again D a un e y s Ob s er vations were n o t c o nfined to the s hape o f the

,
’
n o te b ut i ncluded in addition to o ther evidence the appearan ce Of the

, , ,
paper besides which it l ook s as if i t had bee n penned by a di ff erent and

,
an o lder hand Fr o m what we have already mentioned we think the

.
”
,
fo l lo wing ad vice given by Mr Chappel l i s quite s uperfluo us : I leave

it to Scot tis h antiquaries to de termine whether c orro b orative evidence
of the date o f the manu s cripts may not be fou nd amo ng the titles of their
o wn airs Mr Daun cy even passed over Le s l e i s Lilt with o ut a ’ ’
‘
.
s u s picio n that i t derived i t s na m e from the Sc o tch general in the civil
wars .
”
J udg i ng fro m his fo rmer arg umen t Chap pell wished i t to be ,
believed that the MSS were not older t han 1 71 0 tho ugh he was not
.
,
24 EARLY SC OTTISH MELODIE S
rebuke in m o re explicit language ; but to the present day the depths o f , ,
S t e nh ous e s inventi ons have not been half fath omed S ome Of the effect s
’
.
o f hi s ingenuity will never be wholly obviated One cla ss of inventions .
i s very difficult to dispr ove where he fixes up o n an author for a s ong or , ,
makes a tale o f the circumstance s under which it was written Such .
evidence as in the case of She r o se a n d let me in will n ot always be at

, ,
’
hand t o refute him ( a n te p 50 9 to and much Of this class of fiction

,
.
s till remains f or th o se wh o are c o ntent t o quote from so imaginative a
s o urce It i s to be h oped that any wh o may henceforth qu o te fro m him

.
will give their authority f or he h as s ometimes been copied without acknow

,
”
ledgment and thus h i s fictions have been endor s ed by respectable names
, .
In a foo tn o te h e endeavo urs to shew that D aun e y was led int o an error by
u s ing on e o f S te n h ou s e s n o tes We shall refer to this under Katherin e
’
.
“
Ogle . With o ut undertakin g a defence of Willi am Stenh o use or con

”
,
do ning his numer o us inaccuracies we nevertheles s hold that Chappell s

.
,
’
treatment of him i s unjust and exaggerated and that to exhibit him as ,
having purposely pur s ued a c o ur s e o f deceit i s to say the least entirely , ,
unwarranted We s hould like to hear o f a perfect bo ok or individual we

.
see that even William Chappell i s n o t infallible W h o can believe such .
charges with o ut pro o f ? To p oint o u t err ors do e s not pr ove that the pers o n
wh o made them was guilty o f fabrication or wil ful decei t Neither i s the , .
case strengthened by alluding to the late Dr D avid Lai ng nor to G e orge ,
Farquhar Graham That the fo rmer corrected a number of S te fih ou s e s

.
’
’
dates and s upp o sed him mi s taken deceived does not support Chappell s
, ,
’
,
’
accusa tio n s and it is eas y to S h o w that Laing c o mmitted mistakes in dates

,
him s elf S te nh ou s e s e ff o rt s embraced notices of the songs a s well as the

.
’
airs and hi s informatio n c o ncerning both the w o rds and mu s ic had to

,
be gathered fr o m variou s quarter s for he had neither public libraries nor , ,
yet the British Mu s eum at hi s elb o w We have s till to learn h o w G F . . .
Graham admini s tered rebuke to an individual who was dead twenty years
bef ore he t ook up the subject of The S ongs of Sc o tland These charges “
.
”
were m a d e after S te nh ou s e s deceas e and he h ad no opp ortunity of vindicating

’
himself n or of shewing s uch manuscript s as he p o s s essed Chappell s only

, .
’
attempt to pr o ve his accu s ati on s i s the endeav our to e s tablish them ,

”
thr ough the d o ubtful air She r os e and let me in s e e page 3 5 , , .
In concluding h i s chapter entitled Anglo Sco t ti s h S ongs Chappell pays -

,
’
a tribute to G F Graham the editor o f Wo o d s Songs Of Sc o tland ; but
. .
,
“
a t the s ame time he regret s that Graham did n o t , go far enough in suppor t
of h i s ( Chappell s ) o wn o pinions and fini s hed by sta ting The foll owing
’
, ,
t w o specimen s o f Angl o Sc o tti s h s o ng s will su ffi ce as examples of tha t class

-
o f popular music of the o lden time

”
vi z Fife and a the land s about it , .
,
“ ’
,
”
and Sawney was tall and of n oble race ( C o rn riggs )

“
The s e and other .
tune s included in his fo o tnote s we shall refer to under the i r respective titles , .
O H A P TE R V
ENGLI SH CLAIMS .
JOHN ANDERSON MY JO .
IN The Popular Music o f the Olden Time , page 1 1 7 and in the Appen di x
,
theret o page 770 John Anders on my j o

, , has been claimed f or England
JORN ANDERS ON arr Jo .
by Chappell as a mere m o dification of the very old English tune I am ,
Hi s argument i s bas ed o n the

’
the D uke o f Norfolk o r Paul s Steeple ,
.
’
publication of a tune called Paul s Steeple in J ohn Pla y ford s Dancing ’
Master ( which he dates 1 650 th o ugh the c orrect date i s

”
a nd ,
’
on the fact that Paul s Steeple had been de s troyed by lightning about
o n e hundred year s earlier a catastrophe lamented in a ballad

printed a few days after — all which we may grant to be the cas e But as , .
Chappell gives n o evidence a s to the tune earlier than 1 650 we may o n , ,
the same reasoning a ffi rm that the tune named The Old Hundred i s as
,
o ld as the P s alm He next endeavours to supp ort his argument by dragging

.
d o wn the age o f the Skene MSS ( in which J ohn Ander so n appears) to .

“
1 71 0 claiming in thi s way a c onsiderable priority f or Playford

,
Chappell .
,
h owever d o es n ot inform u s what David Laing in his additional notes to

, ,
S te nh o us e s Il l ustrati o ns says regarding the Skene MS

’
I have some
,
d oubts whether it s h o uld n ot be c o n s idered as ten year s s ubsequent in date

’
ei ther to 1 61 5 or 1 620 Accepting Laing s Opinion hi s latest estimate s till
.
,
leaves a margin f or Skene of over twenty years To s hew Chappell s .

’
perfunc tory and mis l eading treatment of the Skene and other Sc o tti s h
manu s cripts we refer the reader to pages 20 21 22 With o ut better proo fs
, , , .
’
than tho s e adduced theref o re Chappell s claim lacks fo undation A s to his
, , .
”
all usion to the Iris h Cruis keen Lawn we s hall leave our nei ghbours ,
acr os s the Channel to defe n d the m selves The vers ion of Pa ul s Steepl e .
’
’
given in the 1 8 9 3 edition o f Chapp e ll s work prepared by H Ellis Woold .
ridge diff ers slightly fro m that given in The Popular Music o f the Olden
Time .
JOHN C OME KISS ME NOW , .
In The Popular Music pp 1 4 7 8 Chappell says This favorite old , .

-
, ,
tune will be f ound in Queen E li z abeth s Virginal B o ok ; i n Pl ay ford s

‘ ’ ’ ‘ ’
I n tr odu cti on and in s everal o ther book s that he mentions : but the first
wo rk to which he appends a date is Pl a y f ord s Di vi si on Vi oli n
’
He further give s qu otations fr o m so m e plays i n which the name of the

t une o ccurs ; the earlie s t o f which play s is Heywo od s A wom a n ki lled ’ ‘
w i th ki n d n ess 1 600 : J a ck S li m e — I c o me to dance n o t to quarrel ; come

’ ‘
, , ,
what s hall it be ? R oge ro ? J e n ki n — Rogero n o ; we will dance Th e ,
B eg i nn i ng of th e World S i s ly —I l ove n o dance so well a s John come ki ss

‘
.
m e n ow .
”
We may remark here that The C o mpanio n to the Play “
h o use 1 764 and The Theatrical Dictionary 1 79 2 give the date o f the
,
”
,
“
, ,
play as 1 61 7 Chappell states tha t the tune has no Scotch character but
.
,
here we differ from him as in o ur o pinio n i ts characteristics are as much

,
Scottis h as Engl i s h He als o info rms us that it is one o f the so ngs parodied
.
in Andro Har t s Compe n di u m of Godly S ongs 1 59 9 0 11 the stre ng th of

’
, ,
which it is claimed as Sc o tch Chappell to strengthen hi s p ositio n adds , ,
i n his appendix pp 771 2 ,

This tune is also i ncluded i n Musick s
.
-
‘ ’
ENGLISH CLAIMS . 27
Delight on the Cithern 1 666 ; and he further takes exception t o what

,
’
he had already said that the tune was not to be found in any old Scotch
,
c opy by admitting it to be in the Bl ai k i e MS We refer ou r readers to

,
.
the Appendix to thi s v o lume f or the Queen Eli z abeth Virginal B o ok and ,
to page 1 1 f or the B l a iki e Manuscript It may as well be stated that we .
have fo und J ohn c ome ki s s me n o w in o ne of Play ford s earliest pub

“ ’
li ca ti on s vi z
, .A B ook of Instructio ns f or the Ci thern and Gi ttre n ,
where it i s given in three different ways but n one of them re s emble the ,
.
versi o n pro duced by Chappell n or the Sc o ttis h c opie s of B lai k i e 1 69 2 nor

, , ,
Margret Sinkler 1 71 0 In all probabili ty the Sc o ttish air was diff erent
, .
fro m the English one The vers ion of the tune which Chappell give s i s a
.
”
c ompo und from two source s Playford and Wal s h s D ivisio n Vi o lin
’
“
, ,
the dates of b o th of which are doubtful Mr Woo ldridge prints the tune .
’
fro m the Fi tz wi lli a m M S which Chappell alway s s tyle s Qu e en E li z a be th s
,
S te n h ous e s as s ertio n that the s ec o nd s train of the tune

'
Vi rgi n a l B oole
”
.
called The New rigged Ship i s a mere co py of the sec ond part o f John
-
c ome kiss me now thrown int o triple time i s fallaci ou s

,
”
,
.
JOHN COME KISS ME NOW.
PEG -
A -
RAMSEY .
U nder the above t i tle Chappell in his P opu lar Music pp 21 8 20 ,

“
,
.
-
,
g i ves two tunes The first is called c a Ra ms ey in William Ballet s

.
“ ‘
- -
’ ’
Lute Book and the sec ond in the Dancing Master 665 i s named
, , ,
28 EARLY SCOTTISH MELODIES
Watt o n To wn s End and to both tunes s everal songs are sung incl uding
’
,
’
that of B onny Peggy Ramsay To Watto n T o wn s End we make .

“ ’ ”
,
no clai m ; but we are info rmed by S tenh ouse that the song by Burns
’
co m mencing Cauld i s the e e ni n blast in John son s Sco ts Mus ical Museum ’ ” ’
No 58 3 is adapted to an ol d Sc ottish Ai r called Peggy Ramsay

.
,
Th i s .
”
tune h o wever bears no relation t o the tunes in The Popular Music o f

, ,
the Olden Time though it sugge s t s tha t there was a Sco t tis h tune o f the
,
same name We find the o riginal Scotti s h air in the Ro wal la n

.
Manu s cript ci rca 1 629 as Maggie Ramsay and of this the t u ne taken
”
, , ,
”
,
from William Bal let s Lut e B ook is merely an Englis h version Chappell ’
.
’
adds that Ballet s Lute Book c ontain s many favourite tunes of the 1 6th ’
century but this i s n o evidence o f the age o f the book and we are doubtful
,
”
,
’
if it is s o early as Eliz abe th s reig n See no te on Cauld i s the E e ni n ’
.
’
Blast page 23 7
,
”
.
UP IN THE MORNING EARLY .
Whether the air to the Scottis h song of the above name or that which ,
Chappel l give s from Pl ay ford s Dancing Mas ter 1 651 or 1 652 called Stingo ’
, ,
“
or the Oyle of B arley be of Scottish or English origin we shall not , ,
presume to determine According to Chappell i t is a questio n of dates .

, .
He states c o rrectly that it i s fo und in every edition of the Dancing Master “
and in m any o ther publications The tune appear s under th e title of .
Stingo or the Oyle o f Barley in Playford 1 651 up to 1 69 0, and after ”

,
ward s as C o ld and Raw s aid to be derived from a New Sc o tch S ong ,

”
written by Tom D U r fe y N o twithstanding all this we shall present to ’

.
,
our readers what Chappell om itted to m ention when he refers to John

’
Hil to n s w o rk Catch that catch can 1 652 The tune is there called
,
“
,
.
“
Nor thern Catch which rai s es the presumption that it may not be English
, .
Again in qu o ting D U rfe y s Pi l ls to Purge Mel anch oly 1 71 9 Chappel l

,
’ ’ “
,
”
,
’
neglect s to state that immediately fo llo wing The Farmer s Daughter
,
“
,
printed with the air in vol ii page 1 69 i s a New S ong to the Sc o tch Tune . .
, ,
“
of Cold and Raw In relating Sir J ohn Hawkins s anecdote ab o ut Queen

.
’ ’
Mary the consort of King William III he says Mr Gosling and Mrs
, .
, ,
“
Hunt sung several composi tions o f P urcell who accompanied them u pon ,
E NGLISH CLAIMS 29
the harps ichord ; at length the Queen beginning to grow tired asked Mrs ,
”
Hun t if she c ould not sing the ballad of Cold and Raw In this “
.
qu o tation he suppresses the w ords old Scots which precede the wo rd

,
“
,
ballad as related by Sir John In a fo otn o te he gives as his reason

”
.
for this omi ssi on that Hawkins had evidently seen n o o lder copy of the
,
’
tune than that c ontained in the Catch ( he el s ewhere mentions Hilton s
Catches as Play ford s first publication )
’
.
Sm oc. OR THE 0 m or EARLY

.
Stingo or C old and Raw I s however much i nferior to the Scottish

, , , ,
vers ion of Up in the morning early even if the latter were ev o lved out
,
”
of either or bo th Of them In the Straloch Manuscript written in tablature

.
,
for the lute said to be dated 1 627 there is a tune named Earlie in the
, ,
30 EARLY S COTTISH MELODIE S .
Morn ing but as the m anuscript disappear e d over fifty years ago we are
, ,
n o t i n a p o siti o n to as s ert w hether it is or i s n o t the same air The .
m anu s cript we und er s tand pa ss ed int o un kn o wn hands at the s ale of Mr

, ,
Ch a l m e rs s library in 1 8 45 and a c o py which had been made by G F

’
. .
,
Graham wh o lent it to a friend is unfortunately lost It i s entirely

, , . ,
do ubtful which c o untry pro duced the mel ody In n o ticing the tunes .
Stingo o r Oyle of Barley and The Bro om the bon n y broom Chappell
,
“
, ,
place s the f ormer i n the reign of Charle s I and the latter in the time o f .
,
”
the C omm onwealth though both are found in The Danci n g Ma s ter 1 651
, , ,
for the fir s t time and Charle s was executed in January 1 649

, .
A HEALTH TO BETTY .
’
This air which is better known under the title of My mither s ay
,
“
o w ran o er me — the o pe n ing line of Allan Ramsay s s on g — stand s in the

’ ” ’
g l ,
Popular Mu s ic of the Olden Time pp 3 66 7 as an English c o untry dance , .

-
, ,
to which the following w ord s have been added Fourpence half penny ,
“
,
-
,
farthing and the tune is clai m ed on the strength of its being fo und
,
”
A HEALTH TO B ETTY .
A HEALTH TO Barns.
Founrxncz E ALPPE NNY.
in Playf ord s Danci ng Master 1 65 1 Stenhouse in his n o tes to Johnson s

’
, .
,
’
’
Scots Musical Museum s ays Ramsay s verses are adapted to an ancient
, ,
“
’
tune in triple time called A Health to Betty which originally consisted
, ,
‘
,
Of on e strain and is printed in this simple style i n Thomson s

’
, Orpheus ‘
32 EARLY SCOTTISH ME LODIE S
states th at J ames Graham Marquis of Montr o se al so wrote lines to this

“
, ,
tune retaining a part of the first line and the burden of each verse and
, ,
fur ther It wa s no doubt the Marquis of Montro s e s son g that made th e

, , ,
’
tune p o pular in Scotland It is fo und under the name of Montros e Lyns .

,
in a manuscript of lyra vi o l music da ted 1 69 5 recently i n the p o sse s sion -

, ,
o f Mr A B l a ik i e The tun e has therefo re been included in c ollection s of

. .
Sc ottis h Music ; but My dear and only love ta ke h e e d cont i n ued to be ‘
the p opular s ong i n England an d from that it derives its n ame Ob s erve , .
”
’
Chappell s animus in qu o ti ng date s o f Scottish manuscri pts Whether .
’
Jo hn Gamble s tune i s the o riginal we shall not pretend to say b u t , ,
the ver s es of the Marquis of M on trOs e w ere certainly written befo re

the dates of 1 657 or 1 659 as h e was executed in 1 650 Robert Chambers , .
gives no o pinion in h i s Sc o ttis h Songs 1 8 29 and in his S on gs prior to , ,

“
Burns he merely qu ote s Chappell s w ords That our readers m a y compare

,
” ’
.
the two we give the air taken fro m Gamble s MS and that fro m the B laik i e
,
’
.
MS th ey di ff er fro m each o ther very c on s iderably

. .
BY THE BORDER SIDE AS I D ID PASS .
In The Popular Mu s ic page 43 9 i s a song claimed f or the south o f

“
, ,
the B order the w or ds of which we do not intend to dispute It is given

, .
as
“
A b order s ong entitled Ballad on a Scottis h C o urtship fro m A s h
-
,
‘
,
’
m ol e an MSS N os 3 6 and 3 7 article 1 28 ; and we are also t o ld that tune

.
, .
,
is in character like Ca va li lly m a n A s hm o le held a captain s c o mmis s io n

, , .
’
BY THE BOIIDESS SIDE AS I DID PASS.
under Charles I in the civil war and pr o bably noted it down fro m heari ng
.
, ,
it sung We h ave n ot a d oubt that A s hmo le heard the air which is

.
”
,
n o other than a rude ver s i o n o f the o l d Scottis h tu n e Of Calder Fair “ ”
given in 3 measure and that he likely wro te i t down from memory , .
Apparentl y the words were fro m his o wn pe n as it is evident n o Scotsman ,
w o uld S in g such nonsen s e to hi s lass as the w ords given us by Chappel l , .
By t h e i de as I d i d pass
b orde r s ’
s , He cou r e d t h e r i n S co t ti s h w ords ,
All i of Le n t o n it was
i n th e t m e , Li k e l a n gua ge as th e l a n d a ffo rd s ,
I h e ard a S co t sm n an d h i s l ass a , Wil t t h ou n ot l e v e th s e l a irds a e a nd l ords
We re t al k i ng l o v e and l e e . M y Joe a n d gan g with m e
, .
Although this acco unt does no t prove that the tune fo und its way
in t o England at the union of the two Crowns it shows that it was ,
ENGLISH CLAIMS . 33
carried acro ss the Border in the reig n of Charles I n o twithstanding which .

,
Chappell s ays the p opulari t y o f Sc o tti s h music i n England cann o t be

,
“
dated further back than the reign Of Charle s II .

”
THE BROOM OF COWD E NK NOW S .
In The P opular Music pp 4 58 4 61 a t une called The Broom the ,

.
-
, ,
”
bonny Br oo m is gi ven fro m the earliest editi on o f The Dancing Ma s ter
,
“
,
1 650 it is also f o und in Mu s ick s Del i ght on the Cithren 1 666 ’
,
”
.
Chappell say s I believe this to be the tune o f Th e n ew B room e on hi ll a s

, ,
well as of another ballad in the same metre and iss ued by the Same printer , ,
entitled The l ovely Northern Lass e

,
Wh o i n th e d itty h e c mpl ai ni n g s h e w s er o
Wh at h arm e s h e g t m il kin g h e r d ad d i e s e w e s o ,
’
to a pleasant Sc otch tune called Th e broom of Cowd on K nowes Lo nd on .
printed for Fr Coles in the Old Bayly ( Mr Halliwell s C o llectio n ) This i s

.
’
.
the English ballad o f The broom of Cowden owes and the tune is here said ,
to be Scotch I believe it n ot to be Sc o tch for the fo ll o wing reaso n s

.
,
Firstly the tune is not in the Sc o ttish scale and i s to be fo und as a three
, ,
part s on g in Addit MSS No . Briti s h Museum Secondly becau s e

.
, . .
,
’
Engli s h tune s or songs were frequently entitled Scotch if they related
to Sc o t t i s h subjects or the w o rds were written in im itation o f the Sc o tti s h
,
dialect ; and I rely the more up o n thi s evidence from having

fo und many other ballads to the tune of Th e br oom th e bon ny bonny , ,
broom b u t it i s n o where el s e entitled Scotch even in ballad s i ss ued by

, ,
the s ame printer Thir dly Burton in his A na tomy of M e l a nch oly quote s
.
, , ,
i t as a c o m m on E nglish tune F ourthly because 1 650 i s too early a

.
,
date for Sc otch tunes to have been popular am ong the l o wer clas s es in
England — I do n ot think one can be traced before the reign of Charles I I
, .
It i s a common m o dern error to supp o se that England was inundated wit h

Sco tch tunes at the unio n of the two cro wns Let us reply i n the s ame .
o rder to Chappe l l s reas ons

’
Fir s tly Sc otti s h mu s ic was never c onfined
-
,
to any particular s cale th ough s ome writers would have us believe it was
,
.
l imited to a pentat o nic s cale i a on e of five n ote s in con sequence o f the , . .

,
u s e of some supposed instrument havi n g j ust that number o f di s tinct
s ounds Why Chappel l advances this argument we cann o t understand

.
,
because at p age 790 he s ay s Every Bagpipe that I can trace had a fourth ,
“
.
The Scotch Highland Bagpipe has n o t only a fo urth but al so the two ,
sevenths maj o r and min or can be pr o duced up o n i t Every scale under

, ,
.
,
the old s ystem of music had a fo urth After his own admissio n we have
, .
”
only to ask Were our ancest ors v oices deficient in th o s e two intervals ?
,
’
Seco ndly we find that spurious as well a s genuine Scotch tune s and songs
,
were inserted in The D ancing Master and o ther w o rks o f Playford ”

,
The e arli e s t e d it i on i s Th e E n gli h D n ci n g M as t e d a t e d 1 651 "

s a r, .
C
34 EARLY SC OTTISH ME LOD IES .
and were al s o printed by Wal s h ; further T orn D U rfe y and other Grub
‘
,
’
Street writer s made attem pts t o write in the Sc o ttish dialect which shews ,
c onclu s ively that b oth Sc otti s h tune s an d s on gs had bec ome fashionable
and w o rth imitation Neit her is it of any c on sequence that the printer Fr .
, .
C o le s afterwar ds omitted to in s ert the w o rd Sc o tch when linking the

,
tune to o ther ballads Thirdly Burton s s ubject was n o t a musical on e .

,
’
and the mere na min g o f a t u ne was s u ffi cient to serv e his purp os e He was .
pr obably inc ompetent t o decide i ts n ationality Fourthly Chappell thinks .

,
a Sc o ttish tune cann o t be tr aced before the reign of Charles II For .
evidence on that point we refer the reader to La shle y s March page 4 0 ,

’
,
.
Chappell give s the tune fr om The English Dancin g Mas ter and a dd s “ ”
, ,
The fir s t S cotch s ong Of Th e broom of Oowden hn ows was printed in Alla n

Ram s ay s Te a Ta ble M i sce lla ny 1 724 It i s t here clas sed am ong the ne w
’
-
, .
w ord s by different han ds an d c ommen ces How blyth ilk m orn was I to ,
’
,
‘
se e .
’
The subject of the older E n gli sh burden i s there retained The above .
ver s i o n o f th e tune i s n ot s o go od as that in Th e B egga rs Op era o r in ’
Th omson s Orph eu s Ca le don i a s ; but th os e c o pie s are o f more than seventy

’
”
years later date Robert Chambers in The S on gs Of Scotland prio r to
.
,
“
Burn s s ay s that the tune which i s a ballad on e in on e part was re com

, , ,
m ended t o D r P epu s ch by its s weet ne ss and simplicity and ad opted by him ,
as the parting s train of Macheath and P o lly in The B egga rs Opera He ’

.
”
likewise rem arks in conn e c tion with The Lovely Northern La sse th a t, ,
COu l e s the printer was a publi s her of br oa d s ide bal lads i n th e re i gn of

, ,
Charle s II if n ot als o s omewhat earlier .

, He further s tate s that in the .
,
Roxburghe C o llection on e o f these piece s bear s th e initials of which

we may c on s equently regard a s a shad o w of the name o f the auth o r o f The
North e rn L a ss He al so drags in The new bro o m in the Pepys Collection
.
c omm e ncing P oore C orido n did sometime sit h a rd by the br oome al o ne

, ,
”
but it has n o weight whatever as Chappell shew s that Pepy s in h i s diary firs t ,
refers to Sc o tch music in 1 666 Such authorities as Stenhouse G F .

, . .
Gra ham and J ohn Mui r Woo d c onsi d er th e mel o dy a gen uine Scottis h one
, ,
.
The fir s t s ays Thi s i s in all pro bability on e o f the Sc otti s h tune s that
, , ,
were i ntr o duced int o E n gland n o t l ong after the union o f the cr owns in
Graham s ay s Thi s i s a very ancient and beautiful air of one ,
“
s train and adds that in all the vers i on s given in the Older Scottish “
, ,
c o llection s the air begin s on the s ec on d n o te o f the scale while in Play

, ,
ford s Dancing Mas ter 1 651 it begins on the fifth and in Watt s Mu s ical
’ ‘
, ,
’
Mi s cellany and some o ther w ork s on the key n o te it s elf

’
,
We concur in ,
-
what the s e gentlemen have sta ted ; the ut m ost that can be said for Play
ford s ver s io n i s that it end s on the s ec on d of the key lik e th e Scottish
’
o n e but it di ff er s in o ther re s pects and i s very in s ipid

,
May not this be a ,
.
tune that had f ound its way int o E nglan d before the reign of Charles I I .
”
When it is called by C o les a pleasant Sc o tch tune he does not say a “
,
“
”
plea sant new tune nor a ple asant new Sco tch tune D oes n o t the refrain
,
“
.
of the son g itself suggest its Scottish ori gin The Broom of Cowden ,
ENGLISH CLAIMS . 35
kn o wes being on the north side Of the Tweed ? Had the original s ong
b een E n glish w o uld it n o t have been m ore likely f or the broo m to be
,
that of Richmond Hill or Hounsl ow Heath The three different songs in

The Tea Table Mi s cellany to th e tune of The Br oo m Of Cowden ” “
’
knows prove sufficiently that it was well known to Ram s ay s c on tributors ,
and suggest the possible existence of earlier words .
Tux Bacon or COWDENKNOWS .
The first vers ion is from Playford the second from Ramsay ,
.
SHE ROSE AND LET ME IN .
In The P o pular Music of the Olden Time pp 509 51 1 u nder the , .

-
,
title of The Fair on e l e t me in Chappell inform s us that The word s Of ,
the o riginal song The night her blacke s t s able s w ore or The Fair on e let
,
’
,
’
me in were written by D U rf e y and the tune compose d by Th omas Farmer
,
’
, .
They were published t oge ther in A New Collection of S ongs and Po em s ‘
by Tho mas D U rf e y Ge nt Printed f or J os eph Hind m arsh at the Black

'
, .
Bull in C ornhill 1 68 3 ( 8 vo) and there entitled The Generous Lover a new
"
, ,
song se t by Mr Thoma s Farmer Al th ough there can be no doub t Of the .

’
w ords and music of this song it has been claimed as Sc o tch About fifty , .
years af ter its first publicati on the tune appear s i n a c orrupt form in ,
Th omso n s Orpheus Cal e d on i us ii 1 4 1 73 3 The alterations may have

’
,
’
.
, .
aris en from having been traditionally sung or m ay have been made by ,
Th om son There are als o a few changes in the w ords such as the name of
.
,
’ ’
Stella altered to Nelly and She r ose and let me in to She rai s e and
, ,
’
loo t me in The s e were c opied fr om vol Ii of Ramsay s Tea Table
. . .
’
’
Mi s cellany in which the son g i s marked Z a s being old Allan Ram s ay
, .
was n o t particular as to the nat i onality of his songs — i t sufficed that they ,
were popular in Scotland Hi s c o llection include s m any of Englis h o rigin ;

.
and several of the tune s to which the songs were to be sung are E n gli s h
and Angl o Scotti s h Ritson claimed this in h i s E ssa y on S cotti sh S ong
-
.
, ,
as an Engli sh son g of great merit which has been s co ti fie d by the Sc o ts ,

”
them s elve s Rit son however does n ot say that the song i s by Tom D U rfe y
.
, ,
’
n or the m u sic by Farmer and he add s The m o dern air a fine c omp os itio n “
, , ,
( pro bably by O s wald ) i s very diff erent from that in the Pill s Rit s on "
, .
here pays a c o mpliment to James O s wald Stenh o u s e di s putes Ri ts o n s .

’
ass ertion upon which Chappell remarks Mr S te n h ou se s Opini on o f the

, ,
’
merits or demerits of the song are of little importance it s u ffices to say ,
that Burns differed from him ; further on Chappell says It would have -
,
“
36 EARLY SC OTTISH MELOD IES .
’
been unnecessary to refer at such length to Mr S te n h ouse s n o tes if they
had not been tran s ferred to more recent works but in the first place the , ,
edit o r of Messrs Blackie s B ook of S cotti sh S ong repeat s h i s s tatement that

’
the origin al S cotch words are to be fo und in Pl ayf ord s Choi ce A yres In ’
.
the s eco nd Mr Sten h ou s e tellin g u s that this so n g was o riginally written

,
by Franci s Semple Esq o f Beltrees about the year

,
.
,
it h as been ,
recently printed am on g poems by Francis S e m pill Even the learned edit o r .
o f Wood s S ongs of S cotla n d

’ ‘
doe s n o t questi on s tatement s so audacio usly
put f o rth alth ough he h as frequently had occasion to convict Mr Stenh o use
,
of m i s qu oting the c o ntents of mu s ic b ooks that he pretended to have read

- -
,
bu t w a s unable to decipher
”
We would firs t direct a t tentio n to the w o rds
.
”
s e t by to which Chappell himself appli es two meani ngs
, Whether .
TEE FAIR ONE LET ME IN

.
they signify c omp o sed by or S imply adapted to the w o rds of the son g or
, ,
refer so lely to the addition o f an acc om pani ment to the tune — they have a ,
very do ubtful s i gn i fican ce * Chappell referring to Stenh ouse page 61 6

.
, , ,
say s One class of his ( S te n h ou se s ) inventions is very difficul t to disprove

,
’
where he fixes on an auth or f or a son g or makes a tale of the circumstances ,
under which it wa s written Such e vidence as in the case of S he rose a n d

.
,
’
l e t m e i n will n o t always be at hand to refute him ( a n te p 50 9 to
, and , .
m u ch of thi s clas s of fic tio n s till remains for tho s e wh o are c o ntent to quote
fro m so imaginative a s ource .
”
Without expre s sing any opinio n on S te nh ous e s asserti on s or on the ’
appearance of the tune in the Orpheus Cal e doni us 1 73 3 in a c o rr upt ,

”
,
fo rm or on any alteratio n s by Allan Ramsay or anythin g c o pied from him

, , ,
the edit o r s imply s tate s that he has the air in Margaret Si nk le r s MS “ ’

.
Mu s ick B ook under the title o f She roa s e and let m In pr ov i ng “ ’ ”

,
that it was known by that name much earlier than the publicatio n of
”
“
The Tea Table Miscellany The versio n given i n Sinkler is natural
.
We pi n i on t h at th e w o rd se t may d e not e s i mply th e wr iti ng dow n of th e tune

are of o ,
from
s om e n e wh o h ad n ot th e ab ility to d o s o
o an d wh o s an g or pl a y e d e n tire ly b y e ar
, . See
Ch appe l l s own de fin iti on of th e w ord s t i n h i s appe nd i x page 78 6 un de r Lill i b url e ro
’
e , , .
ENGLI SH CLAIMS . 37
and assuredly superio r to the strained ar tificial se t pres ented by Chappell

from D Ur fe y It is absurd to s ay th at Ramsay altered She rose and let
’
.
me i n ; for these w ords do n o t occur in D Urfe y s song alth ough the last
” ’ ’
”
li ne of his third stan z a i s She d ris e and let me in The ques tion how ’
,
.
,
ever is not o n e of w ords so we give the two vers io ns o f the tune those
, , ,
o f D U rfe
’
y and Sinkler fro m which ou r readers ca n judge of their character

,
and na tionality .
M U I RLAND WILLIE ( THE NORTHERN LASS ) .
In The Popular Music of the Olden Time pp 559 561 under the
“
,
.
-
,
title of The Northern Lass Chappell contends that the air is Engl i s h ; ,
”
and in supp ort o f hi s claim he states that Oldys i n his MS Additi on s ,

.
to Lan gb ai n e s ays In a c o llection o f P o ems called F olly i n P r i n t or a

, , ,
B oole of R hi m es 8 vo 1 667 p 1 0 7 there is a ballad called The N orthern

, , , .
,
”
Lass — She was the Fair Maid of D oncaster e tc There are two songs
, ,
.
’
on the Fair M aid Of Doncaster in F oll i n P i n t the firs t entitled Th e

y r , ,
D a y S ta rr e of the North e tc : it c onsists of sixteen stan z as of fo ur lines

, .
and commences thus

hi s won de r of th e Nort h e rn S t arre
T ,
W hi ch s hi ne s s o b ri gh t t Don c s t e r a a ,
Do th th re ati n a l l m nk i nd a w arre a ,
W hi ch nob ody can de n y .

’
The abo ve was evi dently written to the tune o f Green Sleeves . The
s ec ond s ong i s entitled The No rthern Las s t o the s ame person to
, , ,
a n ew
’
tu n e
. It begin s thus
h e re d w e ll s a m a i d i n D n c t e r
T o as
I s n am e d B e t ty M dd ock s a ,
NO f ll o w d e e r s o pl um p n d f i r
a , a a ,
fe d i n p rk or pa dd ock s e tc
’ ’
E er a , .
The new tune i s fo und in Apollo s B a n qu e t 1 669 ( within two year s ’
o f the date of the b ook

) under the name of Th e Northe r n L a ss It i s
, .
there arranged f or the Vi olin and seems to have been c opied fr o m s ome ,
pipe version of the air By the repetitio n o f o n e phrase the s ec ond part o f
-
.
,
the tune is ex tended to s ixteen bars ( ins tead o f eight which the w o rd s ,
require ) but if bars twel ve to nineteen inclusive were omi tted i t wo uld be
, , , ,
Of the proper ballad length All later versions contain only eigh t bars in
-
.
each par t The above is still po pular but in a diff erent fo rm Instead o f
.
, .
being a s l ow and plaintive air it h as been tran s formed int o a cheerful o n e , .
In 1 8 30 it was published under the title o f An o l d E ngli s h air arranged ,

’
a s a R o nd o by Samuel We s ley b u t be tween 1 669 and 1 8 3 0 i t appeared in

, ,
P i lls to pu rge M e la ncholy in Th e M e rr M u si ci a n a nd in s everal b a l la d

y , ,
o peras I t i s printed twice i n The M e rry M usi ci a n : fi rs tl v to a s on by

g
.
,
38 EARLY SC OTTISH MELODIE S .
’
’
D U r fe y and secondly , to one from the ballad opera of M omus - tu rn d
Fabu li s t ,
c o mmencing
Ah
At t e n s i n th e m ark e t l ace
-
p
r g t
A l e a n e d sa e m oun e d a s age t .
’
1 725 .
Tim Norm an Lass .
th e y sho uld cha nce to me e t, M ust
ca p he r fee t, Whi ch no body ca n do
In the ba l la d ope ra s it generally t ake s the name fro m D Urf e y s song

a
’
,
c o mmencing Great Lord Frog to Lady Mo u s e etc The versions in the

,
’
.
ballad operas— even the two in Th e M e rry M us i ci a n — di ffer con siderably b ut

-
,
40 EARLY SCOTTI SH MELODIES .
pr o bably in some of th e earlier editio ns which I have not seen He al s o .
makes reference to so me other ballads and mentions th a t Allan Ramsay ,

’
i n cluded In January La st in vol ii o f the Tea Table Miscellany as a . .
-
’
s ong to be sung to i ts o wn tune He altered some of the lines and
‘
.
,
impr oved the s pelling of the Anglo Sc o ttis h words but made no addition -
,
.
Ramsay s versio n was f o ll owed by Thom so n in h i s Orpheus Cal e do ni us

’
( ii 4 2 but b e changes the name t o The Gla ncing of her Apr o n ; ‘

,
.
taking that title from the seventh line o f the song In on e o f the Leyden .
MSS ( ab out . the tune bears the name o f The bo nny br o w fro m the ,
eighth line of the same Chappell then gives the air s aying The foll o wing
.
”
, ,
is the old tune with the first s tan z a o f the old w o rds
,
but he omits to -
state the source of h i s versio n P layf ord in Ap ollo s Banquet 1 68 7 gives .

,
“ ’
,
”
,
1 679 .
A S eoron l m
' ‘
Lasm Manon AND GENERAL m M 1 652. 1 656

’ ’
vs re on. .
the air No 55 called A Sc o tch Tune with o ut any dis tinctive title and
,
.
, , ,
it i s b ut s lightly diff erent i n the firs t strain from that given by Chappell .
The tune we are inf o rmed by Chappell i s s aid to bear the name o f The
, ,
B onny Br o w in the Leyden MSS but h e make s n o mention o f the Bla i ki e

”
.
,
M S wh i ch he qu o tes so frequentl y where it i s N o 8 0 The b ony bro w ; “ ”

—
.
, ,
.
N o 94 In January La s t ; and No 9 6 Lady Binny s Lilt — all differing

.
,
”
.
,
’
,
”
fro m on e ano ther th o ugh derived apparen tly fro m the same so urce He gives .
u s al so the fo ll o wing narrative In 1 8 1 5 Mr Alexander Campbell wa s o n a .

,
t o ur on the b orders o f Sco tland f or the purp os e o f c ollec tin g Sc o tch airs D ,
h e recei ved a traditio nal vers io n o f the a i r fro m M 1 Th om a s Pringle wi th ,
a vers e o f o ther w o rds whic h Mr l ri ngle had heard h i s mo ther s ing to i t

,
’
’
This was the first stan z a o f the n o w celebrated s ong o f J o ck o Ha z ledean ,
which Sir Wal ter Sco tt s o admirably c ompleted I t was first printed i n .
Albyn s Anthol ogy ( vol i 1 8 1 6

’
with th e air arranged by Campbell
.
, , .
E NGLISH CLAIMS . 41
Campbell mist ook it for an ol d borde r melo dy Stenh o use in his Illustra .
tion s under The Glancing o f her Apron gives an air called Willie and
, ,
” “
”
Annet and s ays
, In January Last i s evidently a fl o rid s e t of this old
,
’
simple tune which h as lately been publ is hed in Albyn s Anthol ogy under ’
the new title of J ock o Haz ledean ‘

There is no mentio n h o wever o f
’
.
’
, ,
Wil lie and Annet in Campbell s publication and Stenhouse leaves us in ’
ign orance where the tune i s fo und with that title Whether the old .
words were Anglo Sco ttis h or n o t they prove n o thing in regard to

-
,
the tune I t may be stated that whatever wa s the n a m e or the

.
natio nality o f the o riginal melo dy Lady Binny s Lilt is the nearest ,
’ ”
”
approach o f all tho se mentioned to the n ow celebrated J o ck o Haz ledean ’
,
the s upp o sed B o rder melody After all what can be m ore convincing .
,
the tune on Chappell s own rea so ning i s pro ved t o be o f Sco ttis h origin
,
’
it is f o und in one of Pl ay ford s publicatio ns New Le s so n s on the Gittern

’
, ,
1 652 entitled Las h l e y s March

’ ”
,
“
In 1 652 Tom D U rf e y was only three .
’
years ol d .
THE D USTY MILLER .
In The Po pular Music page 608 it is said of The Dus ty Miller , ,

“
This is c ontained in the fir s t vo lume of Wal s h s Complea t; 0 0 untry D a nci ng ’
M as te r and in Th e Lady s B a nqu e t published by Wal s h ( th erefore the tune

’
must be English ) ; al so in a manu s cri p t which was recently in the posses

sio n of the late Andrew Blai ki e of Pai s ley and there entitled B i nny s Ji gg
, ,
’
.
”
The fact that Chappell fo und Binny s Jigg i n B laiki e s manuscript sh ows ’ ’
THE s om mm m .
di s tinctly tha t his examinati on had been very super ficial and his translation
o f i t wr on g — as may be s een by c ompari ng the tunes It is questio nable .
’ ”
whether Binny s Jigg though it c ontains in th e first strain a s erie s of
,
n o tes nearly identical with The Dusty Miller is really m eant for the “
,
”
same tune The tabla ture in the manuscript is n o t barred properly and d o e s
.
,
not clearly indicate in what measure the melo dy s hould be played .
Jig tunes are mostly i n g and a meas ure It may be stated that we are .. .
n o t info rmed fro m what source the tune gi ven in The Po pular Music “ ”
is taken .
S tenh o use i n hi s note s s ays tha t The Du s ty Miller is fo und in M rs

Crock a t s C ollection 1 709
’
Mr Frank Ki ds o n gives the date o f Walsh s
,
.
’
Compleat Country Dancing Master as 1 71 8 .
PEGGY I MUST LOVE THEE .
In h i s Popular Mu s ic o f the Olden Time ( page and under the

heading o f Angl o Sco ttish S o ngs Chappel l s upplying the name s of the
-
, ,
tunes to half a doz en of Ramsay s o wn songs gives the name Peggy ’
,
” “
’
I must lo ve thee to the tune of The Deel as s is t the plo tting Wh igs ‘
,
”
c omp o sed by P urcell — thereby meaning that Peggy I mu s t l o ve th e e , ,
is n ot a Sc o ts tune ; and i n a fo o tn o te to the same page he states that

’
, ,
“
The Deel a ss is t t h e plotting Whig s is the first line of The Whigs
‘ ’ ‘ ’
lamentable conditio n or The Royalists Re s olution To a pleasa nt n e w ,

’ ’
a !
and he c o nti nue s The w o rds and music are c ontained i n 1 8 0 “
'
tu n e ,
Loya l S ongs 1 68 5 and 1 694 a n d the music al o ne i n M us i ck s H a nd m a i d

’
, , ,
No w i n his
’ ”
Part II 1 68 9 as a Sc otch t une composed by Purcell
.
, ,
‘
,
.
,
n o tes up o n airs in The Sc o ts Musical Mu s eum Stenhouse maintain s“

,
that the Sc o ts tune existed before P urcell was bo rn and s ay s that ,
P urcell might have put a ba s s to it

“
and al though we cann o t exactly
contend for all that Stenh o use has s ta ted we are o f o pinion that he ,
is c orrect in his idea as to Purcell Chappell co ncludes that The Deel .
as sist the pl o tting Whig s in the 1 8 0 L oya l S ong s and the Scotch ( sh o uld ,
be New Sc otch ) tune wi th Purcell s name in M us i clc s Ha n d m a i d are

“ ’ ’
,
”
alike ; whereas the latter i s o ur Peggy I mus t l ove thee The latte r “
c o llectio n , however has n ot the w o rds c o mposed by ”but has a bass par t f or
, ,
the harp s ich ord with Purcell s name a t the end of it

, Of what value ’
.
,
then is Chappell s argument f or the tune being Englis h when it i s fo und in

,
’
the fif th editio n o f Apoll o s Banquet published by J ohn Playford ’ ”
and ter m ed A Sco tch T un e in fashi o n

, There is n o indicatio n in that
work either that i t was a n e w Scots tune or that it was com pose d b y
, ,
'
Purcell— facts which it i s very unlikely Play fo rd would h ave o m i tte d

to n o te in Apollo s B anquet The same editi o n o f the Banquet
“ ’
.
“ ”
contains a number of Scotch tune s without dis tinctive titles “ ”

,
and this may be acc o unted for either because o f Pla y ford s want ,
’
o f information as t o their names or by reason o f his inability to give the ,

’
correct Scots S pelling o f them With reference to Chappell s s tatemen t .
regarding Allan Ramsay it is of little mome n t whether Ramsay wrote ,
the words of the so ng or only published them for his Tea Tabl e , ,
“
ENGLISH CLAIMS . 43
Miscel lany was not published befo re 1 724 The ai r itself is to be .
found in bo th the Le yden and B l ai ki e MSS — named in the former .

, ,
“
Maggie I must l ove thee and in the latter Y e t Meggie I mus t l ove
,
” “
, ,
thee . The date o f the B laik i e M S is 1 69 2 and the vers ion of the air .
'
there give n diff ers so mewhat from Playford 8 ( especial ly in the seco nd
s train ) s hewing that it had n o t been copied from Playford In Margaret
, .
S i nkl e r s MS M us i c B o ok 1 71 0 ( no w i n the po s sessio n o f the writer ) the

’
.
, ,
air is fo und under the title Magie I mu s t l ove thee and here al so it ,
“
,
”
diff ers from Playford in the second strain See p age 1 2 The tune The . .
,
“
Deel ass ist the plotting Whig s as c o ntained i n 1 8 0 L oy a l S ong s may ,

”
,
have been a c o mp os ition o f Pur cell s alth o ugh we do ubt it In any cas e ’
, .
,
i t does n o t bear the lea s t re s emblance to Peggy ! or Maggie ] I mu s t l o ve “

,
”
thee
”
. Chappell s a s sertion regarding The D eel a ssist the pl o t ting Whig s
’
i s absurd — as may be seen from a c o mparis on between the two airs which
, ,
we have repro duced for the study o f our readers .
A S COTC H TU N E I N FAS H IO N . A po ll o s ’
Ban q ue t , 1 68 7.
Y E T M EGGI E I M UST LO VE TH E . B la iki e M S .

, 1 69 2 .
MAG m I M OST LO V E T HEE . M S i nkl e r,

. 1 71 0 .
TH E D E E L ASS I S T T H E PLOT I I NG
' ‘
W H I GS . F ro m 1 80 Lo y l
a S o ngs .
MY NANNY 0 .
At page 61 0 Popular Mu s ic of the Olden Time Chappell a s ser t s that

, ,
’
this tu ne is E nglish : Nanny O to the tune of the Englis h ballad of ‘
,
Nanny His t o tal evidence i n support of the claim i s c o ntained in a

fo otn o te T his ballad and the answer to it are in the Roxburghe Colle e
,
tio n The firs t ( ii 4 1 5) is The Sc otch Wo oing of Willy and Nanny : To a

. .
pleasant new tune or Nanny 0 Printed by P B roook sb y , Although , . .
’
entitled Th e Scotch Wo oing it relate s t o the most s outhern par t o f
‘
,
North um b e rl a n d It commences As I went forth o n e morning fair and

.
, ,
’
has f or its burden

I t i s N nn y Nann y N nn y O a , , a ,
Th e l o v e I b e ar to N nn y 0 a ,
Al l th e w orl d s h al l n e v e k n w r o
Th e l o v I he ar to Nann y O e .
’
’
Tynemouth Ca s tle is spelled Tinm outh in the ballad j ust as it is no w ,
pro n o unced in the North of England ; it is therefore pro bably of North , ,
umbrian origin G F Graham s ay s that It is one of the best o f o ur

. . .
Scottish mel o dies an Opinio n which we cordially endo rse

, The entire .
evidence in s uppo rt o f the English claim i s that i t was Printed by P , .
Bro oksby who s pelt Tinmouth f or Tynemo uth We are not furnished
,
”
.
,
h owever with any date nor any pr oo f tha t he was the s ame Br o oksby ( of
, ,
April 1 677) mentioned at p 54 1 P opular Music and no doubt he was .

,
as an Engl ishman unaware that there was a Tyne and a Tynemo uth in th e
,
c o unty of Haddington in Sc o tland The mis s pelt word is of little or no .

-
account ; and the burden o f the s o ng indicate s n o l o cality whatever ,
which might as well be the Antip o de s The title g i ven from th e Roxburghe .
C o llecti on makes n o mention of the E ngli s h ba llad tu n e o f Nanny but

merely of a pleasant new tune or Na nny 0 The or probably refers to ,
.
Nanny O as an alternative tune Had the melo dy of Nanny O been

”
.
printed with The Scotch Wooing of Willy and Nanny Chappell would
“
,
n o t h a ve failed to menti o n i t He ought to have given hi s Englis h versi o n .
o f the air and to have stated from wha t s o urce he h a d derived it

,
The .
melody i s c ontained in the Orpheu s Ca l e do n i u s a n d i n the

“
, _
“
Mu s ick f or the Sco ts S ongs in the Tea Table Mis cellany Ramsay s “
-
.
’
s ong which was published in 1 720 was pro bably written a year o r two befo re
, ,
that date .
BONNIE D UN D E E .
”
Popular Music p age 61 1 This mel o dy is c o nsidered by C happell to
,
.
be Engli s h or at lea s t a S purious Sc o ttis h o ne ; an o pinio n calculated

,
to strengthen his e ffo rts to reduce the age of th e Skene Manu

scripts The gro und h e takes for his asser tion is
. tha t befor e ,
,
ENGLISH OLAT
MS . 45
the publication of Ram s ay s Tea Table Mis cellany the Sco tch tunes
’
-
’
,
that were p opular in England were m os tly S purio us and the w ords ,
adapted to them seem to have been invariably s o B onnie Dundee ” ”
is a s sumed to be on e of the s e tunes o n acco unt o f ( 1 ) i ts firs t appear

,
ance in printed form o ccurring in the Sec o nd Appendix 1 688 to the , ,

”
Dancin g Ma s ter 7th edition 1 68 6 ; and ( 2) becau s e o f s ome abs urd and
, ,
indelicate verse s which had been written to the tune by some Grub Street
scribbler and inserted in D U r fe y s Pill s to purge Melanch oly
,
’ ’
These .
”
argument s are not su ffi ciently strong however either to up s et the Sc o ttish

, ,
n ationality o f the air or to disprove its exis tence in manuscript before

,
1 688. The popu l arity of the tune in England may be due to the
residence in Scotland of James II when Duke of Yo rk which ended in
.
,
1 68 2 Several years previ o us to the publicatio n of the tune in Play ford s ’

.
Danci ng Master or of ,the vers es in D U rfe y s Pills to purge

” ’ ’ “
8 1mm: M S
.
Melancholy the melody may have been carried south by some of James s
,
’
courtiers It must at least be admitted that manuscript copies of tunes

.
u s ually precede printed o nes This applies especially to the earlies t

.
tunes whether the tunes are in the f orm of tablature or in m o dern

,
music n otat i on After such tunes were first printed t hey would c ertainly
.
be multiplied in the vario us w ork s publis hed fro m time to time It cannot .
be affirmed that the c opy of the tune Bonnie Dundee in the “
Skene Manuscripts was drawn either fro m The Dancing Mas ter or from
”
,The Pills to purge Melancholy nor was the title Adew Dundic in the
,
Skene Manuscripts taken from the last line of the so ng as printed in

46 EARLY SC OTTISH ME LODIES .
D Urf e y—
’
which ru n s And so bid adieu to bonny Dundee The ai r in its
, .
modern form is n ow su n g to M acni e l s son g Mary of Castlecary ’
, .
”
THE BONNY GREY EY D MORN ’

.
In Popular Music o f the Olden Time page 61 0 we find We have no , ,
hesitation in sayin g that this tune i s decidedly Engli sh and has no Scottis h ,
’
charac t er whatever Th o ugh it appeared in J ohn so n s Scots Musical
.
” ’
Mu s eum volume i it was not that publi sher s intenti o n to palm it off as
, .
,
a Sc o ttish air We have already referred to that volume Stenh o u s e in

. .
his n o te on the so ng sta tes Oswald in his collecti on of Scottish Tune s , , ,

’
calls it by way of di stincti on The Old Gray ey d m o rning It appeared
, ,
-
’
.
’
as such in the seventh book of The Caledonian Po cke t C om panion but ,
Oswald has given a different versio n of the tune in 9; measure entitled , , ,
”
The Gray Ey d m o rning in the second book of that c o llection
’
Chappell
,
.
calls it a composition of Jeremiah Clarke and s ays that it was sung in ,

’ ’
D U rf e y s C omedy of The Fo nd Husband or The Plo tting Sisters 1 676 ,
”
, .
We m ay que s tion S te n h ou s e s view as to the nationality of the melody but ’
we consider that h e had good reason to do ubt whether the melody was th e
c ompo sitio n of Jeremiah Clarke because there i s much uncertai n ty about ,
the d ate of his birth Clarke acc ording to Grove s Dictionary as well
.
,
’
,
”
as Br o wn and Stratton s would be only six or seven years old when ’
,
”
“
The Fond Hu s band etc was pro duced The pre s umptio n therefore is
, .
, .
that The Old Gray Ey d m o rn i ng must be the original air but we admi t
-
’
,
we have n ot seen a c opy o f the tune in The F ond Husband 1 676 to “

,
”
,
determi n e which of the versio ns is the ear lier or whether Clarke made a ,
’ ”
claim to any o f them The air appears in The Beggars Opera but that
.
,
production was subsequent to Ramsay s Gentle Shepherd ’

.
K ATHERINE OGGI E .
InPo pular M u si c page 61 6 this is cl assed by Chappell as an , ,
A nglo Scottish air by which he means the tune to be an E nglish imitation

-
,
of the Scots style or an Engli s h pr o ductio n to which a Sco ts son g has been
,
written We have already referred to his clai m i n the Glen C o llection

.
“
’
of Scottish Dance Music Book I He begins with an attack o n S te nh ouse s
,
”
.
”
“
fictions as he termed that gentleman s Illustrations and accuses
,
’ “
hi m o f misleadin g Mr D aun e y In support of his contention Chappell .

,
quotes from Stenhouse Thi s fine old Scot tish song beginning , ,
‘
As I went furth to view the plain was introduced and sung ,
’
,
by Mr John Abell a gentleman of the Chapel Royal at his concer t i n

,
-
,
Statio ner s hall London in the year 1 680 with great applause It was
’
-
, , , .
prin ted with the music and words by an e n graver of the n ame of Cross
, , ,
though it i s n o t the exact versio n given by Playford Th e argument .
’
on which Chappell s claim rests is decidedly against his own con
ten tion His auth ority John Playford calls it a new Dance which
.
, ,
“
,
”
i t pro bably wa s th ou gh Play fo rd d o es n ot affirm that it wa s a new

,
tune but that it was A Sc o tch Tune

, In Wo od s Songs of “
.
” ’ “
”
Sc o tlan d l st e d , G F Graham does n ot expres s his Opini o n on
.
, . .
the nationality o f the air but merely says The air appears as , ,
“
’
Sco ttis h in D U rf e y s Pi l ls and vari ous subsequent publications
’
J , .
”
.
M Wood in The P o pular S ongs and Melo dies of Sc o tland 1 8 8 7

.
,
“
,
”
states I believe the air to be Sc o tti sh chiefly fr o m internal evidence

,
“
bu t partly from the facts mentio ned above In this latter sta te ment .
”
we fully concur .
LADY Cu n ni ng Oat s, a ne w Dance .
’
FIFE AND A THE LANDS ABOUT IT .
The tune is called Fairest Jenny in The Po pular Music page 61 7 , .
Chappell says This is included in Scotch c o llections under the name of

,
“
’
Fif e a nd a th e la n ds a bou t i t It was first printed in the Gentleman s ’
.
Journal of J an 1 69 1 2 under the title of J o ckey and Jenny a Sc o tch

, .
-
, ,
song set by Mr Ak e roy de In this instance we admit that Chappell h as .

”
discovered a spurious composition ; at the sam e time it is doubtful if he

ENGLISH CLAIMS . 49
could have said it was claimed by any Sc o ttish mu s ician as a Sc o ttish pro
duction It may be mentioned that the earliest Sc ot s c o llecti ons in which
.
it appears are th os e o f Oswald 1 74 0 and of William M Gi bb on Second , ,

‘
,
C ollection 1 746 ; and we s uspect that the reas on why it was included in
,
thos e collections is that it had become p opular ab o ut that time On n o

,
.
other gro unds can we acc o unt f or its admission int o an y Sco ttish ,
publicatio n : th ough Stenh o u s e in his Illustrations to The Scots Musical ,

”
Mu s eum c o ntends that the air is Sco ttish becau s e Thi s tune appears in
, ,
“
the old Virginal Bo ok already mentioned in the editor s p o s s e s sion under ’
the title of Let Jamie s Lad allane which was pr obably the o riginal title
‘ ’
,
’
,
”
and adds Mr Samuel A k e roy de put a ba s s to it o nly Still the Virginal

,
“
,
”
.
“
Bo ok may no t have been c o nfined entirely to Scottish tune s and its age ,
also may have been over estimated The melo dy has no pro n o unced Sco t -
.
tis h character and we frankly hand over b oth words and tune to the
,
keeping of A k e roy d e s c o untrymen ’

.
MAGGIE LAUDER AND LOGAN WATER , .
In Popular Mu s ic pp 61 9 20 fo o tn o te b there i s evidently a

“
,
.
-
, ,
-
claim o n behalf o f England for th o se t wo tunes Chappell say s in reference .
’
t o C o rn Riggs This i s on e of S te n h ous e s favorite remedie s for deficient
’ “
,
evidence of antiquity He pro duces so me o riginal w ords s tating them .

‘
,
’
to be o f the age required to meet the neces s ities of the case but they ,
rarely tally with informatio n deri ved fr o m other s ource s Francis Semple .
of Beltrees i s one of his favorite scapeg oats i n these cases

,
He give s .
him the credit among o ther songs of Maggie Lauder

,
N ow in the , .
,
ballad opera o f the Beggars Wedding 2n d edit 8 vo 1 729 it is called ’

, , ,
‘
Moggy Lawther on a day which d o e s n ot at all agree with the s ong o f ,
’
which Francis Semple is the supposed author But the B egga rs .

,
’
We ddi ng 2n d edit has n o mu s ic and Chappell makes n o reference to

, , ,
the Qua ker s Oper a 1 728 ( th o ugh he qu o tes the l atter in his note on The
’
,
“
Spanis h Lady in which the tune appears simply as Moggy Lawther .

”
Again as to Logan Water in Fl o ra 8 vo

,
it is named The Logan ’
, .
,
‘
Water is s o deep which is n o t at all like the w o rds that Stenh o u s e

,
’
'
gives I t would be eas y to multiply instance s of this kind

. The fact .
that the title s do n o t agree with th os e o f the Beggars Weddi ng in ’
the one in s tance and of Flora in the o ther is in no way c onclus ive
,
“
, .
Chappell himself has given us many examples of tunes having different

and altered titles I t may be remarked that he had n o kn owledge
.
o f any earlier editi o n o f Craig s Collection than that of 1 73 0 which ’

,
certainly shews that Moggy Lawther i s not older than “

Maggie ” “
La uder but o nly an Anglo Sc o ttish name A copy of an earlier editi on of

,
”
-
.
Th e d t e of 1 73 2 i s gi v e n to th e Ope ra o f
a Fl ora i n th e Th e t i l Di cti on y o f “
a r ca ar
1 79 2 b ut Ch appe ll om it s to n te th a t it appe are d i n th e V ill ge Ope r

”
, o 1 729 a a, .
D
Craig is in our p o ssession The title i s as f o ll o ws : A Collection ] ! of the

.
Choicest of the ] ! Sc ot s Tune s ] ! Adapted for the Harpsi cord or Spinnet ]

! and with in the C ompass o f the Voice ] ! Vi olin or German Flute ] ! By ”
Adam Craig ] E di nburgh R C ooper fecit The title di ff ers fro m that
. .
o f 1 73 0 by the era s ure o f the w o rds of th e be tween Choicest and Scot s “ ”
and by the absen ce of any date n or i s the engravi ng of the w ork the s ame , ,
nor the acc ompaniments ali ke As to Logan Water Chappell s claim .

“
,
’
res t s entirely on the disagreement o f titles and b e quite ign o re s the refer ,
ence to M rs Crock at s Manu s crip t Bo ok 1 70 9 in which Stenh o u s e declares

’
, ,
the tune i s to be found Chappell pr obably founded h i s remark s on Sten

.
hou s e s erro r in qu oting the Orpheus Cal e don i u s 1 725 while the tune
’ “
, , ,
For ever Fo rtune wi lt thou prove

’
to the words of James Th o m so n s
“ ”
, , ,
is in the seco nd v o lume 1 73 3 To our a s t o nishment Chappell s s tatement

,
.
,
’
c o ncerning Logan Water h as escaped o bservati on by Ge orge Farquhar

“
Graham and Jo hn Muir Woo d The former has simply mentio ned that The .
,
“
Mel o dy is of c on s iderable antiquity pathetic and Sc o tti s h in i ts character , , ,

”
and has c o ntented himself with pointing out in the s ec o nd s train that th e
-
q t]
un vocal leap fr o m Fj t o F : in the o ctave as given in s o me m o dern publica
tio n s i s wr ong The latter gentleman h a s o nly repeated Graham s n ote

,
’
, . .
We may s tate that b o th have o verl ooked the fact that Logan Water i s
contained in Musick for Allan Ram s ays c o llectio n of Sco t s Songs ;
Set by Alexander Stuart and engraved by R C ooper Vol 1 Edin bur gh ;
,
. . .
printed and s old by Allan Ram say page 56 The tune is als o mentioned in ,
”
.
The Tea Table Mis cellany 1 724 where Ram s ay direct s a s ong beginnin g
-
,
”
, , ,
Tell me Ham i l la tell me why to be s ung to Logan Water

, ,
Surely ,
“
.
’
these facts dis p o se o f Chappell s c o ntention regarding the melodies .
C ORN RIGGS .
In Popular Music of the Olden Time pp 61 8 620 we have thi s tune

“
,
.
-
,
claimed f or England by Chappell under the title o f Sawney was Tall and ,
o f N o b l e Race and he info rms us that This is one o f Tom D Ur fe y s “ ’ ’
s ongs in his c omedy o f The Virtu o u s Wife 4 t o 1 68 0

,
I have n ot s een , , .
any c opy bearing the name of a comp os er but as other mu s ic in thi s play ,
uch as Let rait o r s pl o t o n and the ch o rus Let Cae sa r l i ve long

’ ’
)
‘ ‘
( s t , ,
was c omp os ed b y Farmer thi s may als o be reas onably attributed to h im

, .
Why all this beating about the bush when there is n o music whatever ,
printed in D U rfe y s co medy and n o mention made of Farmer ? Can it be

’ ’
said because Shield wrote s ome airs f or the opera of Ro sina that
,
“
,
”
all o f them are his c omp os ition s ? In D U rfe y s comedy there is what ’ ’
he call s A Sc o tch Song beginning Sawney was tall and o f Noble

“
, ,
“
,
Race but n o tune whatever is indicated The tune is given h o wever

,
”
.
, ,
”
in Play ford s Choice Ayre s vol iii page 9 along with D U r fe y s
’ “
,
. .
, ,
’ ’
word s as A No rthern Song without t h e name o f any comp o ser

,
“
, .
ENGLISH CLAIMS . 51
Chappell again s tates Playford als o printed in the fourth book o f the,
’
same c ollection She ro s e and let me in as a Northern S ong altho ugh ,
’ ‘
,
the mus ic was undoubtedly by Farmer We have already taken e x ce p .

”
tion to this s tatement ; and Chappell s allus ion to P layford strengthen s our ’
argument as there i s n ot the least re s emblance betw e en the airs to

,
s upp ort the c ontenti on that b o th t u ne s are by the same c omp o ser Allan .
Ramsay i s credited with the appellatio n o f Corn riggs are bo nny and “
,
we are told that Craig certainly t ook the titles o f the tunes in his c ollectio n
from The Tea
“
Chappell als o tells us that of the 3 5 ,
’
tu ne s in Craig s C o llection the name s o f 29 were taken fro m Ram say s
’
,
work He does not prove however that they we re kn o wn by earlier names

.
, , ,
n or that the original name o f the air C o rn Rigs wa s Sawney was tall ”
,
and o f No ble Race n or did he find the t wo fo llo wing tune s Sae merry ,
as we have been and Be ss ie s Haggi s mentioned in the Tea Ta b le

,
” “ ’
,
“
-
Mis cellany prior to 1 73 0 ; n or that si x o thers of the 29 bo re the names

”
o f Ramsay s songs Chappell further s ay s Stenhou s e w o uld have u s

’ “
.
,
believe that there was a much o lder Sco tti s h song o f C o rn Rigs to this ’
'
tune than Ram s ay s We believe that Stenh ouse is right fr o m the fact
’
.
”
,
that an entirely differen t tune in the B l ai k i e Manu s cript i s called New

Corn ri ge s No 1 04 We do n ot s ay that Chappell purp os ely withheld
”
. .
,
any reference to this tune alth ough he a s sures u s that he made a careful ,
examination o f Blaiki e s Manu s cript 1 69 2 with out di s co vering any date

’
, ,
wi thin it See page 772 P opular Music

. Adam Craig in the dedicatio n .
,
to his C o llection says The Tune s are the native and genuine pr oduct s o f
, ,
”
the country We do n ot deny that the tune of Corn Riggs has some
.
“
what of an Engli s h character but was it imp o s s ible that a Sco tti sh mu s ician , ,
could imitate the Engli s h s tyle while Englis h mu s ician s are all owed ,
t o have made good imitati ons o f Sc o tti s h music ? Chappell has entirely
failed to pr ove that Thomas Farmer composed the tune of Corn riggs are “
bonny .
”
S ammy ( in v te d
er no te s )
.
LOVELY NANCY .
In his P opular Music page 71 5 Chappell s ays Thi s is one of the

“
, , ,
“
songs contained in the fo lio edition of The J ovi al Crew ( which h as the
basses to the airs ) but n o t i n the octave T h is air however d oes n o t .
”
, ,
occur in The J ovi al Crew before the r evival of that opera in February
”
1 760 and the tune give n to the song
,
Can nothi ng Sir m ove you in the , , , ,
editio n o f 1 73 1 is a t o tally different one entitled,

A s down in a , ,
“
meado w Chappell in the appendix to his w ork p 78 7 remark s I

.
”
,
.
, ,
“
obs erve that in Book 2 of O s wald s Caled onian Po cket C o mpanion the .
’
,
tune is prin ted as Lovely Nancy by Mr Oswald I have no d o ubt that .
he meant to claim the va ri ati ons o nly for he had previ o u s ly printed the ,
air with s ome difference in arrange ment in hi s Curio us Sco t s Tunes f or a

, ,
Vio lin and Flute and then with o ut making any claim ,
He further state s .
”
,
I have seen many half sheet c opies of the Song o f Lovely Nancy but -
never with an auth or s name and I do ubt whether any on e c o uld properly
’
,
clai m it for it seems t o be o nly an alteration o f Ye virgins s o pretty ;

,
( ante p,
The
. tune of L o vely Nancy with variations o ccur s in
”
O s wald s C o ll ection of Curiou s Scots Tune s f or a Vio lin German Flute or

’
Harp s ich o rd 1 74 2 and we believe it to be h i s c omp os itio n th ough hi s

,
”
, ,
name was not attached to it till it appeared in the second book o f the
Caled onian P o cket Compani on This h owever i s n o pr oo f that the tune .
, ,
and variations were not h i s c omp o sition The s o le difference in the two .
wo rks is the o rder in which the variations occur — i n the Curi o us Sc ot s ,
Tunes variations 1 2 3 4 5 6 7 8 being re spectively 5 6 1 2 7 8 3 4 in

,
”
- - - - - - - - - - - - - -
’
The Caledonian P o cke t C o mpanion Oswald s C ollection o f Curio us .
”
Sco t s Tunes and the fir s t and second book s of his Caledonian Po cket
C ompanio n were the property o f John Simpson the o riginal publisher
,
”
, ,
and we bel ieve that O s wald purchased the latter c ollection which he ,
continued to publish till it was completed in twelve bo oks or parts .
In the first vo lume o f Callio pe or English Harm ony 1 73 9 page 1 76 “

, ,
”
, ,
’
published by J Simpson there is a song called S treph on s Complaint
.
, ,
”
”
beginning How can y ou Lovely Nancy and the air is Lovely Nancy , , ,
but we think the tune had been c ontributed to that c o llection by Oswald
before he left Edinburgh Again i n the second v o lume o f Calliope .
, ,
”
or Engl ish Harmony page 3 6 there is another s ong entitled Lovely , ,
”
Nancy c ommencing
, There never was nor e er shall be printed , ,
’
,
”
to an air that might be the true Englis h mel o dy although it does ,
not bear the least resemblance to that of Oswald The many half .
’
s heets observed by Chappell with o ut a comp o ser s name are no evidence
whatever and by giving our readers Ye virgins s o

, al ong with “
’ ”
Oswald s Lovely Nancy they will be able to judge whether the latter is
“
,
Th e ai r is ca ll e d Ov e r hill s a nd hi gh m oun t a i ns .
ENGLISH CLAIMS . 53
an a lteration o f the fo rmer Chappell in his foo tn o te page 78 7 referring

.
, ,
to O s wald s C o llecti o n o f
’
Curious Sco tch Tunes say s It is difficult to ,
”
,
kn ow why the tune S h ould have been included in a collection o f S cotch

tune s but no o ne will be surprised wh o examine s the remainder o f the
,
s electi on It was no t the fashion o f th a t day to atte mpt accuracy in the

.
s lighte s t degree — a remark which applie s to English as forcibly as to Sc o t

”
,
ti s h C ollections In Calliope or English Harmony the firs t son g and air

.
, ,
”
it c ontain s i s the Sc o ttish Bush abo o n Traquair Chappel l deprecates .

”
the inclu s io n of English tune s in S cotti s h C ollectio ns but gives no reason ,
why the Bush ab o on Traquair s h o uld be the initial song i n an

“ ”
E ngli sh C ollection Had he examined the remainder of that work

. ,
he wo uld have f o und in i t a c onsiderable number of o ther Scot s tunes ,
and w o uld doubtless have been surpri s ed to find himself in such an

awkward dilemma .
I MADE LOVE TO KATE .
Under the above title in The Popular Music of the Olden Time pp
, , .
723 4 is a version of the Sc ottish tune Woo d and Married and

’
-
,
We
”
are t old that the song I made love to Kate was sung by Mr Beard at
Ranelagh and intr o duced by hi m into the ballad o pera of The J ovi a l
Crew when i t was revived at C ovent Garden Theatre February 1 760
,
”
,
.
’
Woo d and married and which di ffer s however from the vers ion of
, ,
’
Mr Beard was published in Rober t Bremner s Collectio n of Scot s Reels
,
“
’
or C o untry D ances s eventh number 1 759 It appeared also in Oswald s
, , .
Caled o nian P ocket C ompanion Book x which is probably earlier than ,

”
.
,
”
Bremner s Reel s an d it i s included in Walsh s C o untry Dances Selected
’
,
’
,
’
n d
. under its Sco ttish name If the original w o rds of the s o ng Woo d
.
“
and Married and a were fro m the pe n of Al exander Ross the auth or
’
,
of The Fo rtunate Shepherde ss they mu s t have been writ ten several ,
years prio r to 1 768 the title o f the tune being s uggestive of some s ong o f
,
an earlier date .
Woo n w Mu m s
’ '
sn
’
PETTIC OAT LOOSE .
At page 724 Popular Music of the Olden Time Chappel l gives

, ,
”
the above t une which he character is es as A favo rite old Country dance
,
“
.
’
He further s tate s It i s included in P eter Thompso n s C o llection
,
“
in that o f Charles and Samuel Tho mp son and of Samuel An n and , ,

’
Peter Tho mp s on Also in Rutherford s and several o thers .
’
The tune is contained in Wal s h s Caledo nian C o untry Dances v o lume ,
ii part i page 51 entitled P ettic o at Lo o se or Curi ck l e and tho ugh

, , ,
“
,
”
,
”
the v o lume is undated we kn o w that it was publis hed about 1 74 8 which

, ,
’
is s ome year s earlier than that of Peter Th omp s on Walsh s versio n of the .
tune is better and m ore Sc o ttis h in character than that given by Chappell ,
which we presume he has taken from Thompso n The tune has long been .
kn ow n as a Scottish Jig .
SAW YO U MY FATHER ?
We are informed in P opular Music of the Olden Time page 73 1 “

, ,
Thi s song is printed on broad s ides with the tune and in Vo cal Music or , ,
the Songster s Compani on vol ii 3 6 2n d Edition 1 772 This collection was

’
, .
, , ,
.
'
the letter o f Burns to Ge orge Thomso n dated November 1 794 D o yo u ,
know the his t ory of the air ? It i s curi o u s en o ugh A goo d many years .
ago Mr Jame s Mi l ler writer in your go o d t o wn ( i e Edinburgh ) a gen t le

, ,
. .
,
man wh om p os s ibly y ou know — was in c ompany with our friend Clarke ;

, , ,
~
a n d talki n g o f Sc o tch music M i ller expre ss ed an ardent ambiti o n to be ,
able to c omp os e a Sco t s air Mr Clarke partly by way o f j oke t o ld him .

, ,
to keep t o the black keys o f the harp s ich o rd and pres erve some kind o f ,
rhythm and he would infallibly c o mp os e a Scot s air Certain it i s that

, .
,
in a few day s Mr Miller pr o du ced the r udiment s of an air which Mr

,
Clarke with s ome t ouches and corrections fashio ned into the tune in
, ,
que s tion Rits on you kn o w has the s ame s t ory of the black keys ; but
.
, ,
this account which I have j us t given y ou Mr Clarke info rmed me of ,

”
s everal years ago .
The tun e thus referred to by th e p o et — the true o riginal of Ye Banks ,
and Braes — was firs t published under the title of The C aled onian
,
”
Hunt s Delight ( the name given to Miller s tune ) i n Gow s Second

’ ” ’ ’
C o llection i s sued in the year 1 78 8 which was six years before Burns
, ,
r elated his st o ry to Ge orge Th o ms o n May the g ood many year s ago “ ”

.
n ot o back t ten — Clarke w as an o rgani s t in Edinburgh from 1 774 ? Is

g o ,
i t n o t more likely that Lost is my quiet i s a poor adaptati on and n o thing

”
,
else ? See the clumsy way in which the w o rds suit the melody i n the 9 th ,
l oth and l 1 t h bars in Chappell s

’
,
Popular Music of the Olden Times ,
”
or in Wood s Popular S o ngs and Melodies o f Scotland 1 8 8 7

’ “
In ,
”
.
further supp ort of our vie w that Lost is my quiet is of later date than ,
“
The Caledonian Hunt s Delight we have o btained the fo ll owing i n ’
formatio n Dale s C o llection of English S ongs is a fol io and c o nsist s

.
’ ”
,
of 20 bo oks of 1 2 s ongs each c o mprising 3 20 pages in all These so ngs

, , .
were published i n separate sheets at 6d each and their titles are dis .
,
’
played i n large character s with Dale s name and address added Book ,
.
! c ontain s the s ong and tune Lo st i s my quiet but the title whatever , ,
i t had been bear s evidence of having been erased from the engraved
,
plate the only w o rds heading the s ong being wi th a n a ccompa ni m en t

,
( Dale s C o llection pp iii

’
The Collection embraces tunes from
,
vari ous ballad o peras s uch as The Farmer 1 78 7 ; The Haunted ,

“
,
” “
To wer 1 78 9 ,
”
The Siege of Belgrade 1 79 1 and o thers which prove
“
, , ,
that its contents were n o t exclu s ively old s ongs and on s ome of the pages
of the b ook water m arks of 1 8 0 6 and 1 8 08 are to be found shew i ng that
-
,
a portion at leas t of the c o llection was evidently n o t published earlier than

those year s An o ther pro o f i s that thro ugho ut the English Collection
.
,
Dale s address No 1 51 N e w B ond Street i s given altho ugh he did n ot

’
, .
, ,
occupy these premises prior to 1 8 003 The s tories given by Burn s regar ding
“
the tune such as , An Irish gentleman a ffirming he had heard it in

,
Ireland among the old w o men ; while on the o ther hand a C o untess ,
For th e i n form a ti o n re gard i n g Da l e s C o ll e cti on o f E ngli s h S ongs we r i nd e b t e d to ’

,
a e
M r F r nk Ki dson Le e ds
a , .
ENGLISH CLAI MS . 57
info rmed me tha t the first perso n wh o in troduced the air int o this c o untry
was a baronet s lady o f her acquaintance wh o t ook down th e n o te s from an
’
it i nerant piper in the I s le of Man am o un t only to a s sertion s he arsay ,

”
,
evidence— n ot fact s : at the same time it i s right to state that The Cale “
~
domian Hu n t s Delight had I r i sh affi xed to it by Jame s Aird Gla sgo w

'
“
, ,
in the fourth vo lume o f his Selecti o n o f Sc o tch E n glish Iris h and , ,
F oreign Airs .
GIN A BO D Y MEET A BODY .
In The Popular Music of the Olden Time page 79 5 Chappell say s , , ,
I have n o i n te n ti on o f analyz ing the co llecti ons of Sc ottish Mu s ic ; yet ,
having in a few cas e s reclaimed tunes that many have s upp os ed to be

Scotch o wing to their having been included in the s e publicatio ns it
, ,
becomes incumbent upon me to shew that p opularity only was c onsidered

by the co llector s with o ut any care f or accuracy
,
He also repeat s that .
”
J ohn son palmed up on his c o untrymen as Sc o tch the c omp o siti ons o f H ook ,
Berg B a tti shi ll and other living mu s icians and t hat Th o mso n in h i s
, , ,
“
Orph e us Ca le d on i u s did nearly the same A s we have already an s wered

”
.
this general accu s ation let us take up what he a ffi rms c o ncernin g Gin a
,
b o dy meet a bo dy He say s There was a p opular s ong which had been

.
”
,
“
sung in a Lond on pant omime

I f a b ody m e t a b ody g i n g to th e F ir e o a ,
I f b ody ki ss a b d y n e e d b od y c re
a o a a
This was altered f or the M u se um int o

Gi n a b od y m e e t a b od y e om i n th ro th e r y e
’
,
Gi n a b d y k i s s ob d y n e d b od y cry ?
a o , e a
The pant omime came o u t at Christmas 1 79 5— 6 and the alterati o n s eem s ,
to have been made within ab out nine m o nths o f the publicati o n ; f or

B rode ri p and Wilkin s on s entry of the or i gi n a l s ong at Stati oner s Hall
’ ’
was on the 29 th June Again he s tates in a foo tn o te The entry

, , ,
’
at Stationer s Hall i s as follows If a body meet a bo dy s ung by Mrs ,
’
Henley at the Royal Circus in the favorite new Pant omime called Harlequ i n
M a ri n er the music adapted by J Sanderson the w ords by Mr Cr o ss
, .
, .
”
’
Regarding Chappell s no intentio n o f analyz ing etc and his would be
“
,
”
.
,
exposure of o thers we shall pass over what we have already s aid of John
,
’
so n s Sco ts Mu s ical Museum and shall simply give such information as ,
”
will shew that the fault fin de r has himself erred John Watl e n mu sic -
.
,
seller Edinburgh publis hed Gin a b o dy meet a b o dy with the mo s t ap

, ,
”
,
proved version of the a ir in his c ollection of Old Sco ts Songs the firs t , ,
and s econd numbers of which col lection were issued in August 1 793 and ,
the subsequent o nes at intervals of two m onths each The song in que s tion .
therefore which appeared in the eighth number must have been publi s hed
, ,
in August 1 79 4 .
In c o ncluding thi s chap ter we s hall make a few observations o n a per

pl e x i ng subject and s ta te an example o r tw o in o rder to fix the meaning of
, ,
the w o rd or in such in s tances as To a new Northern tune o r I n Ja nu a ry

, ,
”
la st ; and N o rthern Nanny or The Loving Lasses Lamentati on The
“ ”
, .
questio n c omes to be D o es the or mean an alternative tune o r is i t a

, ,
an o ther name by which the tune is kn o wn In the f oll owin g case Locke s ,
’
My l odgi n g it is on the c old ground is called in the Dancing Mas ter ”
On the c o ld gro und and in Ap ollo s Banquet I prithee Love turn

,
’ “
! to ] me alth ough the tune is on e and the same ; while C ome b oy s fill us a
” “
.
, ,
bumper or My l o dging i s on the c o ld gr ound are two dis tinct tunes

,
“
,
”
.
Chappell claims the m o dern ver s io n of My lo dging is on the c o ld “
gr o und as an Engli s h air o n the s trength of i ts first appearance in

,
print in Vo cal Music or the S ongs ter s C ompani on 1 775 but that
,
’
,
”
,
c o llec ti on d o e s n ot pretend to be o n e of Engli s h songs and mu s ic exclus

i ve l y or to be confined to any particular nationali ty
, See al so page 1 48 . .
An o ther instance i s Greenwich P ark or C ome Sweet Las s t wo names

“
, ,
”
f or the same tune When tune s having the s ame or S imilar names but
.
,
bearing n o resemblance to each o ther are referred to a m ore di s tracting , ,
difficulty aris es in a s certainin g which tune i s meant s o tha t its nationality ,
can be determined fr om internal evidence or s truc ture .
The first example s hewing the same air under di ff erent names is The ,
D uke of also My L ord A b oy n e s Air or Cumbernauld ’ ”
H ouse . The latter ver s ion i s musically correct but The Duke of Albany
”
,
“
is wron g as is s h o wn in the the three no tes under the as terisks

, .
TE E DUKE or ALBANY .
MY Loan ABoYN s Am
'
.
ENGLISH CLAIMS . 59
The following are different tunes under the same titles the first ,
English, and the s ec ond Sc o ttis h

‘
s worm i s NE VER DONE .
The latter or Scots tune i s al so called The Black Eagle and Th e

“
,
B o nny Black Eagle .

”
We als o give the tune o f The Spanish Lady which Chappell

“
,
apparently dis covered in the Skene Manuscript al ong with an o ther c o py

,
furnished by him s elf merely to s hew the tran s mutatio n it has undergon e
,
in the c o urse of a cen tury Man y per so n s believe that it is n ot the s ame
.
air Scotland does n ot assert any claim to the tune

. .
OH A P TE R VI .
THE SCOTS MUSICAL MUSEUM .
B E FORE pr oceedi n g to treat o f the airs in thi s ch apter we des ire to ,
draw the attentio n of the reader to the publi s her s o riginal intention ’
already mentio ned on pages 1 6 1 7 J ohnson s pr op osal was to publis h ,

.
’
“
A Ne w and C omplete C ollecti on of Sco ts English and Iris h Songs f or , ,
the Vo ice & c When this work was in pr ogre ss Robert Burns became
,
”
.
,
acquainted with Jame s John so n and induced him to abando n hi s o riginal ,
purp os e th o ugh he was far advanced with h i s matter and to change the
, ,
title t o Th e S cots M u si ca l M use um We cannot imagine J ohn s on casting .
a s ide entirely all that he had prepared s o we are not in the leas t , ,
s urpri s ed that the first two vo lumes of the Museum c o ntain a “ ”
n umber o f s on g s and tune s which are n o t Scottish productions This .
’
may be gathered fro m the date o f the bard s fir s t letter to Mr Candli sh ,
subsequent to the issue o f the firs t v o lume o f the Scot s Musical “
Museum in which the name o f Burns is attached t o on e son g only

,
”
,
”
Green gr o w s the Ra she s We acco rdingly omit in our notes the fo llow
.
ing s ong s in the fir s t v olume being quite c onvinced that Scotland has no
,
claim either to the words or music of : The Banks of the Tweed ; Jamie ”
Gay ; My dear J o ckey

” “
The Happy Marriage Blyth Jockey ;
” “ “ ”
“
Leander on the Bay ; He st o le my tender hear t away ”
Blyth “
J o cky y o un g and gay May eve or Kate of Aberdeen Water -

,
parted fr o m the Sea and J ohnny and Mary We have h o wever “

.
, ,
noticed N os 7 3 2 4 8 79 and 8 4 which are erroneou s ly supposed to be

.
, , . , ,
Sc o ttish airs and we dispute the English claims to nu mbers 3 4 2 69 76 , , , ,
8 3 8 8 9 3 9 8 and 9 9
, , , ,
.
V OL UM E 1 .
1 . THE HIGHLAND QUEEN .
The words and music o f this S ong we are told by Johnson were by a , ,
Mr M Vi car once of th e S olby m an of war which state m ent is repeated by

‘
,
- -
,
Stenho use who adds It was originally published as a half sheet song and
,
.
,
-
,
THE SCOTS MUSICAL MUSE UM . 61
Oswald a f terwards inserted th e music in hi s Caledonian Pocket C ompani on ,
book xi in .
,
The date o f Oswald s b ook xi i s wrong it was pro ’
.
,
bably n o t issued till 1 759 We have never seen a half s heet copy David .
-
.
Herd included the word s in his Sco ttish S ongs vol i 1 776 ,
. .
, .
2 . AN THOU WERE MY AIN THING .
The mel o dy o f thi s s on g i s on e of s even tunes which William Thomso n

in hi s Orpheu s Cal e d on i u s 1 725 attributed to D avid Ri z z io That the , ,
.
air whatever age it may be was Ri z z io s c ompos ition there i s n o evidence

, ,
’
, ,
n o r is it likely t o be disc o vered William Tytler of W ooodh ous e l e e wa s .
o f opini o n t h at i t was c o mpo s ed between the Re s t o rati o n and the Uni on .
That it i s a tune o f s ome antiquity i s pro ved fro m the fact that an early ,
version o f th e m el o dy i s c ontained in the Stralo ch Manuscript entitled , ,

“
An th o u wer myn o wn thing Ram s ay give s the son g in his Te a .
”
Table Mis cellany 1 724 b u t he omits the first verse f ound in Thomson
, ,
and i n the Mu s eum The letter ! annexed to i t by Ram s ay signifies o nly

.
that the auth o r is unknown He however added s i x o ther ver s e s to it .

, , ,
and the tune was publis hed in the Musick for the S ongs in the Tea Table -
Miscellany .
”
3 . PEGGY I MUST LOVE THEE .
See English Claim s page ,

42
.
4 . BESS THE GAW K I E .
The air belo n ging to thi s song we believe to be n o o lder than the w o rd s .
It i s n o t found printed in any c o llection we kn o w of befo re the publica

”
tio n of the Scots Mu s ical Mu s eum
“
The s ong is publis hed by Herd .
in his collection in 1 776 .
5
. LORD GREGORY .
This song i s founded on the ballad called the La ss o f Loch roy an The .
air which is s upp o sed to be traditional we have been unable to disc over
, ,
in any of the ancien t musical MSS that have yet been brought to light . .
The fir s t pri n ted s ource o f thi s melody kn o wn to us is The Sc ots Mu s ical

Museum 1 78 7 Urbani afterward s printed it in his Selectio n o f Scot s
, .
“
S ongs page 1 in 1 79 2
”
, , .
7 THE BE D S OF SWEET ROSES

. .
This tune in our o pinion has n o Scotti s h character whatever th ough ,
Stenh o use calls it a B order mel ody We are inclined to think it hails .
fro m some l ocality considerably s o uth o f the English side o f the Border .
It was c ommunicated by Mr Clarke to Johnson .

8 . ROSLIN CASTLE .
This tune has been ascribed to Oswald as one of his o wn c omp o sitio ns ,
but he never cl ai m e d i t It was inserted in his Caled onian P o cket .
C om panion book iv also in the c o llection which he dedicated to the Earl

,
.
,
of Bute but b o th of these were publi s hed subsequent to William

,
“
M Gi b b on s s ec ond collection of Scots Tune s 1 74 6 where it appears under

‘ ’
, ,
the name o f the H ouse of Gl ams page 3 1 Whether M Gi b b on s music , .

‘ ’
’
preceded Hewitt s so ng of Ros lin Cas tle we have n o t been able to ascertain .
Thi s is on e o f two tune s ascribed to Oswald in an o bi tuary notice of

date 1 8 21 .
9 . SAW YE JOHNNIE C UMMIN Q UO SHE .
The firs t Scottish c ollection in which t h is air appears as it is now sung ,
i s Robert Bremner s Thirty Scots Songs 1 757 page 6 under the name of
’
, , ,
“
Fee him Father Fee him
,
A bastard c opy of both words and music was
, .
publi s hed s ome year s earlier by J ohn Wal s h in a w o rk entitled A C o llee , ,
tio n of Original Sc o tch S on gs with a Th orough Bas s to each Song f or the ,
Harpsichord part iii under the title

,
Saw ye J ohn a c o ming a Sco tch
.
, ,
“
,
”
s ong .I ts Sc o tti s h o rigin is n ot denied though published in Lo ndon ,
pr obabl y ten years or m o re before Bremner .
WOO D AND MARRIE D A ND

’
10 . A ’
.
Stenhouse remark s This humoro us old song was e m i tte d by Ramsay in

,
“
hi s Tea Table Miscellany 1 724 although it was quite current on the

-
, ,
B o rder l o ng before his time In the ab s ence of any evidence we are very .
d oubtful of this asserti on For further remarks on this melo dy we refer .
the reader to page 53 .
11 . SAW YE NAE MY PEGGY .
Stenh ouse remarks The m elody h o wever is inserted in an ol d MS

,
“
, , .
’
music b ook in the edit o r s p oss essi on before alluded to and was al so , ,
printed in the fir s t edi tion of the Orpheus Cal e doni us We have ,
little or no kn o wledge of the MS which is o ccasionally referred to by .
Stenh o use and we h ave n o idea what has bec ome of it

,
The air i s con .
ta i ne d in Margaret Si nk l e r s MS Mu s ic Bo o k dated 1 71 0 in our p oss ession

’
.
, , ,
and it is more melodious than the version given in the Museum We are .
not aware of its presence in any earlier collection though it is probably ,
s omewhat older th an the earliest date here mentioned .

64 EARLY S COTTISH MELO D IES .
17 . THE LASS OF LIVINGSTON .
’
Stenho use says This tune i s inserted in Mrs Crocket s Music B ook
,
“
,
with man y other old Scottish Air s in 1 709 : but in all probabi lity it i s , , ,
fully a century o lder ; f or Ram s ay wh o w as b orn i n 1 68 4 give s it as an , ,
ancient tune Ram s ay publi s hed in 1 720 twelve Sc o ts Songs i n which

.
” ”
,
“
The P enitent to the tune of the Lass o f Livingston is the eighth of t h e
, ,
c o llectio n and he al s o included it in his Tea —Table Mi s cellany vol i 1 724

, ,
. .
, ,
under the s imple title o f The Lass of Livingst o n with out indicating any ,
tune Ram s ay has said n ot hing whatever ab o ut the age of this particular
.
tune although in hi s preface to the Tea Table Mi s cellany referr ing to

, ,
-
,
the tune s generally he s tate s What further adds to the esteem we have
, ,
“
f or them is their antiquity and their being unive rs ally kn o wn

”
Stenhous e .
d o es n ot say what the tune i s called i n Mrs Crock at s MS or whether “ ’

.
it c orre s p onds with the air in th e Scot s Musical Museum There was “
.
certainly a tune kn own as the Las s o f Living Stone before 1 709 ”

"
“
-
.
It i s in Henry Pl ayf or d s Original Sco tch Tunes 1 70 0 page 1 4 but it ’

-
, , ,
i s totally diff erent fr o m the o n e under ou r n o tice There i s s aid to be .
o nly one copy o f the w o rk r eferred t o extant Ge orge F arquh ar Graham .

,
in his n o tes to Woo d s S ongs o f Sc o tland vol i i i page 9 9 s ays The tune
’
, .
, , ,
“
called The Las s of Livings t on is an o ther version of C o ckle

‘ ’ ‘
though Stenh ouse says Cockle S hells was printed in Pl ay ford s Danc ” ’
ing Mas ter fir s t edition 1 657 it is not found in that work till 1 70 1
”
, , , .
We are n ow able t o S h o w tha t the mel o dy was known under another

name previou s t o 1 70 1 but we may pres ume it got the title of the Lass ,
o f Livingston bef o re Ramsay wr o te his s o ng It als o appears in Margaret .
S i nkl e r s Music B ook 1 71 0 under the title o f

’
Highland Laddie See
, ,
“
.
”
page 24 1 .
18 . THE LAST TIME I CAME O ER THE MOOR ’

.
Stenh o u s e tell s us this tune is o f undo ubted antiquity and quotes the ,
following from Crom e k s Reliques Burns says tha t Ramsay fo und the ’
first line of t hi s song which had been preserved as the title of the charm
,
ing air and then compo sed the rest o f the verses to suit that line
,
This .
has alway s a finer e ff ect than c omp o sing E n glish w o rds or w ord s with an ,
idea fo reign to the s pirit o f the old title When o l d titles o f songs convey .
any idea at all they will generally be fo und to be quite in the S pirit of the
,
air . Stenhouse pr o ceeds to mention that Burn s in o ne o f his letters to

’
Mr Th omso n c oncerning the song s ays : There are several lines in it ,

“
which are beautiful but in my o pinio n — pard on me revered shade o f , , ,

”
Ramsay I— the song is unworthy o f the divine air S o much for the .
antiquity of the me l Ody and the comment of Ro bert Burns Willi am , .
Daun ay in his Ancient Sc o tish Melodies tells us that the title fo und by
, ,
Ram s ay was scarcely so fortunate — what he found was s omething much

“
le s s p o etical
, The last time I came o e r the Moor is but a p oor s ub s titute ’
f or the empa ss ioned ejacu l ati on Alas ! that I came o e r the Moor ’
.
’
And he characterise s Ramsay s song as very namby pam b y ’

He after -
.
wards lauds the melo dy as it appear s in the Skene MSS ( in term s unin .
te ll i gi b l e to the general reader ) as very s uperi or to the m ore modern

vers io n s but we may state that thi s i s a mere matter o f opinion Grant .
ing that Ram s ay s title i s le ss p o etic than Ala s ! tha t I etc neith er he
’
,
”
.
,
n or Burn s had any kn o wledge o f it and the tune was known by the title ,
gi ven by Ramsay as early a s 1 69 2 Ge o F Graham— wh o translated the . . .
Skene MSS — i n editing Woo d s S ongs of Sco tland in 1 8 4 8 did not go

.
’
, ,
b a ck to the Skene ver s i o n of the air The tunes in the Sken e and the .
B l ai k i e MSS th o ugh di fferent fro m on e an other are early versions of ,
that given in the Sc o t s Mu s ical Mu s eum which i s taken fro m the

“
,
”
“
Mu s ic for the Tea Table Mis cellany but neither of the early tune s i s
-
,
”
identical with the later vers ion as alleged by Stenh ou s e ; Ramsay s song ,
’
was publis hed in 1 720 Thi s i s an o ther o f the airs which William Th omson
.
in hi s Orpheu s Cal e don i us attributed to Ri z z i o .
20 . THE LASS OF P EA TY S
’
MILL .
We have a long acc o unt of the o rigin of this so ng given by Stenh o u s e ,
who state s that it was written about a daughter of a J ohn Anders on a ,
pr opriet or i n Aberdeenshire abo ut 1 550 He relies o n a s tatement made

, .
by a great grand s on o f the lady born in 1 703 and living in 1 79 1 wh o , , ,
remembered the fo llo wing w ord s fro m a s ong written by her dis carded
l over
Y e l l t e l l th e gowk th a t g e t s h e r
’
He g t s b u t m y ul d s h e n e a e ,
”
but a more favo ured l over c omp o sed a song to her prais e the air of
'
, ,
”
which only i s n ow preserved Such s tatements as the above with out
.
,
any evidence of the mel o dy till we find it in the Orpheus Cal e don i us ,
1 725 s e t down as a c omp os iti on of D avid Ri z z io are quite inadmis s ible as

, ,
evidence of the age ass igned to it Fro m internal evidence of the structure .
o f the air it i s mo re l ikely to have fir s t appeared in the beginning o f the
eighteenth century Ramsay call s his song The Lass of Pe atti e s Mill and
.
’
,
he make s no mentio n o f the tune in hi s Scots S ongs 1 720 n or in the , ,
Tea Table Mis cellany 1 724

-
,
.
21 AND 22 . THE HIGHLAND LADDIE .
The two song s in the Museum were written by Allan Ramsay The firs t .
”
he calls the Highland Laddie and it i s printed in the first vo lume o f the
,
Tea Table Miscellany 1 724 The o ther beginning The Lawland Maid s
-
,
.
, , ,
”
i s found in the second vo lume as The Highland Lassie We are indebted .
to D r Arne for the sec ond mel ody Of the o ther Stenhouse s ays Wi th .
,
“
E
regard to the tune it is very ancient a set o f it appear s in a manu s cript ,
c ollection of airs in It is imp os s ible to make anything o f thi s

as sertion because he gives n o clue to the n ame of the MS o r where it is to
, .
be found to enable u s to verify the s tatement ; and we kn o w n o tune o f

,
th e name s o early as that date There i s qui te an array of Highland .

“
Laddies and o f ver s ions of tunes set to diff erent w ord s which we will
”
present alongside of each o ther beginning with the earliest we have di s ,
c overed of da t e 1 69 2 , .
23 . TH E TU R N I M S P l KE .
Tun e CLOU T THE C ALD RON .
Thi s mel o dy is supposed to be ancient Stenh o use all uding t o the s o ng .

, ,
s ays It is adapted to the ancient air of Cl o ut the Caldron of which

“
, ,
tradition relates that the s e cond Bis h op Chish o lm of Dunblane used to

,
s ay ,that if he were going to be hanged n o thing would sooth him s o much ,
as to hear this tune played by the way He als o s tates The ol d s ong .
’
,
beginning Ha ve you ony pots or pans may be seen in the Tea Table
,
‘
,
’ ‘
-
Mis cellany and the Orpheu s Cal e do n i us 1 725

,
’
We can put n o tru s t in ,
’
.
his traditi o n story and hi s a ss ertion that the old s ong may be s een in the
,
Orpheu s Cal e don i u s 1 725 i s mistaken ; it do es n ot appear before the s ec o nd

, ,
editio n of that w o rk vol ii 1 73 3 Whatever age the tune may be we , . .

, .
,
cannot find it earlier than 1 733 in any printed or MS collecti on In the . .
”
“
Ancient Mu s ic o f Ireland fr om the Petrie C ollectio n by F Hoff mann , , .
,
1 8 77 a c opy of the tune is given under the title of About the Caldr o n “ ”
, , ,
identical with that in M Gib b on s third c o llectio n 1 755 ‘ ’
, .
25 . AULD LANG SYNE .
The tune to this song in the Museum is n o t to be confo unded with

that which i s sung to B urn s s o wn song of the s ame name The f ormer ’
.
bel ongs to the seventeenth century th o ugh the words printed to the air ,
are th os e of Allan Ram s ay enti tled The Kind Reception in his Scots , ,
“
,
”
S on gs 1 720 We are n o t indebted at any rate t o either th e Tea Table

,
.
-
Miscellany Music or to the Orpheus Cal e don i u s for the earliest co py i n

,
print I t was publis hed by Henry Playfo rd London in his w o rk A Col

.
, , ,
“
lection of Original Scotch Tunes ( Full of the Highland Humours ) for the ,
Vi olin etc 1 70 0 page 1 1 as For Old l ong Gine my Joe : it i s al s o

”
,
.
, , ,
“ ”
found in Margaret S i nkl e r s Manu s cript 1 71 0 without any name In ’
, , .
Playford and Sinkler the version s o f the tune di ffer shewing that the latter , ,
was not c opied from the former It continued to be publi s hed th o ugh .
,
slightly varied from time to time by nearly all the co mpilers of Scots tunes
, ,
from 1 700 to 1 79 9 when George Th o mson intro duced the pres ent air , ,
which has entirely superseded it The melody was the o nly on e kn o wn .
”
as Auld Lang Syne for at least one hundred years previously The
“
.
’
version in the Museum has been taken n o te f or note from Neil Stewart s
Sco t s Songs 1 772 A different song fro m that of Ram s ay taken fro m
, .
,
br o ads ides issued in the latter part of the s eventeenth century was printed ,
’
in James Wat son s collection 1 71 1 , .
27 . THE GENTLE SWAIN .
The ai r to this song i s known as J ohnny s gray Breeks In Oswald s ’

.
’
C o ll ection of Curious Scot s Tunes published by John Sim pson London , , ,
in 1 74 2 it i s included in the sec ond volume page 6 under the name of

, , ,
J ocky s Gray Breeche s

’
The tune is in three fo ur time b u t fo llowing it .
”
-
,
is another versio n in common t i me having Bris k prefixed to it The latter ,

“ ”
.
i s entirely penta t onic and bears a considerable resemblance to the modern

,
melody It i s uncertain whether there were t wo set s o f the air current at

.
this time or whether Oswald constructed the on e tune from the o ther
,
.
Johnny s Gray Breek s so far as we can disc over is not fo und in any
’ ”
, ,
earlier c o llection .
30 . BONNY BESSIE .
HAGGI E S
’
TUfl w ’
B ES S EY S .
This is one o f Ramsay s s ongs in the first volume of the Tea Table ’
-
Mis cellany but it was n o t included in the original editio n 1 724 It was
, , .
added along with so me o ther s in a later editi o n of that volume .
Stenhouse blunders again in saying Ramsay s w o rd s adapted to the ,

“ ’
music appear in the Orpheus Cale do ni us

, They do n ot appear ,
till the second edition 1 73 3 We su s pect Stenh o use mis qu o ted these , .
v o lumes intentionally from the number of erro rs he make s when referring ,
t o them Ram s ay mentions the tune with his s ong which i s a pro of o f
.
, ,
its age and Adam Craig gi ves it in hi s C ollection page 6 as a genuine

, , ,
Sc ots tune We have not dis covered the original w ords to this mel o dy
. .
31 . TWINE WEEL THE PLAI D E N .
Stenhouse say s I remember an o ld lady wh o sang these verses to a

,
“
very plaintive and simple air in sl o w tr e ble time a copy of which but , , ,
much c orrupted with embellishments appears in Oswald s Collectio n No ,

’
,
.
1 2 under the title o f The La ss ie l o st her silken Surely Sten ‘

,
’
hou s e s mem o ry was defective otherwise he c ould have given us the old ,
lady s version for c ompari s on ; for we have no doubt that af ter some manipula
’
’
tion of O s wald s tune she may have sung the words to it He al so s tates
, .
tha t Napier wh o first published the song being unacquainted perhap s with
“
, ,
the o rigi nal mel ody adapted the ver s es to the same air which is in s erted in
,
’
Johnson s Museum This is perfec t absurdity Napier s first Selec
. .
’
ti on of Sc ot s Songs 1 79 0 was n ot published for fully three years after the

, ,
Mu s eum 1 78 7 ; and the fo ll o wing i s m o re c oncl us ive s till — Jo hns o n t o ok

, ,
it w ord fo r word and not e f or n ote from The Musical Mi s cellany 1 78 6 , ,
published at P erth more than a year befo re t h e Mus eum .
Urbani was very fo nd of this s ong .
32 .
-
THE FAIREST OF THE FAIR .
The air in the Mu s eum given to the S cotti fi e d c opy of Bi s ho p Percy s ’
beautiful s o ng we are t o tally unacquainted with b u t we supp os e we are ,

“
not sin gular in thi s respect as neither Stenhou s e n or any o ther ann o tat o r ,
we kn o w o f h as taken any n o tice o f it Our Opinion i s that it i s an .
imitatio n or attempt t o compo s e a Scottish air by some Engli s h

,
musician Percy s song has been wedded to a very pretty melo dy by an

.
’
Iri s h mu s ician Thomas Carter and was s ung at Vauxhall in 1 773 The
, ,
.
latter is entirely diff erent fro m the on e given by J oh n s on .
33 THE BLATHRI E O T
’
. .
The air of this song i s we think much o lder than the earliest c opy o f it
, ,
we have been able to dis c over We do n ot find it ei ther in manu s cript o r .
’
print before it appear s in O s wald s Caledo nian P ocket C o mpanion b ook
, ,
or in M Gi bb o n s Third C o llecti o n 1 755 b o th being publi s hed ab o ut

‘ ’
v.
, , ,
’
the s ame time O s wald s vers io n h owever i s so inferi or that i t can scarcely
.
, ,
be rec ognised while that of M Gi b b on is n ot far fr o m the ver s io n in the

,
‘
Sc o ts Museum I n the Caledonian Pocket Companion it i s called

.
,
”
Deil take the Gair and the B ragri e o t and by M Gi bb on D eil take the ’
,
‘
,
Geir and the Bla dri e o t H ogg s song o f The Kye c o mes hame i s se t to
’
.
” ’ “
this air c o nsiderably altered

, .
34 . LU C K Y NANC Y .
Tu n e D AI NTY D AV I E .
”
Of this mel o dy S tenh ouse say s with hi s usual inaccuracy The tune
, ,
“
of Dainty D avy i s in s erted in Pl ay ford s D ancing Master first pub ’

-
,
l i sh e d in The fact i s the tune d o es n o t appear in any of the ,
D ancing Masters till the l 0th edition 1 69 8 : th e first edition of the

-
,
work was publi s hed in 1 651 instead of which Stenhous e always give s 1 657 , , .
We are t o ld that the tune was named after the Rev David Williamson wh o .
,
had an adventure in the Cove nah ti ng time s and wh o afterwards became ,
Minister of th e West Kirk It i s quite pro bable that tradition in this .
instance may be trusted .
The mel ody wi thout title is c ontained in Margaret S i n kle r s MS

, ,
’
.
Mu s ic Book 1 71 0 , .
THE SCOTS MUS I CAL MUSEUM . 69
36 . TWEED SIDE .
This i s one of two tunes mentioned in an o bituary n o tice quoted in the

Intro duction to S te n h o use s Illustration s of the Lyric P oetry and Mu s ic
’ “
of Sco tland in which it i s said that James O s wald was justly

,
“
’
celebrated as the auth or o f Ros lin Castle Tweed s ide and numer o u s ‘
,
’ ‘
,
c o mpo siti on s of las ting eminence We may mention that Oswald never .
”
claimed either of these tune s in any of his publications and the statement i s , ,
therefore a p ure fabricati on It i s a fact m oreover that the tune o f

, .
, ,
Tweeds ide was known l ong before his birth The melody o ccurs in the .
Leyden manuscript called Twi de Syde al s o in the B lai ki e manuscript

,
“
, ,
1 69 2 under the name of D o un Tweedside and it was pr o bably in the “ ”

, ,
o lder MS o f 1 683 which was unfo rtunately lost by B l aiki e

.
, , ,
.
37 38 MARY S D REAM ’
AND . .
In the Sco ts Mu s ical Mu s eum there are two tunes given with the
wo rds o f this s ong The first is the c ompo s ition of John Lowe a native of
.
,
Gall oway wh o i s al s o the auth or of the ver s es

, Stenh o use says the .
,
“
s ec o nd se t o f the air t o L o we s so ng i s I believe the c omp o siti o n o f my

’
, ,
friend Mr S ch e tky the celebrated Vio l oncell o player in Edinburgh

, Thi s .
”
s tatement i s c o ntradicted by G F Graham who says that a member of Mr . .

,
’
S ch e tk y s family when the que s ti on was referred t o him flatly denied it
, ,
.
The s ec ond air bel ongs to a more m odern sch ool and is n o t Scottish in ,
’
character while that of Lo we s c omp ositi on is very pathetic better suited
, ,
to the s ong and i s an excellent Scotti s h mel o dy in the min o r key

, .
40 . THE MAID THAT TENDS THE GOATS .
We are inf ormed by Stenh ouse that this s ong was written by Mr “
Ro bert D udgeon farmer at Prest on near D unse , He al so state s that The ,

.
,
“
air of this song is said to be of Gallic origin and tha t it i s called Nian , ,
‘
’
d oun nan gob h ar ( s e e Fraser s Highland Mel o dies ) The edit or never ’
.
met with this Highland s ong nei ther did he ever hear the tune until it ,
”
was published with Mr D udgeon s ver s es Whether Stenh ou s e was ’
.
ign orant of the Highland s ong or never heard the air is n o t of any , ,
consequence He certain l y was n ot aware that the tune wa s published

.
by the Rev P atrick M D onald in hi s C o llection o f Highland Vocal Airs

.
‘
,
etc under the title of Ni gh e an doun nan gabhar

.
, The Maid that
“
,
”
tends the Goats — i n 1 78 4 ( s e e page 21 o f that work )

,
”
.
41 . I WISH MY LOVE WERE IN A MIRE .
This is an excellent old tune Stenhou s e assures us that This old .

, ,
“
mel o dy i s inserted in a manu s cript music b o ok which fro m an in s criptio n -

, , ,
70 EARLY SCOTTISH MELO D IES
’
appears to have bel o nged to a Mrs Crocka t in 1 709 — now in the edito r s ,
p o ssessio n Though we have n ot seen this m anuscript we do n ot think it

.
”
necessary to dispute his statement We know the tune to be in all the ol d .
c o llection s from tho se o f Ramsay and Thoms on s Orpheu s Cal e doni u s

, ,
’
o nwards . We have not h o wever traced the air to any earlier source , , ,
though we believe it to be ancient .
42 . LOGAN WATER .
See Engli s h Claims page , 49 .
43 . ALL AN WATER .
We are t o ld by Stenh o use This tune is inserted in a very ol d manu

,
s cript i n the posses s i o n o f the edit o r written in s quare s haped note s It , .
has no title prefixed to it so it i s uncertain what it was called prio r to the

,
year
The tune which must be very old i s contained we are told by Dauncy
, , , ,
in the B lai ki e M S 1 69 2 and i t o ccurs also in the Atkinso n M S 1 69 4 as

.
, , .
, ,
well as the Sinkler M S 1 71 0 The tune in the two la s t mentio ned i s

.
, .
pentatonic i n form and all vers ion s have Allan Water as their title These
, .
facts shew it was well known by that name l ong before 1 724 We .
c onsider the tune in Sinkler to be the most melo dious ’

.
44 . THERE S NAE LUCK ABOUT THE HOUSE

’
.
It does not concern us wh o was the auth o r of the song W hether i t was .
Jean Adams or William Juliu s Mickle we leave to be decided by

, ,
th os e p o ss essed of literary pr o clivities The tune however we are i n .

, ,
cl i n e d to think h as been ev o lved out of Up an waur them to which

’
,
it bears a s trong resemblance The melody i s c ontained i n J ohn s o n s 24 .

'
“ ’
Country Dance s for the year a London publi catio n It i s n ot under .
the same title and is not exactly note f or note but it is nevertheless the
, ,
ab ove air .
We are not aware o f it havin g been fo und in any earlier source .
45 . TARRY WO O .
We are informed by Stenh ouse that This beautiful song was copied ,
“
from the third vo lume of Ramsay s Tea Table Miscellany ; but the ’
-
name of i ts auth or has hitherto eluded research The firs t part o f thi s .
”
statement is wrong ; the s ong is not c o ntained in the third but in the ,
fourth vo lume He als o tells us that the air appears in M Gibb on s

.
“ ‘ ’
first Collection page Neither is this correct ; it is in the Second

,
Collection 1 746 , We cannot understand what Stenhouse meant by

.
It is a fair imitatio n of a Sc o ttish mel o dy ( but rather overdone in what i s

u s ually termed the Sc o ttish s nap ) and has in a s ense bec ome naturalised , .
The words of the present s ong are S imply an improved version of the
’
o riginal one said to be wri tten by D U rf e y .
49 . MY AIN KIND DEARY O .
Thi s melo dy i s better kn o wn by the title o f Ro bert Fergu son s song ’
The Lea Rig James O s wald published it under that name in hi s

.
Caledonian P o cket C o mpanio n book viii page 20 A dance version o f , , .
the tune is al so found in Ro bert Bremner s C o llection o f Scots Reel s or ’ “
C o untry Dance s page 76 called My ain kind Dearie

, , Whether the “
.
”
so ng or the dance versi on is the m ore ancient we cann o t affirm but doubt ,
le ss on e o f them h as been constructed fr o m the o ther Bremner s Reel s .

’
were publi shed in 1 760 Oswald may be a few years earlier Our o pinio n
, .
i s tha t Walsh s collecti o n w as in circulation previ ous to tha t of Oswald or

’
Bremner ; th o ugh we are unable to a ffix a date Wal s h evidently pub .
li s h e d two v o lume s o f the w o rk and hi s s n cce s sor continued it We have

, .
in o ur possess io n vol ii part i which is apparently the fifth b ook and

. .
,
.
, ,
o n its title page there i s printed N B Ju s t Publi s hed Caledo n ian ,

“
. .
Dances V ol I in 4 B o ok s Each 2S 6d We have s een o ther two b o oks . .
belon ging t o the fir s t v o lume beari ng on their titles Book the Seco nd ,
”
’
and Book the Thir d In G F Graham s n o te we find given Oswald s
. . .
,
’
Caledonian Pocket C o mpanion vol in stead of vol viii and later

, . . .
,
an n o tators have c o pied and transmitted hi s error .
50 . NANCY S TO THE GREEN WOOD GANE

’
-
.
Stenhouse co ntent s himself by men tion ing that the air of this song
i s fo und in the Orpheus Ca l e d on i u s 1 725 Ra m s ay publi s hed the s ong , .
under the name of S corn fu Nancy in the first volume of h i s Tea

“ ’
Table Miscellany attaching to it the letter Z which he u s ed in that work

, ,
to denote o l d s o ngs Stenhou s e says It may fairly be conjectured “

.
,
that the s ong itself i s at lea s t as ancient as the union of the cr o wns in
1 60 3
. We think h o wever his assertion i s fo unded on the letter Z and
, , ,
n o t 0 11 any evidence The s ong or the tune may have been kn o wn by

.
Ramsay s title or the fir s t line o f the son g pre v1 ou s to the Tea Table
’
,
-
M i s cellany but of that we have no pr oo f

, The mel o dy i s co n tained in the .
B la i ki e Manuscript 1 69 2 entitled To w to Spine ( spi n ) and an excellent

”
, , ,
version i s gi ve n in Margaret Si nkl e r s MS 1 71 0 unnam ed ’

'
, .
51 . BLINK O ER THE BURN S WEET BETTIE ’

.
This air was first published in Th om son s O rpheus Cale doni us 1 725 and ’
, ,
about the same date it is found in the Musick for the Tea Table -
THE SCOTS MUSI CAL MUSEUM . 73
Miscellany Oswald and M Gi bb on al s o included the tune in their

.
‘
c o llection s Stenh ouse says Thom s on in h i s Orpheu s Cal e don i u s h a s

.
,
“
taken some liberties with the mel o dy and again These blunders were ,
”
,
“
rectified i n the Museum We cann o t endorse the statement ab o ut .
Tho m s on as all the early publicati on s give different versi ons o f the
,
’
mel o dy Stenh o u s e give s the o riginal w ords of the song Blink o e r
.
,
“
”
the burn s weet Betty It is a cauld winter night etc but he omit s to ,
”
,
.
,
quote h i s auth ority o r to S how what the mel ody was like prior to the ,
Orpheu s Of the vario us set s we prefer that of O s wald

. .
52 . JENNY NETTLES .
This so ng i s sa1 d to have been written by Allan Ra m s ay wh o h a s printed ,
it in the s ec ond v o lume o f h i s Tea Table Mi s cellany Stenhou s e s tate s -

.
S o me o f the lines bel ong to a much more ancient th ough rather licentious , ,
s on g We have never found any o lder verses than those of Ramsay n or

”
.
,
have we been able to trace the tune prior to Bremner s Sc ot s Reel s or ’
Cou n try D ances page 8 0 1 760 It i s a nice cheerful mel o dy and when
, ,
.
,
played quickly makes an e xcellent dance tune What may be c on s idered .
the prot otype o f the fir s t strain of Jenny Nettles is found in the Skene
MSS No 5 called I l ove my Lo ve f or l ove again
.
, .
,
“
.
53 . WHEN ABSENT FROM THE NYMPH .
Tu n e O J E AN I L OV E T HE E
, .
S te n h ou se in hi s n o te This delightful air was formerly called 0

say s ,
’
Jean I l ove thee but the w ords of this ancient song are s upp o s ed to be
, ,
l os t The so n g to which this old air is adapted in the Museum begi nning
.
, ,
“
When absent fro m the Nymph was written by Ramsay and printed in ,
”
,
1 724 and again in 1 725 with the mu s ic in the Orpheu s Ca l e don i u s He

”
, , , .
al so states The E n glish ai r by Farmer i s in tre ble tim e but greatly

,
“
,
inferio r to the old Scotch tune in comm o n time called 0 Jean I l o ve , ,

“
,
’
thee to which William Th om s on adapted Ram s ay s verses in 1 725
, We ’
.
have reason to do ubt m os t of the above s tatements The earlie s t c opy .
o f the tune we can di s cover i s in The C aled onian P o cket Companion ,
bo ok v page 25 as My l ove i s l os t to me
.
, The s ong o f When absent
,
“
.
”
from the Nymph is in the s eco nd volume of the Tea Table Miscell any -
,
which h owever was n o t published in 1 724 and neither words nor music are ,
inserted in the Orpheus Cal e doni u s 1 725 The so n g occurs i n the , .
s ec o nd edition 1 73 3 but not to the tune in the Museum The tune 0 “

, , .
Jean I l ove thee i s first found under that name in Francis Peacock s
, ,
” “ ’
50 Favourite Scotch Air s 1 761 — a ve ry old tune , .

54 . BONNY JEAN .
’
The song in the Museum c o mmencing Love s G o ddes s in a Myrtle ,
Grove was written by Ram s ay and publ ished in his p oems 1 720 under
, , , ,
the name B onny Jean The mel o dy so far as we are aware I S firs t .
,
f ound printed in the Orpheus Cal e don i uS 1 725 Bonny Jean i s now , .
’
much better kn o wn as the air to James Ballantine s popular s ong Ca s tles ,
in the Air A musical manuscript written in tablature which has received

.
”
,
the title o f the Guthrie and is said by D Laing to be not later than ,
”
.
”
1 68 0 co ntains a supposed tune named B o nnie Jean alo n g with a number
, ,
of others having well known titles but after a careful examination we have ,
come to the conclusio n that there is n o t a single tune in it It appears to .
us that the whole c o ntents are accompaniments f or the voice to be played ,
on so me instrument tha t is n ot mentioned .
55 . O ER THE MOOR TO MAGGY

’
.
Stenh ouse begins his note thus This old air o f on e strain ( for the
seco nd strain is only a slight variati on o f the first ) was united to some
ver s es which Ramsay very pro perly rejected in the Tea Table Miscellany -
,
and substituted one o f his o wn c o mp o sition which is that in the Museum ,

’ ’
beginning And I ll o e r the muir to Maggie Thomson did not in sert
,
‘ ’
.
”
Ramsay s s ong in his Orpheus Cal e doni us
’
He fur ther tells u s .
,
Daniel Wright s Briti sh Mis cel lany or the Harmonious Gr ove 1 733
’
, , ,
’ ’
contain s it entitle d O er the mo or to Maggie within the compas s of the
, , ,
flute never before printed

,
Stenh ouse evidently knew n othing ab o ut the .
”
Mu s ick for the Tea Table Miscellany ci rca 1 726 where the air is i n
-
,
”
,
s e rte d S o far as s tated concerning the on e strain he is not corr ect with th os e
.
, ,
already named and even the publications that fo llowed ; but the tun e is s aid
,
to be in the B l ai k i e M S 1 69 2 th o ugh we have not seen it Over the.

, ,
.
Mure to Maggie is in the Leyden M S 1 69 2 and Ore the mure to

”
.
, ,
“
Magie i n the Sinkler 1 71 0 b oth melodies with two distinct strain s and
, , ,
superior versions to tho s e printed Ramsay s song appeared in 1 720 .

’
.
Probably there were no early words The tune is a Scots measure . .
56 . PINKY HOUSE .
S tenh o use
informs us that The air of Pinky House was anciently called ,
“
‘
Rothes Lament Of this old son g the mel o dy and title are all that re
.
’
”
main .In the Tea Table Miscellany Ramsay has given no title to the
-
,
verses beginning As Sylvia in a fore s t lay : he simply head s it Song

,
” “
’ ’
b u t the words are prefaced To the tune of Roth e s s Lament or Pinky , ,
THE SC OTS MUSICAL MUSEUM . 75
’
Ho use and we h o ld that Pin ky H ouse was not the same melody as Ro th e s s
,
“
”
Lament but an alternative tune Our inference is further strengthened
, .
because all the copies of the tune we have seen are called Pinky H o u s e ,
’
until we arrive at Rit s on who in his Sco ttish S ongs use s Ram s ay s word s
,
.
No copy whether in v ocal or in s trumental c ollections in m anuscript or

, ,
prin t is cited in suppor t o f S te nh ou se s as sertion

,
The tune i s firs t ’
.
published in the Mu s ick for the Tea Table Miscellany ci rca 1 726 -
, ,
and is not in the Orpheu s Cal e don i us till 1 73 3 It is in nearly all the .
’
Scottish c o llections Craig s excepted , .
’
57 HERE AWA THERE AWA ’
. .
,
To Oswald we are indebted f or preserving this fine tune It i s in s erted .
in b ook viii o f hi s Caledonian Pocket C o mpanion page 1 and n ot in

.
, ,
book vii as s tated by Stenh o use Oswald made no claim to it and i ts

. .
,
publication sh ortly afterwards by Rober t Bremner in h i s Second Set of “
Sco ts Song s 1 757 prove s that it was n ot on e o f Oswald s c o mp os ition s

,
”
,
’
.
Stenhouse delights in making o bservation s about ol d words but he seldo m ,
attempts to verify what he ass erts He remarks The last f o ur s illy li nes .
, ,
which are attached to them in the Museum have no earthly c on nection ,
with the preceding stan z as ; they bel ong t o a still more ancien t b u t i n
”
admissible ver s io n of the so ng We have s imply to say that the word s .
in the Mu s eum are identical with th o se of Bremner and that if , ,
Stenh ouse is to be believed he must have possessed most remarkable ,
e di tions o f the works he so often mis quotes .
58 . THE BLI THS OM E BRIDAL .
Thi s s on g which was fir s t printed in Wats on s Cho ice C o llection 1 70 9

,
’
h a s been attributed to Semple of Be l tre e s ; and has als o been claimed as

the c omp os itio n of Sir William Sco tt o f Thi rl e s tan e We pass this matter .
over as it is not our pr ovince to decide who was the author of the w ords
, ,
The melody which we thin k is much older than 1 725 was not printed till
, ,
that year William Thom s on being the first to include both w ord s and
,
music in his Orpheus Cal e doni u s In Adam Craig s C o llection the tune .
’
o ccurs under what is said to be the more ancient n ame o f An the Kirk
”
wad let me be Allan Ramsay in his P o em s 1 721 directs his song Th e
.
, , , ,
“ ‘
’
Satyr s Com i ck Project to be sung to the tune of If the Kirk wad let me
,
’
be. In pr oo f of the age o f the tune we may mention that the l ast
quoted title is applied to what is supposed to be the melody in the tabla ,
ture kn o wn as the Guthrie M S which we have noticed under B onny .

,
“
Jean . The song of Kirk wad let me be is contained i n Herd s “ ”

,
’
Ancient and Modern Scot tish Songs 1 776 and in Rober t Ch amb e rs s , ,
’
76 EARLY S COTTISH MELODIES .
Scottish S ongs 1 8 29 The tune is in J ohn Walsh s Caledonian

, .
’
C o untry Dances the title Sill y old Man bein g taken from the fir s t
,
_
,
“
,
line of the song I am a po or s illy old man

, Craig has give n the air in .
”
2 in s tead of 2mea s ure and Walsh in 3 instead o f 3 mea s ure which places
, ,
the accented n ote s in a wro ng position and gives each strain six bars in ,
place of four Two o ther of Ramsay s s ongs vi z Sli ghted Nancy an d

' ”
“
. .
, ,
The Step Daughter s Relief in th e Tea Table M 1 sce ll any and a ver s e in
-
’
,
-
,
” ”
The Gentle Sheph erd Duty and part o f reason are als o sung to
,
“
,
this tune .
59 S AE
. ME RRY AS WE TWA HAE BEEN .
Thi s tune i s on e of the mos t ancient and i s remarkable as having a three ,
bar rhythm which i s seldo m u s ed The mel o dy has been preserved in bo th

,
.
the Straloch and Skene manu s cript s and it o ccurs in m os t o f the early ,
printed Sc o tti s h C o llection s o f Music In the Skene Manuscript it is .
”
called S a mir t ie as we have bein
“
If the air posses s ed words befo re .
th o se wri tten by Ramsay they are n ow entirely f o rgo tten .
60 . BONNY CHRISTY .
Thi s is the fir s t song in Ramsay s Tea Table Miscellany 1 724 but ’

-
, ,
whether it i s one of the earlies t of his productions we have n o t ascertained

”
The melo dy appears to be an ancient on e I ts title Bon n ie Christian i s '
.
, ,
”
c o ntained in the manuscript wh i ch we have alluded t o as the Guthrie
tablatur e ; date according to D Laing LL D between 1 670 1 68 0 In
,
.
,
. .
,
-
.
that little v o lume it is in c omprehensi ble as a mel o dy and seems to be a ,

”
mere accompaniment as we have stated in our note to B o nny Jean
,
The “
.
manuscript of 1 69 2 which bel onged to An drew B l aik i e has als o B o nny

, ,
“
Ch ri s te n but hi s translation of the tablature cannot be underst oo d and it

, ,
is n o t known where that MS n ow is The tune was fir s t printed in the . .
Orpheus Cal e don i u s 1 725 and sh ortly af ter in the Mu s ick for the Tea
, ,
Table Miscel lany where it i s also the first air It is included in many
,
.
o f the later c o llections .
61 . JO OR Y SAID TO JE ANY .
This s o ng is given in the first vo lume of the Tea Table Miscellany ,
1 724 with the letter Z attached to it signifying that it i s old and the
, ,
author unknown The tune has certainly the characteris tics of age
.
“
th ough we have not f ound it earlier than in th e Musick for the “
”
Scots Songs in the Tea Table M i scellany Stenhouse says it is - .
inserted in the Orpheus Cal e don i us 1 725 but it appears onl y in

“
,
”
,
the s ec ond edition vol 1 1 1 73 3 Hi s note is entitled

, Jockey s aid
. . .
,
“
to Jenny and he say s it i s another little poetic gem of some ancient

,
”
though n ow forg o tten min s trel Ram s ay s song is entitled For the .
” ’ ‘
l ove of Jean This title however does not appear to have any s ort of
.
’
, ,
”
relation to the old c omic ver s e s We may remark that the title Ramsay .
gives indi cates a relati onship t o the s ong and the tune in the Tea Table
-
,
Music the Orpheu s Ca l e don i u s and Oswald s Caled onian P o cket Com
, ,
’
pani on bears the same title as is given in the Museum What ab out the
,
.
o l d comic verses ?
O ER THE HILLS AN D FAR AWAY

’
62 .
, .
Stenh o us e alludes to the air a s an old pipe tune o f which a manuscript ,
c opy o f c o n s iderable antiqui ty i s in the p oss es s ion of the edit or Again .

”
,
’
he s ay s The song in Ramsay s Tea Table Miscellan y entitled O er the
,
-
,
’
’
hill s and far away beginning J ockey met with Jenny fair is not a
, , ,
’
genuine Sc o ttish pro duction It was m ade by one of the Grub Street .
p oeta s ter s abo ut the year 1 700 and afterwards in s erted with the music in ,
the fo urth v o lume of the P ills to Purge Melanch oly a second edition o f ,
w hich by Mr J o hn Lent o n was printed in 1 709

, It i s there called , .
’ ’
J ock e y s Lamentation see p 63 In the index to the reprint of 1 71 9 it
,
. .
is in th e fifth v olume under J o ckey met with Jenny fair Though the .
’
tu n e is so f ar as we kn o w first printed in the Pill s that does not prove ,

”
its English nationality and we have reaso n to believe it to be Sco ttish and
, ,
o lder than that publicati o n We may stat e that the tune as printed is n o t .
entirely suited to the words a much bett e r versio n of the mel o dy called , ,
”
My Plaid away i s c ontained in Margaret S i n k l e r s MS bo ok 1 71 0
,
’
.
, .
63 . THE FLOWERS OF THE FOREST .
It is n o t our purp ose to make any remarks about the authorship o f the
vario us songs that have been written to this melo dy in the Museum .
’
To many pers ons S te n h ouse s n o te would be u n der s t ood to refer to the
,
tune which is printed by James John s on whereas he c onf o unds it ,
with the more ancient on e c ontained in the Skene Manuscript The .
m o dern air we have n o t been able to trace to an earlier s ource than

’
O s wald s Caledonian P o cket C om pani on b ook xi ci rca 1 759 and to , .
, ,
M Gi b b on s
’
‘
Sc o t s Tune s with some Addition s by Robert Bremner
“
, , ,
1 762 From which circumstance we are inclined to think it a comp o sitio n of

.
ab out that time The old mel o dy in the Skene Manuscript i s in ou r o pinion
.
, ,
a far s uperior pro duction so natural and plaintive full of patho s and , ,
expre s si on requiring n o ne of the s o called graces or embellishments o f the

,
-
modern tune ,
78 EARLY SC OTTISH MELODIES .
64 . BUSK YE BUSK YE , .
This tune called The Br aes of Yarro w is found for the first tim e in
, ,
the seco nd volume of the Orpheus Cal e don i u s 1 73 3 — the date 1 725 being , ,
another of S te nh ou se s m istake s ’
He tells us that the fir s t four l i nes is .
“
all that remain s o f the o rigin al song referring to both Ramsay and
Hamil t o n The fourth line of their verse s conveys a different meanin g
. .
G F Graham wh o says the first three lines is probably c o rrect

. .
, That ,
”
.
gentleman s tates that a tune call ed The lady s G oune in the Leyden “ ’
,
”
tablature manu s cript seems to be an old and simple set of The Brae s,
“
”
of Yarrow In that remark we thi n k he errs a s his own translation o f
.
,
’ ”
the Lady s Goune do es not suit the first three lin es of either of the
“
song s ; but we entirely agree with hi s stateme nt that in many cases ,
the translation of tablature tunes is quite c o njectural in the absence ,
of the measure and duration of n otes so characte ristic o f these ,
manuscript s .
65
’
. THERE S MY THUMB I LL NE ER BEGUILE THEE ,
’ ’
.
Stenh o u s e tells us Thi s ancient Sc o ttish melody formerly c on s isted o f

,
“
one strain It appears in the Orpheu s Cal e don i us of 1 725 i n this

.
simple garb with the same verses th at are inserted in the Sc ot s Musical
,
Mu s eum begin ni ng Betty early go ne a Maying

, ,
I t was afterwards .
”
printed i n the fourth vo lume of Watt s Musical Mi s cellany 1 73 0 There ’
,
.
are some verses to the same air in Ramsay s Tea Table Miscellany 1 724 ’
-
, ,
beginning My s weete s t May let l ove incline thee in stanz as of eight

,
“
,
’
lines each From thi s circumstance it i s evident that a second strain had
.
about this time been added to the tune th ough unknown to the editor of ,
”
the Orpheus Cal e doni us
“
Can anything be m ore apparent than that .
Stenh o use took n o tr o uble to a s certai n when the second strain was firs t
added to the mel o dy The tune appears in the Musick f or the Scots
.
S o ngs in the Tea Table Miscellany and in Craig s M Gi b b on s and Oswald s

-
,
’
,
‘
,
’
C o llectio n s ; the three latter give variatio ns but n o sec ond s train Robert .
”
Bremner was the first to print the s ec o nd strain in h i s Thirty Sco ts S ongs “
,
1 757 a volume which Stenh o use wrongly dates 1 74 9 and from that w o rk
, ,
it h as been taken bo dily for the Sco ts Musical Museum .
66
. GILDEROY .
We have a long dissertation in S te nh ous e s Illustration s c o ncerning the ’
s ong s the auth o rs the publicatio ns and the hero called Gildero y but little
, , , ,
i s said ab out the melody Different authorities are at variance with one .
’
another and even as to the date o f the free hooter s execution they do not
,
-
70 OSCAR S GHOST ’
. .
The words of this Song were written by an ol d maiden lady Mis s An n ,
Keith The mel o dy is the c ompo s ition o f Mrs T o uch the wi fe o f the Rev
.
, .
’
Dr John T o uch mini s ter o f St Cuthbert s Chapel of Ease Edinburgh She
, , .
was the sister of the Rev Patrick M D on al d who pub li s hed a C o llecti o n
‘
.
,
o f Highland Vocal Airs etc in 1 78 4 It is said tha t s h e excel led her

,
”
.
, .
bro ther bo th a s an instrumentalis t a n d as a comp os er The tune has .
c onsiderable Highland character and i s well suited to the wo rd s O s car s , .

“ ’
Gh o st b o th words and mu si c was printed previou s to the Sco ts Mu s ical

,
”
,
’
Museum in Neil Stewart s Thi rty Scots S on gs 1 78 1 The first and s econd , .
vers e s appeared in the Sco t s Nightingale 1 779 “

,
”
.
71 . HER ABSENCE WILL NOT ALTER ME .
The tune is called When ab s ent from the Nymph I l ove the wo rd s o f
“
which s ong J ohns o n gave to the tune of 0 Jean I l ove thee No 53 The , . .
mel o dy w as first printed in the Orpheu s Cal e do ni u s 1 73 3 n o t in 1 725 as , ,
s tated by Stenhouse The air h o wever is c onsiderably o lder it i s c ontaine d

.
, , ,
in a manuscrip t bo ok f or th e flute which belonged to a William Graham ,
1 694. A f ormer possessor o f the MS was David Laing LL D who died .

, . .
,
in 1 8 78 It was borr o wed fro m William Chappell by John Muir Woo d

.
in 1 8 76 The tune in Graham s volume is in measure

.
’
.
72 . THE BI RKS OF INVERMAY .
Stenhouse s tates that the tune is c o ntain ed in Thomso n s Orpheus Cale ’
d on i u s but he neglect s t o mention in the sec o nd volum e publ is hed 1 73 3

, , .
He says als o Mallet wrote the two first s tan z as of the s ong beginni ng The
, , ,
”
s miling m o rn the breathi n g s pring and directed them to be s ung to a '
, ,
Sc o tch tune The Birk s of E n de rm ay

,
“
He a ffirms that Rams ay .
“
inserted Mallet s s ong in the third v o lume of his Tea Table Mis cellany
’
-
,
w h ereas it appeared as the second song in the fourth vo lume The air is .
not in any c o llecti on before 1 73 3 It o ccurs in th os e of M Gi b b o n and .

‘
Barsanti b o th published in 1 74 2 as the Birks of E nve rm ay i n Oswald s

, , ,
” ’
Caledo nian P o cket Compani on b ook ii as the Birk s o f E n de rm ay and , .

, ,
in Bremner s Sc o ts So ngs 1 757 wh o in the w o rds however gives

’
, , , ,
”
“
Invermay With the ti tle o f The Birks o f Invermay it appear s in
.
“
P e acock s Scotch Tunes 1 762 ; the same as in the Tea Table Mis cellany
’
,
-
.
’ ’
As Mallet s Poem s Th o ms on s Orpheu s and O s wald s Caledonian Pocket
, ,
’
Companion were all publi s hed in London we pre s ume that Ender was ,
“ ”
more easily pronounced by the Southerns than Invermay which is the ,
correct fo rm .
73 . MARY SCOT .
Stenhouse says Thi s ancient B order air o riginally c onsisted o f one

,
“
-
s imple s train The s econd which fr o m its skipping from o ctave to o ctave
.
, , ,
i s ver y ill adapted for sin ging appears to have been added about the sa m e ,
year 1 709 ( what doe s he mean by sa m e when he h as not alluded to any

,
year) and was printed in Th om s on s Orpheus Cal e don i u s 1 725

, Sten ’
, .
h ouse i s wr ong abo ut the s eco nd strain ; the tune with bo th s trains i s , ,
found in Ap oll o s Banque t 1 68 7 and is there called Long C old Nights

’
, , .
”
Gow in h i s fir s t Repo s it ory gives Carrack s Rant a strathspey

“ “ ‘ ’ ’
.
,
The ol d Sc o tch S ong of Mary Scott is taken from this tune We agree .
”
with Stenh o use in s aying that The c onvers e o f this s upp o siti o n i s the ,
“
fact ; for Carrick s Rant i s n othing else than Cl uri e s Reel printed in
’ ’
A ngu s Cumming s C ollecti on But the tune of Mary Scot t was kn o wn at

’
.
least a century befo re either Clu ri e s Reel or Carrick s Rant were even ’ ’
’
heard o f We cann o t h o wever end o rs e S te nho use s assertion r egardin g
.
”
, ,
the age o f Carrick s Rant f or we know it to have been publis hed in Wal s h s
’
,
’
Caledo nian Country Dances about forty years bef o re Cumming s C ollection ’
of 1 78 0 .
74 . D OWN THE B URN DAVIE .
This is a fine old tune ; it i s the last air in the Orpheus Ca l e don i u s 1 725 , .
It appears al s o in the second editio n first vo lume 1 73 3 where it i s , , ,
c on s iderably altered and improved The tune we have n o t found in any .
earlier source and is pr obably not much older than the date of the
,
Orpheus It is on e of the air s which Th om so n ascribe s to David Ri z z io a

.
,
piece o f S heer n o n s en s e The s ong o f D o wn the burn D avie is n ow .

“ ”
u s ually s ung to music by James Hook an English comp o ser but we greatly , ,
prefer the Sc o ttis h tune as given in the Mu s ical Mis cellany 1 78 6 and in , , ,
the Mu s eum 1 78 7 which are identical Acc o rding to Stenhou s e Mr

, ,
.
,
Burn s s ays I have been informed that the tune o f D o wn the b urn
,
‘
D avie was the c omp o siti o n o f David Maigh Keeper o f the blo o d s l ough
’
,
h o unds bel ongin g to the Laird o f Riddell in Tweed dale But he was -
.
pr obably mis info rmed f or the tune o ccurs n ote for n o te in the Orpheus ,
Cal e don i us printed in 1 725 This latter s tatement i s a gr oss e x agge ra .
tio n It is pr obable that Burns meant the versi on printed in t h e Museum

.
,
which i s infinitely s uperio r to any of the earlier set s th ough n o t greatly ,
di fferent fr o m the Orpheus of 1 73 3 .
75 . THE BANKS OF FORTH .
Thi s mel ody i s a c omposition o f Jame s Oswald who publis hed it in his .
”
“
Curious C ollectio n of Scots Tune s 1 74 0 It als o appe ared in the , .
F
Caled onian Pocket Companio n book i page 20 ; but for that work the , .
,
dat e 1 74 1 as si gned by Stenh o use is too early The tune we c on s ider to be .
better s uited f or the flute or vio lin than f or the voice It is very fl orid .
,
e s pecially for a Scottish so ng if the verses deserve that name , .
76 . O SAW YE MY FATHER .
See English Claims page , 54 .
77 . GREEN GROWS THE RASHES .
It need scarcely be menti oned that this song was written by Rober t
Burns .
The mel o dy acc ordi ng to Stenhouse is old a bad set of it occurs in

, , ,
O s wald s first collectio n 1 74 0 ; but he seems to have forgo t that the tun e
’
had been used as a reel as well as a s ong in Scotland time out o f memory, , .
It would be ve ry difficult to recognise the pre s ent tune in Oswald s ’

.
Stenh o use says again The tune h owever appears to have been al so kn o wn
, , ,
by the title of Cow thou me the Rashes green quoted in the C omplaint ’
,
of Scotland in 1 54 9 There is not the least e vidence that the tunes are
’
.
the same it is a case of presuming on si milari ty of titles Laing i n the

, .
,
additional notes state s The tune of Gree n Grows th e Rashes o ccurs in

, ,
“
the Straloch manuscript The tune in the MS bears some resemblance . .
to the first strain but i t mu s t have undergone a strange metamorphosis

,
to become the one under consideration We have the tune in Walsh s .

’
”
Caledo nian Country Dances bo ok second called John Black s , , ,
“ ’
Daughter This publicati on may be as early as Oswald s but we have

.
” ’
n o t been able to ascertain i ts date The air however is i n J ohnson s ’

.
, ,
Twelve Country Dance s f or the Harpsichord collected for the year 1 74 9 , ,

’ ”
as Foot s Vagaries and a better version is contained in D Rutherford s
, .
’
Twenty four Country Dances for the year

-
called Foot s Vaga ri es ’
or Green gro ws the Rashe s which is superior to the Grant s Rant in ,

” ’
Bremner s Collection o f Scot s Reels or Country Dances 1 759 and at

’ “
,
”
,
least equal to that in the Museum .
78 . LOCH EROCH SIDE .
This tune has been claimed as the joint comp o sition of Niel Go w and his
second wife It was publis h ed however by Alexander M Glash an in 1 78 6
.
, ,
‘
as a Strathspey named Lo ch Ei re ach d Side and in his col lection it is

,
“
,
”
followed by another tune Over y o ung to marry yet from which it has , ,
evidently been taken apparently that it might be contrasted with it Niel

, .
Gow inserted Loch Erre ch Side S trathspey in his se cond collection

“
,
in 1 73 3 The mel o dy h o wever did appear in the Musick for the Sc o t s

.
, ,
“
Song s in the Tea Table Mi s cellany publ ished about 1 725 and in Adam
-
, ,
Craig s C o llection o f the Ch oice s t Sc o t s Tunes ; both o f which work s

’
”
precede the Orpheu s o f 1 73 3 The tune My dearie if th o u dye i s
”
.
,
“
, ,
c ontained in the B l ai ki e and al so in the Leyden MSS o f 1 69 2 It . . .
po s s e s ses the characteris tic s o f an early peri o d .
83 . SHE ROSE , A ND LET ME IN .
See Englis h Claims pag e ,

35 .
84 . SWEET ANNY FRAE THE SEA BEACH CAME -

.
This melody i s a very goo d imitati on o f the Scottish s tyle I t i s the .
compos itio n of Dr Greene and was published in 1 73 9 in the fir s t v o lume

,
of Calli ope or English Harm ony a w o rk which c ontains ab out t wo d oz en

, ,
”
Sc o ttish s ongs with the music The publishers are Henry Robert s and
,
.
Jo hn Simps on L ondo n , .
85 . GO TO THE E W B U GHTS ,
- MARION .
This s ong appears in the fir s t v olume of Allan Ra msay s Tea Table Mis ’
-
ce l l an y 1 724
,
It has the letter Q appended to it which means it i s an o l d
.
,
s o ng with additions Of this we have no doubt and we believe the air

.
, ,
fro m its constructio n to be c o n s iderably more ancient than Ra m s ay s time

,
’
.
Stenh o u s e err s again by s aying that the tune occurs in the Orpheus Cale
d on i u s 1 725 instead o f in the s ec o nd volume 1 73 3
,
The versi on of the , .
tune gi ven there is n ot identical with that now sung T h e earliest c opy .
we have been able to di s co ver o f the present set is in a c o ll ection o f Scots

s o ngs published by Neill Stewart in 1 78 1 .
86 . LEWIS GORD ON .
The air to thi s Jac o bite s ong i s like the words not old The song , .
i s s aid to have been written by the Reverend Alexander Gedde s a Roman ,
Cath o lic priest who attempted a new translation of the Bible which o win g , ,
t o his death was never fini s hed

,
The earliest copies of the verses together.
,
with the music we have fo und i s in C orri s Sco ts S ongs 1 78 3

,
The ’
, .
melody bears a great resemblance to the o lder tune of Tarry W o o ,

”
”
from which it has been evidently b orro wed Lewis Gordon h as been .
“
u s ed f or a hymn tune in a publication called the Seraph see n o te ,
No 4 5
. .
8 7 THE . WAUKING or THE FAULD .
This air judging fr o m its structure i s apparently very ancient tho ugh
, , ,
we have failed to find it i n any co llection earlier than the Orpheus

Ca l e don i us of 1 733 It is n o t in the 1 725 edition as as s erted by Sten
.
,
hou s e ; and strangely it does n o t turn up again until 1 751 in O s wal d s

, ,
’
Caledonian Po cke t C ompanio n b ook iii Still later 1 760 it appears in ,

”
.
, ,
the Mus ic to the S ongs in the Gentle Shepherd publis hed by Robert
“
,
”
Bremner The ver si on of the tune in the Orpheus and that of Bremner
.
, ,
are pentat onic ; the former wanting B and E and the latter C and F in ,
their scales .
88 . MY NANNY O .
See E n glis h Claims page ,

44 .
89 . OH ONO CHRI O .
Stenhou s e in his n ote says D r Blackl ock info rmed Burns that this ,
“
s ong which is adapted to a wild and plaintive Gaelic air in the Mu s eum
, ,
’
but quite diff erent fr o m that which appears in O s wald s C o llectio n was ,
c omp os ed on the horrid Mas sacre of Glenc o e in etc Thi s statement , .
i s rather amb i guous D oes Stenhouse mean that the song wa s writte n in
.
1 69 1 or that the air wa s comp os ed at or ab out that date ? And what co l

,
lecti o n o f O s wald s w o rks is meant ? Had Stenh ouse examined the air
’
called Oh Onoch i e O in the ninth book o f Oswald s Caledonian P o cket

,
” ’
C ompanio n with any care ( we kn o w n o o ther tune in O s wald with a title

,
re s embling that given in the Museum ) he w ould have fo und it to be ,
an o ther versi on o f the Hi ghland Mel o dy in a different key O s wald also .
included it under the s ame name in the c ollection which he dedicated to

, ,
the Duke of Perth 1 74 0 ,

.
90 . LOW D OWN IN THE BROOM .
Stenho u s e makes the fo ll owing o bs ervatio n res pecting this tune : Sibbald
’
s tates it as his opini o n that on e o f Wedderburn s g o dly ballad s fir s t printed ,
about the year 1 54 9 and again by Robert Smyth at Edinburgh 1 59 9 was

, , ,
su n g to this old tune The above i s pure conjecture n o t being supported

.
”
by any evidence Stenh o use further says David Herd res cued it ( the
. ,
“
song) fr o m the stalls and gave i t a place in his C o llecti o n

,
O s wald h as .
inserted a wretched copy o f the mel ody in h i s Caledonian Po cket Com

’ ’
panion under the title o f My L ove s in the Broom In the Museum
,
‘
.
”
there i s a genuine c opy bo t h of the words and air If we are indebted .
to Herd for the son g we are al s o indebted to Franci s P eac ock wh o gives
, ,
the mel o dy in h i s Fifty Favourite Scotch Airs 1 762 under the title o f , ,
“
Down i n the Br oo m exactly a s printed by Johnson in the Mu s eum
,
’
.
91 . I LL NEVER LEAVE THEE

’
.
The tune in the Museum th ough Stenh o u s e calls it by the ab ove name , ,
’
i s n o t the on e tha t appears with th e w ord s o f Ramsay s s ong i n the
Orpheus Cal e don i u s of 1 725 ; nor with that which was printed with
Ra ms ay s words in Watt s Mu s ical Miscellany 1 730 In b oth of these
’ ’
,
.
”
w orks the tune given is a corrupt versio n of Bann ocks o f Bear Meal .
The tun e in the Museum adapted to One day I heard Mary say is ,
“
,
”
’ ”
the on e publis hed with the title of I ll never leave thee in the Musick for ,
the Scots Songs in the Tea Table Miscellany ci rca 1 726 Ramsay s s ong -
, .
’
Th o f or seven years and mair Honour s h ou d reave me was publi s hed

’ ’
i n 1 720 and Crawford s One day I heard Mary say not till the sec ond
’ ”
, ,
volume o f the Tea Table Mi s cellany was printed

- .
92 . BRAES OF BAL LENDEN .
Stenhouse say s The comp o sition of thi s fine ai r h as been attributed to

‘
Oswald but up o n what auth ority I am at a los s to discove r

,
He .
”
adds ,
The edit o r of Albyn s Anthol ogy in the intr o ductio n to that ’
w ork asserts that Oswald was the c omp o ser i n the f o llo wing term s : In
,
‘
the year 1 759 James Oswald on e of the m os t succes s ful mu s ical advent
, ,
u re rs in L o ndo n published hi s Caledonian P o cket Compani o n in twelve

, ,
thin o ctavo volumes u s ually b ound up in two , etc We have no ,

’
.
intentio n of defending Alexander Campbell s assertio n n or his date f or the ’
Caledo nian Pocket Companion but we may say that th o ugh he is in error a s , ,
to the tune he is much nearer the mark than Stenh o use as to the publication
, .
The latte r describes it thus : O s wald published hi s Po cket C o mpanio n in

perio dical number s which he call s volumes each con s isting of fr om 3 2 to ,
3 6 pages ; six of these in two parts called h i s Fir s t and Second C o llecti o n , ,
price ten shill i ng s were advertised i n the Scots Maga z ine f or No vember
,
1 74 2 .That Stenho use ever saw or po s se ss ed a copy o f O s wald s Caledon ’
ian P o cket Companion is doubtful b u t if he did h i s descriptio n of that , ,
work am o unts to a fraud Oswald d oe s n ot term vo lume s what .

“
S tenh o use calls perio dical numbers but he names them b ooks the first , ,
and sec ond of which c ontain 3 6 pages each the third 28 the fourth and fifth , ,
3 2 each and the s ixth 28 making the first volume ; the seventh bo ok has
, ,
3 3 pages the eighth 28 the ninth and tenth 24 each the eleventh 28 and
, , , ,
the twelfth 24 completing the w ork

, The Caledonian Pocke t C ompanion .
was not published in 1 74 2 but it began a year or two later and it was , ,
probably not fini s hed before the year 1 760 : positive information h o wever , ,
’
air o f Lo rd Ronald the title may refer to th e capitulatio n of Limerick to,
William s fo rce s s oon af ter the Bo yne battle ; or to the taking of Limerick
’
in 1 64 9 by C ro mwell s tr oop s aided by pe s tilence and treachery

,
We ’
, .
shall thro w n o do ubt on Burn s havi ng s ent to J ohn so n s Mu s eum the ’ “
two s tan z as o f the s o called ancient ballad Lord with the -
s imple and pathetic mel o d y rec o vered by him in Ayr s hire but we have , ,
n o evidence that the mel o dy th o ugh s lightly diff erent is o lder than , ,
Lo chaber a s f ound in Adam Craig s C o llecti on 1 730 Probably the

” ’
, .
s ec o nd s train was unknown ( or at leas t n ot required f o r Lord Ronald ) “ ”
in Ayrshire The s ingle s train i s n o pro of of antiquity

. We may .
as well affi rm that the line s of s o me on e wh o h as written a single

verse to a tune must b e earlier than ano ther s song o f fo ur or more
,
’
s tan z a s With o ut reference to an early printed or manuscript copy

.
,
we cann o t accept Lo rd R o nald a s the par ent mel o dy In alluding “ ”

.
to the Irish claim under the title o f Limerick s Lamentation e s pecially ’
if that title referred to the taking o f Limerick in 1 649 we s hould think it ,
very unlikely that James s army w o uld march to the Lamentation when ’ “
,
”
it wa s apparent that the t o wn was held f or him In Alfred Mo ff at s ’

’
Min s trel s y of Ireland 1 8 98 we find a f oo tn ote to the s ong When c o ld ,

”
,
in the earth in which he s ay s Th oma s D u ffe t s song Since Coe l i a s my

”
, ,
’ ’
f oe publi s hed in that author s New P o ems Lond on 1 676 i s marked

’ ’ ’
, , , ,
S on g to the Iris h tune There i s n o mu s ic in this w ork but in the Lover s .

’
,
’
Opera 1 73 0 we find the air des ignated Since Coe li a s my foe t o be the
, ,
’
tune claimed by the Iris h as Limerick s Lamen t and by the Sc o tch ’
,
’
as Lo chaber n o m ore We may therefore fairly pre s ume that as far bac k .
’
a s 1 676 i e just fifty years prior to the appearance of Ram s ay s Tea Table ’
-
,
.
,
Mi s cellany vol ii in which Lo chaber was first printed the air was
,
’
.
’
,
kno wn as an Iris h Tune Thi s inference o f Mr Mo ff at s we cann o t .

” ’
uph o ld ; f or in the seco nd volume of Ramsays w ork we find n o title to h i s ’
s o ng but S imply prefixed to it A S ong To the tune Lochaber n o m ore ”

, , , ,
which air must have been kn o wn by that name before the publi catio n of
'
his vers es o therwise his direction w ould have been u s eles s Until there i s
, .
actual eviden ce pro duced anterior to The Lover s Opera we cann o t admit “ ’
that the Irish claim is well f o unded The air in The L over s Opera .
“ ’ ”
merely pr oves that it c o uld be sung to D u ffe t s so ng It i s after the ’

.
date of the Opera 1 73 0 that th e tune firs t appears under the name of , ,
Limerick s Lamentation or S ars fie l d s Lamentation

’
Limerick s ,
’
.
” ’
Lamentation an d S a rs fie l d s Lamentation are given i n The Aria di ’ ” “
Camera ( the c o llection which Mr Mo ffat qu ote s ) to t o tally diff erent

”
tunes D u ffe t s s ong Since Coe li a s my f o e h as been given to the

.
’
,
’
,
”
air of Lochaber in The Lover s Opera 1 73 0 but is the tune to

“ ” “ ‘
,
”
,
be found under t h e title of D u ff e t s song at an earlier date ? Our opinion is ’
that King Jame s March to Irl and which is found in both the Blai ki e
“ ’
,
”
and Leyden MSS is the or i ginal or parent tune It i s contained in

‘
.
,
Margare t S i n kl e r s MS music book 1 71 0 as King J ames March and

’ “ ’ ”
.
, , ,
THE SCOTS MUSICAL MUSEUM . 89
it '
nearer to Lochaber than either o f the ver s io n s given by

approach e s
“
B l ai ki e or Leyden We diff er from the opinions of Burns and Graham

.
,
that the air of Lord Ronald wa s the parent o f Lochaber no m ore f or ”

,
the reason tha t there is no pro o f of the earlier existence in any form
whatever o f Lord Ronald while we have ample evidence of the existence
,
”
’
of King James March Reeves Magot — Play f ord s Dancing Master
,
” ’
1 70 1 .
M ARCH To I RELAND .
96 THE MUCKING OF GEORDIE S BYAR ’

. .
This excellent tune i s c o ntained in the Orpheus Cale don i us 1 725 under , ,
the title of My D a dy s a delver of Dykes

“ ’
In the Tea Table Miscellany .
-
,
Allan Ram s ay h as a s ong c a lled Slighted Nancy of which My dady s a ,

’
delver of dikes is the commencement of the second verse He directed it .
to be su n g t o the tune of The Kirk wad let me be Stenhou s e tell s u s

“
.
”
Ra m say wrote an intro ductory stan z a to this old song beginning Ti s I , ,

’
”
have seven new go wns ; and in place of the last stan z a which he h as ,
suppressed he added two of his own beginning When I was at my

, , ,
“
”
firs t prayer s He adds The editor o f the Orpheus Cal e doni us how
.
,
“
,
ever adhered to the words and tune of the old s ong etc Stenhouse
, , .
’
mit s to say where he finds the ol d s ong except i n Thomson s Orpheus
o .
As he is so unrel iable we s u s pect b o th t h e words and tune wer e new He

,
.
further say s The tune appears in Mrs Crock at s B o ok in 1 709 under the
,
’
,
’
title o f The three go o d fellows
‘
a statement which may or may not ,
be correct We have n ot had an opportunity of seeing that manuscri pt

. .
’
The melody afterwards received the n ame of The Mucki ng of Ge ordy s “
Byar and was published as such in 1 742

,
”
.
97 . BIDE YE YET .
This lively tune is not n o ticed by Stenhouse b u t to the song itself ,

’
he refers as appearing for the first time i n David Herd s Ancien t and
,
M o dern Sc o ttish Songs The author is unknown S o far we have not . .

,
discovered the w o rds prior to this source Ro bert Chamber s in Songs .

,
Pri or to Burns states We are indebted to Johnson for givin g us the

,
”
,
“
ai r and J M Wood in h i s n ote in the Bal moral Editio n o f The

,
”
. .
“
P o pular Songs and Melodies of Sco tland 1 8 8 7 says The song first , , ,
“
’ ’
appeared in Herd s C o llectio n and with its tune i n Johnson s
Mu s eum ( 1 78 7 B o th the s e statements are inco rrec t as the song ,
”
“
Bide ye yet al on g with the melody is contai ned in The Musical
, ,
Mi s cellany : a Select Collecti on of Sco ts English and Iri sh Son gs set to , ,

”
Music Perth printed by J Brown MDCCLXXXVI
.
, .
, .
98 . THE J OYFUL WID OWER .
Tu n e M AGGI E LAU DE R . See English Claims page , 49 .
’
In Allan Cunningham s e dition of Rober t B urn s s w orks we find the ’
,
fo llowin g note regarding this song : The old Scottish lyric bards lo ved t o
s ing o f the sorr ows of we dl ock and the raptures of single blessedness .
The Auld Guidma n is an admirable S pecimen of matrimonial infeli city ;

’
it forms a so r t of rustic drama and the pair scold verse and verse about ,
.
Burns when he wr o te The J o yful Wido wer thought on the st rains of his
‘
elder b re th e rn and equalled if he di d not surpass them It was first

,
.
printed in the Musical Museum It is disputed whether or not the s ong .
’
was written by Burns a t all Cunningham s statement is not in the least .
’
c o nvincing but if it can be proved it must have been one of B urns s
, , ,
earliest productions At all events those who ascribe the song to him have
.
,
a hard nut to crack as we are able to prove its existence in an Edinburgh

,
*
publication seven years before the appearance of the Kilmarn ock Burns of
1 78 6 ; and surely his p o etic genius had n ot gone so far at that date I t was .
,
therefore not first printed in the Sc o ts Musical Museum 1 78 7 In the

,
“
,
”
.
Th e S co ts Nig hti ngal e , ” E d i nb urg h , 1 779 .

ofthe Iri sh Gilch ran k y an d is a vers io n of the air printed in the M useum
“
, .
”
The song appeared in The Charmer Edinb urgh 1 751 , , .
1 03 TO THE WEAVER S GIN YE ’

. G0 .
The tune to this song i s called The Weaver s March and i s c o ntained ’
in th e s ec ond vo lume o f James Ai rd s Selection o f Sco tch English Iri sh ’
, , ,
”
and Foreign Ai rs 1 78 2 under the same title as the s ong
, , .
1 04 . STREPHON AND LYD IA .
Tu n e— “
THE G ORD ONS HAS THE GUI DI NG oT
’
.
We have fail ed to di s cover this tune in any c ollection whatever before

th e publicatio n o f the Mu s eum therefore we d o not venture to sa y any ,
thing about its age We may remark of the tune that the second strain
.
differs very little fro m the fir s t on e .
1 05 . ON A ROCK BY SEAS SURROUNDED .
Tu n e I ANTR Y THE LOVE LY .
In the Mu s eum the tune has been misnamed ; it i s n o t I an th y the “
l ovely which we have already noticed B o th the melo dy and s ong are
,
.
said to be the Compo s itio n of Dr Beattie o f Aber deen fro m whom ,
J ohnso n received them At any rate neither are to be fo und earlier than
.
,
the Museum .
’
1 06. WHISTLE AN I LL C OME TO YO U MY LAD ,
.
It is said by Stenhouse This air has generally been considered o f Irish

,
o rigin becau s e it was adapted to a s ong written by John O Ke e f e E s q

’
,
in , ,
’
his comic opera of the Po o r Soldier which was first acted a t Coven t Garden ,
in 1 7 Stenh o u s e adds But the tune was composed by the late J ohn,
Bruce an excellent fiddl e player in Dumfries upwards o f thirty year s

,
-
,
before that perio d Burns say s Thi s I know Bruce who was an hones t
.
”
, , ,
man though a red wud Highlander constantly claimed it and by all the
,
-
, ,
o l d mu s ical pe o ple here ( vi z D umfries ) he is believed to be the auth o r of .
it
.
( C r o m ek s Relique s
’
) The air was kn o wn to Burns befo re he went
”
to E ll i s l an d as the sec o nd volume of the Museum was issued in April

,
”
1 788 .John Mayne the author of The Siller Gun who was born in
,
“
,
Dumfries but lef t that town when twenty year s of age says Bruce never
, , ,
”
was known as a composer of music while Burns who in riper years lived , ,
in D umfries a ffi rms the melo dy to have been hi s comp os ition As the

,
.
tune is s aid to have been a favourite with Burn s he i s more likely to be ,
c orrect R A Smith in h i s Iris h Minstrel claim s it for Ireland under the

. . .
,
name of No ble Sir Arthur to which he s upplies B u rn s s song This we ,

’
.
co n s ider m er e a ss ertion f or he doe s n o t pro duce the least evidence

,
.
1 07 I M O ER YOUNG TO MARRY YET

’ ’
. .
The air to this s ong i s k nown by the s ame name It i s a dance tune x
.
,
’
and was originally publi s hed as such in Bremner s Collection of Sco t s Reels
o r Country Dance s 1 758 Stenh ouse gives what he calls a s pecimen o f
, .
the ol d words but as he do es n o t refer to any s ource we s us pect they were

, ,
written by s o me wit abo ut h i s o wn time Such lines were c o mm o n in .
the firs t half of thi s century An other s ong on the same s ubject,havin g .
the identical ch o r us written at a later date became very popular ab o ut

, ,
s ixty years a o It as sung to an adaptati o n of The Brae s of B a l u i d d e r

”
g w .
q ,
and n ot to the air in the Mu s eum .
1 08 . HAM I LLA .
Tun e THE B ONNI E S T LAS S IN A ’

THE WARLD .
The ai r to this s ong i s the above named tune which i s prefixed to it in -

,
’
the first v o lume o f Allan Ramsay s Tea Table Miscellany 1 724 The tune -
, .
it s elf is included in the Mu s ic f or the Scot s S ongs in that w ork ci rca 1 726 , .
Stenh o u s e says B o th the words and the music are in the Orpheu s
,
“
Cal e doni u s 1 725 but that is simply an other of h i s blunders it appear s

, , ,
o nly in the s ec o nd volume of 1 73 3 There is no doubt that the tune wa s .
an old one selected by the author of the s o ng and was kn o wn as what is

, ,
called a Scots Measure .
1 09 . LOVE I S THE CAUSE OF MY M OU RN I N G .
The mel ody i s kn own by the ab ove title The s ong appears in Allan .
Ramsay s Tea Table Mi s cellany 1 724 with the letter ! attached to denote
’
-
, , ,
that the auth o r w as unknown The tune along with the words i s con .
, ,
tai n e d in the Orpheus Cal e d on i us of 1 725 and the tune alone in the Mu s ic ,
for the Sc o t s S ongs i n the Tea Table Miscellany ci rca 1 726 The mel o dy -
, .
is c o n s iderably older than 1 724 An excellent version of it i s given .
’
in Henry Pl ay ford s Original Scotch Tunes 1 700 It is als o included in a , .
manuscript flute book which belonged to a William Graham dated 1 694

-
, , ,
which passed fro m David La in g into William Ch appell s p ossession ’

.
110 . BONNIE MAY .
We have not dis c overed the tune of thi s s ong in any c o llecti o n prior to
the Scots Mu s ical Museum The song is said to have been rescued fro m .
o blivi o n by ol d David Herd and i s i n s erted in hi s Ancient and M o dern ,
Sco ttis h Songs Th o ugh Stenh o u s e s ays Both the air a n d words of this
.
,
‘
ballad are unquestionabl y ancient hi s reason s f or thinking so are not at ”
all c onclu s ive He states The music it will be observed co nsists of on e

.
, , ,
strain o nly which is i n the minor mode and the sixth of the key i s alt o
, ,
gether o mitted The s e are strong pr o ofs of i ts antiquity

. The tune is a .
goo d on e b u t we demur to h i s pr o ofs o f age ; it may be merely an imitation

,
o f o u r ol d style and there is n o thing i n the words to suggest antiquity

,
.
111 . MY JO JANET .
This tune is very ancient it i s contained in the Straloch the Skene and , , ,
the Leyden manu s cript s All the ver s ions in these c ollectio n s are very
.
primitive but are certainly the early f orms of the air which can be traced
,
-
,
int o the Orpheus Caledonia s and do wn to the pres ent time The tune has ,
.
n o peculiarities such as the absence o f th i s o r that in terval o f the scale to

, ,
which so m e individual s at tach great weight as e vidence of antiquity and

,
,
it may be o bserved that the music i s written for a stringed in s trument ,
the lute a species of guitar p oss e s sing a complete scale

, ,
.
Stenhouse is wr o ng in saying that the tun e is The Ke ik i ng Gla s s in “
the Skene manuscript instead of Long E r o nie ol d man ,

’
.
”
PRE SU M D
’
112 . HE WHO TO GUIDE THE SUN .
Tu ne THE M AI D S C OM PLAINT
’
.
This melody Jame s O s wald publis hed i n his Curiou s C ollection of S eo ts

Tune s 1 74 0
,
In that v o lume he did not put hi s name to i t n or did he d o
. ,
s o in the Caled o nian P o cket C o mpanion bo ok iv but in the Index to th e ,

.
,
latter he added an asterisk to den ote that it was his c o mp os ition The .
c o llection of 1 74 0 was issued by him before leaving Edinburgh The tune .
is s o mewhat altered in the Museum It i s on e o f Oswald s best Scot s Ai rs

’
.
.
113 . THE BIRKS OF ABERFELDY .
Tu ne ~
B IRKS or A B ERGE LDI E .
This fine old tune Stenhouse says appear s in Pl ay ford s D anci ng

’
, ,
Master first printed i n 1 657 under the title of a A Sc o tch

, ,
In ,
‘
is of no value whatever Marshall published h i s strathspey eight years .
before Bremner s death and the latter had an o pp or tun ity of putting it in
’
,
”
his MS music b ook as The Lowlands of Holland f or it appeared in the
.
-
“
,
*
Mus eum u n der that name m ore than twelve mon ths before he died
”
.
We distinctly affirm that instead of Marshall taking Miss Admiral ,

“
Gordon s Strath s pey fro m The L owlands of H o lland the reverse

’
,
’ ”
i s the ca s e G F Graham th e edit o r of Wo od s Songs of Sco tland
. . . ,
“
,
and J M Woo d wh o issued a later edition have b o th erred i n their

. .
, ,
ob s ervati on that the late Mr William Marshall butler to the Duke

,
“
,
o f G o rdon borro wed his highly p opular tune Mis s Admi ral Gordon s
, ,
’
Strathspey from The Lowlands o f H olland as given by Johns on and

,
’ ‘
,
’
Urbani C o uld Mars hall in 1 78 1 have borr owed from v o lumes that di d not
.
”
then exist — J oh n son May 1 78 8 and Urbani April 1 79 4 Our im pression , , , .
i s that Stenhou s e derived hi s inf ormati o n from Nathaniel Gow who was ,
guilty o f renaming the tune s o f other musician s and in some case s with , ,
slight alteratio n appr opriating them as hi s o wn composition s Examine f or

, .
,
in s tance Maj o r Graham and Sir John Wh i te foorde s Strathspey b oth ” '
“ ”
, , ,
in G o w s Fir s t C o llection
’
where they appear with o ut any claim
to them till the issue of the s eco nd edi tion when Niel s name is ’
’
attached to the former and Nathaniel s to the latter and then compare , ,
’
them with Mis s Admiral G ordon s Strath s pey
“
We suspect that .
”
Mars hal l s tune was adapted by Nathaniel Go w or Urbani to suit the

’
”
w ords of The L o wlands of Holland Stenhouse is therefore to blame f or .
publis hing if n ot inventing this groundless assertion and hi s n o tes ,
Mar shall had n o chance of answering for they were not publ is hed till ,
'
There are indivi duals wh o trade up on tradition and s ome ,
o f them have a s serted that the tune given by J ohns o n and Urbani is
modelled up on the air in the Skene Manu s c ript My l o ve shoe winns n o t ,

“
her away while others give A l ace I lie my al one I m like to die awl d
,
” ’
,
”
which i s als o in that manuscript Such perso n s wo uld ass ign every air to .
a remo te antiquity and deny to c omposers of the eigh teenth century ,
any ability whatever S o me even go the length o f s aying that the .
latter air in the Skene MS had been fl oating down fr om the time it wa s .
written and that Mars hall c o nstructed his strath spey from it Such an
,
.
idea is quite absurd and even if the as s ertion were true s ome musician , ,
would doubtless have grasped the o riginal air befo re 1 78 1 Mr Alfred .
Mo ffat in his Min s trel s y of Scotland page 21 7 s tates that Mr J ohn

“
,
”
.
Glen in hi s C ollectio n of Sc o ttish Dance Mu s ic 1 89 1 d o es no t prove

, , ,
“
that Mars hall wa s unacquainted with the air prior to its being publi s hed
by John so n ; and certainly the structure of The Lo wland s of H ol land
”
is dis tinctly older than that of Marshall s tune We entirely di s agree ’
.
with Mr Mo ff at Hi s negatives do not prove an a ffirmative He s h ould

. _
.
’
have mentioned some earlier source than Mar s hall s own publication ( 1 78 1 )
R ob e rt Bre mn e r d i e d May 1 789 . W illi am M ars h all i

d e d M ay 1 8 33 .
fro m which he c o uld have taken the air instead of suppo s ing that it had ,
been drifting do wn from the sixteenth or s eventeenth century and s ugge s t ,
ing that Marshall became acquainted with it As to structure the air .

,
”
is n o t tha t of Al ace I lie my alone I m like to die a wl d th ough it has s ome
“
a
’
,
’
resemblance to it Ritso n 1 794 wh o gives the ballad from Herd s c o py
.
, , ,
which Stenh o use characteri s es as a fragmen t with o ut stating where it is

fo und earlier d oes n ot c o nsider the tune given by J oh n son to be the
,
o riginal otherwise he w o uld have adopted it in s tead of that taken fr o m

,
O s wald which Stenhouse says is apparently o f English o ri gin

,
The air “
.
”
”
found i n Oswald i s evidently My Lo ve Shoe winns not her away in “
,
the Skene MSS and it was pr o bably the origin al tune united to the words
.
,
of
“
The Lo wland s o f Holland .
”
Captain Sim on Fra s er s allegati on that it is a Highland air to which he

’
gives a Gaelic n ame i s of n o account , .
We will give the tune s from the Skene in juxtap o sitio n with that of
Mar s hall s o that our readers can make their o wn observatio ns We may
, .
s tate tha t s ome re s emblance exists in the first named to Marshall s tune
’
but it co ncludes somewhat like The Briti s h Grenadier s which it may as “ ”

, ,
well be a ffi rmed has been taken from the s ame so urce Again at the time
, .
,
when Mar sh all wro te his s trathspey was it probable that he had ever ,
seen or heard of the Skene MSS Thes e MSS we are informed by Wm . .

,
.
Dauncy are the property of the Faculty o f Advocates at Edinburgh The

,
.
c o llection he s tates was bequeathed to that learned body ab out twenty

, ,
years ago ( i e 1 8 1 8 ) by the late Miss Eliz abeth Skene the last surviving
. .
,
member in a direc t line of the family of Skene of Cu rri e hi ll and K ally ards
in Midl othian Having said so much on the subject o f the origin o f the
.
”
Lowlands of H olland we w ould put this question and o ffer the succeeding
,
”
remarks
( 1 ) Was Stenhouse honest in the notes b e s upplied in reference
to the AIRS in Johnson s Scots Musical Museum ? If so he must have
’ ”
,
derived a good deal of information fro m third parties without taking ,
any trouble to verify it .
( 2) When quoting from Pl ay ford s Dancing Master Stenhouse must

’ “
,
have empl oyed only a late editio n pr obably the eighteenth and supposed , ,
i ts co ntents to be the same as those of the first edition .
( 3 ) In regard to the Orpheus Cal e don i u s Stenh o use mu s t have

“ ”
th ought that the edition o f 1 725 was identical with that o f 1 733 whereas ,
the earlier one c ontained o nly the fifty songs which appeared in the first
volume of 1 73 3 .
( 4 ) S te nh ouse s dates o f Oswald s works and even his descripti on s of

’ ’
them are not at all trustworthy

, .
( 5) We suspec t that if his work was done with an hones t intention

Stenhouse was played upon by s ome un s crupulou s person .
Owing to the many blunders in S te nh ou se s Illustrations we look on all ’ “

,
his notes with su s picion If these notes have not been tampered with he
.
,
G
display either ignorance or enmity when under The Lowlands o f

s
,
“
H o lland he refers to the la te Mr William Marshall butler to the D uke

, ,
o f G o rd on and repeats the word in his n o te N o 20 1 Tune y o ur Fiddles ”

, .
, ,
but in n o te No 23 5 I l o ve my Jean omi ts

.
,
“
In the sh o r t ,
biographical s ketch o f Marshall given in the Additional N ote s to the

*
Illus tration s pp 4 1 3, William Mars hall is shewn in a quite di ff erent
.
light fr om that in which he is repre s ented by Stenh o use who apparently ,
IM
'
ADON To DIE AWLD
‘
.
knew nothing of Marshall s character or position James Davie of’

.
Aberdeen wh o edited the w o rk kn o wn as D avie s Caledo nian Rep ository

,
’
,
”
say s o f Marshall There i s a very o ld tune called Grey day light s o ‘

,
’
very like Craigellachie Bridge as its gro und that had the latter been
’
the comp o sitio n o f o n e o f less respectability than Mr Mars hall the charge ,
of plagiarism might have been brought against him with some reaso n ; but
we believe him to have been far above s uch expedients— we can o nly
wonder at the coincidence See al so The Glen C o llectio n vo lume ii
.
“
,
”
.
,
for a s ketch o f William Mar shall .
Willi a m S t e nh o us e d i e d No v e mb e r 1 8 27
.
1 00 E ARLY SCOTTIS H MELODIES .
119 . THE SONG or SELMA .
We kn o w o f n o earlier s o urce for the melo dy t o which this so ng i s

adapted than Neil Stewart s Thi rty Sc o t s S o ng s book iii page 3 0 ’
, .
, ,
publis hed in 1 78 1 Stenh o use s ays This wild and characteri s tic mel o dy
.
,
is s aid to be the c o mp os ition of O s wald It was publ ished alon g with the .
w o rd s which are selected from Oss i an s S o ngs of Selma in 1 762

, If ’ ‘
,
’
.
Oswald comp o sed the tune we are unable to find it in any o f his w ork s
1 20 FIFE AND A THE LAND S ABOUT IT ’

. .
,
Th i s tune is said to be included in an ol d Virginal Book which Stenh o us e

p o sse s sed under the title o f Let Jamie s Lad alane which was pro bably
,
’
,
’
’
the o ri gin al title He adds Mr Samuel Ake roy de put a bass to i t
.
,
.
Our Opin ion is that it was entirely c o mpo sed by Ak e roy de The tun e i s a .
wretched imitatio n of a Sco ttish melody and the o riginal w ords o f the ,
so ng are exceedin gly vulgar and indecent We have no d o ubt ab o ut Sten .
’
h o u s e s old Virginal B ook but he pro bably over est i mated its age ,
-
.
1 21 . WERE NA MY HEART LIGHT I WAD DIE ,

.
The mel o dy to this s ong i s of a l ight jaunty character ; it i s n e ve rthe ,
less very well suited for the w ord s We are not aware that i t is to be .
f ound in any c o llection prio r to the Orpheus Cale doni u s of 1 725 The .
tune appear s to be an early on e and would certa inly be c o n s idered ancient ,
by th os e wh o judge by th e o mission o f interval s The w ords of th e s ong .
are in The Tea Table Miscellany but n o t i n 1 724 as stated by Stenhouse

-
, , ,
they are con tained i n the fo urth volume 1 74 0 , .
1 22 . THE YELLOW - R AIR D

’
LADDIE .
We have n o t been able to di sc over this tune before its appearance in th e

Orpheus Cal e don i us 1 725 Stenh o use h o wever s ay s i t appears in Mrs
, .
, ,
Crocka t s Music Bo ok written in 1 709 J ohn Muir Wo od in h i s Bal

’ “
, .
,
” ”
moral Editio n o f the Popular Songs and Melodies of Sco tland says , ,
tha t Mr Chappell p oints ou t that The countryman s care in choosing a

“ ‘ ’
’
wife i s to be s ung to the tune o f I ll have on e I love or The Yel l o w
,
‘ ’ ’
,
‘
Haired Laddie and tha t as Brooksby who prin ted the broadside dates
,
’
, ,
from 1 672 to 1 69 5 we have here a pro of of the a ir having been p opularly

,
kn o wn in England l ong befo re it is claimed f or Scotland All that we get .

”
from this statement i s that a tune existed called The Yell o w Haired ,
“
-
Laddie but there is no proof that it was not known in Scotland and
, ,
THE SCOTS MUSICAL MUSE UM . 1 01
'
th ough B rooks b y flouri sh e d between 1 672 and 1 69 5 we have no evidence ,
o f the date o f the br o adside nor have we go t a copy o f the melody as ,
kn own at that time The Auld Yellow Haired Laddie in the Tea
.
-
Table Miscellany o nly indicate s that the words of that song were o lder than
the one Ramsay wro te himself We are of opinion that the air i s a com .
~
position of about the end o f the s even t eenth century In manuscript n otes .
’
that belo nged to J M uir Wood in our p o ssess ion we fin d
. This can t be , , ,
Sco tch s e e the sharp seventh W Chappe ll This i s s heer ab s urdity . . .

”
and would imply that it was imp o ss ible f or Scots people to use thi s interval .
We may m enti o n that the flat s eventh is mos tly confined to min o r key s ,
whereas The Yello w Haired Laddie i s in the maj o r mode The tune
-
.
appears in nearly every collectio n of Scot tish music printed after the
Orpheu s Cal e don i u s Ram sa y publis hed his s ong in 1 720
. .
1 23 . THE MILLER .
According to Stenhouse This song with the exception of the firs t , ,
ver s e which is said to belong to a much older s ong was written by Sir
, ,
’
J ohn Clerk of Pe nn ycui k ; and was published in Y a i r s C ollection of Song s ,
’
called The Charmer vol ii The melody does n ot appear in any
, . .
,
c o llectio n known to us befo re the Mu s eum and it i s o ur belief that such a ,
goo d tune w o uld no t have e s caped either the musician or compiler if current
much before 1 78 8 We c onclude that its age i s n o t earlier than the middle
.
”
o f last century It is now s un g to the son g Mary Mo ri son
. .
1 24 . WAP AT THE WID OW MY LADDIE , .
This goo d ol d tune we are informed bel onged to a song so indelicate

, ,
that Ram s ay remodelled it retainin g the wi t of the original words and re

, ,
j e cti ng all o ff ensive expres sions Stenho u s e tells us that it was printed by .
Th om son in his Orpheus Cal e doni us in 1 725 This h owever i s an o ther , .

, ,
of his m i s statement s as it did n o t appea r till the second volume wa s

-
,
published in 1 733 The age of the tune is not in the lea s t a ffected by h i s
.
reference Henry Playford included it in his Original Sc otch Tune s

.
“
,
”
1 700 under the title of W appa t the Wid o w my Lady and it is al s o con
”
, , ,
tai n e d in William Graham s Manu s cript b ook for the Flute 1 694
’
.
,
.
1 25 . BRAW BRAW , LADS OF GALLA WATER .
We are told by Stenhou s e This charming pas to ral air which c o nsis ts
, ,
o f o n e single strain terminating on the fifth o f the key in the maj o r mode
, ,
A very indi ff erent

”
is very ancient . Referring to i ts antiqui ty he states , ,
s e t o f the tune under the ti t l e o f The brave Lad s o f Gala Water with ‘ ’
, ,
1 02 EARLY SCOTTISH MELODIES .
variati ons by Oswald ap pears in hi s Pocket C ompanion b ook viii That

, , .
in the Museum is genuine Oswald s version though n ot so v o cal as that .

” ’
,
’
in the Mu s eum is n ot so very indiff erent and it is o u r earlie s t auth ority

, , ,
but the tune itself may be older The air o ccurs in Neil S t ewart s Thirty .
’
Scot s S ongs f or a voice and Harpsichor d under the name of C oming thro ,
“ ’
the Br o om nearly n o te f or n ote with the Museum or as n o w sung

,
”
,
.
Ste wart s collection was published in 1 772 O s wald s in 1 756

’
,
’
.
1 26 THE YOUNG MAN S DREAM ’

. .
The melody to which this so ng is adapted was probably a co mp o sition

of t he time when Tytler e te the w ords The firs t s train of th e air is .
very S imple it has a t wo bars rhythm which is repeated four time s

,
-
, .
The s ec ond s train is much m ore mel odious with i ts fo ur bar measure ,
-
repeated in an altered form It is a rather pleasant ai r but we s h ould .

,
think it tedio us f o r the listener when su ng t o the s even vers es of the ‘
s o ng .
1 27 . O MITHER DEAR
, .
Tu n e J E NNY D N A G THE WE A VE R .
We have n o knowledge of the appearance of this tune in any printed

c o llectio n before the s econd edition o f the Orpheus Cal e don i u s 1 73 3 , .
Stenh ou s e with his usual inaccuracy states

,
Tho mson published the , ,
s ong with Ramsay s addition s in his Orpheus Cal e doni u s in

,
'
, ,
Our Opinion is that as a dance tune it i s of an earlier date ; but we have n o

, ,
c o llectio n of dance tunes printed so early as 1 733 .
1 28 . BESSY BELL AND MARY GRAY , .
Whether Allan Ramsay wrote the whole of this song or only eked o ut ,
a fragment o f an old o n e with so me verses of his own we shall n o t st o p to ,
inquire The melody however we have been able to trace in a pri nted
.
, ,
fo rm to Henry Pl ay f ord s Original Sco tch Tunes 1 700 under the title of’
, ,
“
Bess Bell C K Sharpe s ay s that the i ncident on which the song is
.
”
. .
founded occurred as far back as 1 64 5 In the Guthrie tablature MS book . .
we h ave already alluded to we find Bessy Bell prefixed to what m ay be

”
,
’
an acc ompaniment for an instrument Ramsay s s o ng was published in .
1 720 and the air appears in Musick for the Scots Songs in the Tea “
,
Table Miscellany .
”
Heart that we mun sunder i s contained in Henry Play f ord s Original ,

’
Sco tch Tunes 1 700 The w ords o f both so ngs in the Museum are by
, .
Allan Ramsay ; the latter was sung by Peggy I n The Gentle Shepherd , .
AwaYs MY HEART THAT WE MUN S UN E R. D
Th e no e t wit h th e aste r s i k un d e r i t i s G i n P l ayford ,

i de n tl y
ev a n e ror r .
1 3 2 S TRATHALLAN S LAMENT
’
. .
The words o f this so ng wer e written by Robert Burns The air i s the .
compo s ition of Allan Masterton teacher of writing at the High Scho o l o f ,
Edinburgh ; an intimate friend and crony of the poe t He was the Allan .
o f the song Willie b re w d a pe e k o maut

“ ’ ’ ”
.
,
1 33 . WHAT WILL I D O GIN MY HOGGIE DIE ?
Th e melody of this s o ng is said in Crom e k s Relique s to have been ,

’
acquired in the fo llowing way Dr Walker wh o was minis ter at M offat in .

,
1 772 and is n ow ( 1 79 1 ) Profe s sor of Natural Hi s t ory in the Univer s ity of

,
Edinburgh t old Mrs Riddel the following anecd o te concernin g thi s air
, .
He s aid that so me gen tlemen ridi ng a few year s ago thro ugh Liddesdale , ,
st opped at a hamlet con s is ting of a few h o u s es called M os s pau l when they -

, ,
were struck with thi s tune which an ol d w oman S pinning on a rock , ,
( dis taff ) at her d o or was s ingi ng All s h e c o uld tell concerning it was
, .
,
that sh e was taught it when a child and it was called What will I do , ,
“
gin my H oggie die ? N0 person except a few females at M os spa ul knew

”
, ,
this fine old tune which in all probability would have been l o s t had not
,
o n e o f the gentlemen wh o happened to have a flute with him taken it

, ,
do wn Stenh ouse says The gentleman who took down the tune was th e
.
,
“
late Mr Stephen Clarke organist Edinburgh ; but he had n o occasio n f or a

, ,
”
flute to assist him as stated by Dr Walker , The preceding st ory reads .
exceedingly well but is quite superfluous for the tune was published by
, ,
Alexander M Glash an in his C o llectio n of Scots Measure s 1 78 1 as

‘ “
,
”
, ,
“
What will I do ann my H oggy die and abo ut the same date in Alexander ,
Re i na gle s C o llecti on under the name o f M o ss Plate

’ ”
.
,
1 34 THE CARLE HE CAME O ER THE CRAFT ’

. .
We have not di s c o vered this tune in any collection prior to the Orpheus
THE SCOTS MUSICAL MUSEUM . 1 05
Cal e don i us It appears to be an old dance tune o f the Strath s pey

of 1 725 .
cla s s and probably was a Bagpipe c ompo s ition as it is e ntirely of that

, ,
character .
1 3 5 GA E To THE K
. Y wr M E JOHNNY .
Stenh ouse claims thi s as a very old song becau s e he had been t o ld by ,
a re s pectable lady who was b orn i n 1 73 8 that it was so reckoned even ,
in her infancy He menti ons al so that Burn s s lightly touched the fr agment
.
o f the ancient s on g as c on tained in Herd s sec o nd v o lume 1 776 Of the ’

.
, ,
mel o dy he makes n o mentio n whatever Whether the song i s ancient o r .
n ot we d o n o t find the tune pri o r to i ts publicati o n in D D ow s

’
,
Ancient .
”
Sc ot s Mus ic ci rca 1 775 entitled Ga s t o the Ky wi me Jo hnnie
,
”
We, ,
.
take it to be a B order tune .
1 36 . WHY HANGS THAT CLOUD ?
HALLow E v N
’
Tu n e .
This i s a go o d old melody Stenh ou s e s ays inco rrectly that it was .

, ,
published by Th o mso n in hi s Orpheus Cal e don i us in 1 725 whereas it did “ ”
n o t appear till 1 733 The s tatement is o f little m oment as the tune i s

.
,
co ntained in the M us i c f or the Sc ots S ongs in the Tea Table Mi s cellany -

”
,
ci r ca 1 726 be s ide s being f ound in Henry P l ay f ord s Or i ginal Sc o tch Tune s

’
, ,
”
1 700 It al s o o ccurs in Margaret S i nkle r s Manuscript Mu s ic B ook
'
“
.
,
1 71 0 and it i s s aid to be in the Leyden M S 1 69 2

,
The tune was o rigin .
, .
ally a Sc o ts measure .
1 37 . WILLY WAS A WANTON WAG .
Stenho use i s wrong in stating that thi s air appeared in the Orpheu s
Ca l e do ni u s in 1 725 It was n ot included in that w ork before 1 733 The
. .
mel o dy h o wever i s older than either of these dates as it is fo und under the
, , ,
name of Lady S tre a th e l e n s Tune in Agnes Hume s Manu s cript Mu s ic

“ ” ’
B ook 1 704 a small volume bel onging to the Library of the Faculty o f
, ,
Advo cates Edinburgh It is almost identical with the version now sung
, . .
1 38 . J UM PI N JOHN .
In our opinion this tune i s not a Scottish one though Stenh o use sup ,
po s es tha t i t is He says This old air appears in Oswald s C o llection

.
,
“ ’
.
It seems clearly to be the progenit or of the well known tune called -
Li lli b ul e ro which is claimed as the compositi o n o f Henry Purcell w ho

‘ ’
, ,
died in 1 69 5 From the character o f the melody we are inclined to

.
c o nsider it of English origin It appears for the firs t time in Pl ay f ord s .

’
Dancing Master not earlier than 1 68 6 as J oan s Placket and as to its “ ’

,
”
bei ng the progenit or of Li lli b ul e ro we think it very d oubtful th o ugh i t , ,
bears s o me re s emblance to that t une We may affirm h o wever that it i s .

, ,
”
the parent air of the n e w p opular bagpipe tune The Cook o f the No rth , .
The melo dy occurs i n Oswald s Caled onian Po cket Companio n b o ok ix ’
,
.
,
as
“
Jumpi ng Jo an but that d o es not in the least pr ove S te nh ou se s
,
” ’
c o ntention as Oswald s work contains s everal tunes that are not Scottish
,
’
.
We think that Burns had n o thing to do with the words given in the Museum .
1 39 . HAP ME WI THY PETTIC OAT .
This tune appears in the O rpheus Cale don i u s of 1 725 al s o in the Music ,
f or the Scots S o ng s in the Tea Table Miscellany The song is found in -

.
the first volume of the Tea Table Mis cellany and we pre s ume it is one of -
,
Ramsay s as there i s no letter attached to it In so me collections o f music

’
,
.
the tune i s greatly spoiled by s o called embelli shment s and in o thers it ,
i s a s plain as the version given by Stenhouse The mel o dy i s much used ,
a s a Strath s pey tune for which we think i t was o rigina l ly intended

, .
1 40 . U P I N THE MORNING EARLY .
1 41 . THE TEARS OF SC OTLAN D .
The words of this song are said to have been written by Tobias Smollett .
They depict the sorrows of Scotland after the Battle of Cull o den th e out ,
come o f the dreadful cruelty and spo liation inflicted on the Highlands by
the Duke o f Cumberland and his fo rces The melody is a comp ositionof .
O s wald s and published in the fourth bo ok of h i s Caledonian Po cket

’
Companion It is beautiful and pathetic and well suited to the verses

.
, ,
whether it was written f or them or vi ce cersa .
1 42 . WHERE WIND I NG FORTH AD ORNS THE VALE

-
.
Tu n e r C U M BE RNAULD -
HOU S E .
This song is from the pen o f Ro ber t Ferguso n the Scot tish P o et who ,
died in 1 774 and to whom Burns caused a s to ne to be erected in the

,
Ca nonga te Churchyard where he is buried Stenhouse informs us That “

.
, ,
the fine old air is inserted bo th in M Gi b b on s and Oswald s collections ; ‘ ’ ’

1 08 EARLY SC OTTISH MELODIES .
Scottish collectio ns before i ts publication in the Mu s eum Stenhou s e s ay s .
the melody wa s harmo ni s ed by Stephen Clarke b ut we understand that ,
Clarke harmoni s ed mo s t of th e tunes in the Mu s eum The nation ality o f .
the air i s do ubtful th ough we think it has s omething of an Irish character

, .
1 47. I WHO AM S ORE OPPRESSED WITH LOVE

, .
Tun e L OV E L Y LAS S or M ONORGON .
This i s a mel o dy taken from O s wald s Caledonian Po cket C ompanio n ’
book ix page 20 We h aVe n o further kn owledge o f it n or are we s ure of

.
, .
,
i ts nati onality th o ugh the air p oss esse s so me traits o f Iri s h character
, .
Stenh o use s ays the vers es are by Alexander Ro berts o n o f S truan an d It ,
was published among his other p o ems a t Edinburgh after the auth or s ’
decea s e but we are n o t info rmed when the melody was selected for the
,
w ords .
1 48 . A C OCK LAIRD , FU
’
CAD GI E .
We have n ot dis covered the air of this s ong under the present or any
o ther title previ o us to its publicati o n in the Orpheus Ca l e don i u s of 1 725 .
The s o ng e s pecially in i ts o riginal form i s much too gr oss f or modern u se

, , ,
th ough it was not c onsidered unfit f or singing in public or in the drawing

r oo m durin g the reign of George II Allan Ramsay t oned it down con .
s i d e ra b l
y and publi shed it in his Tea Table Miscellany The tune do es
-
.
,
n o t occur in any Sc o tti s h collecti o n ( excepti n g the sec o nd editi o n o f the
Orpheu s ) between 1 725 and 1 74 2 when it appears in O s wald s C o llectio n

,
’
”
o f Curi ous Sc o t s Tunes attributed t o Riz o .
1 49 . D UNCAN DAVISON .
This tune is apparently an ol d dance or s trath s pey formerly known ,
as Ye ll ay be welcome back again

’
It is contained under that title in
.
Robert Bremner s C o llection o f Sc ot s Reels or Country Dances 1 759

’ “
, ,
1 69 2
.
al so in John Wal s h s Caledonian Country Dances called Y ou be wel

’
, ,
come here again which is o i earlier date but we are uncerta i n

,
”
,
when i t was published and we think Stenhouse overrates i ts age In

,
.
the Leyden M S 1 69 2 there is a tune named Strick upo n a S trogi n

.
, ,
“
,
”
which is evidently the o riginal from which Duncan D avi so n has been “
derived Our o pinio n i s that Bu rn s wro te the s ong al th o ugh he did n o t

.
ackn o wl edge it and we have n o t fo und any trace o f prior word s

,
.
1 50 . LOVE WILL FIN 1) O UT THE WAY .
Stenh ouse states B o th the word s and mus ic of thi s ancient song
,
“
appear in F orbe s Cantus printed at Aberdeen in 1 662 again in 1 666 and

’
, , ,
las tly in He refers al so to the tune a s pri n ted in the Mu s eum and ,
s ay s
,
The s imple mel o dy o f thi s fine old s ong i s s carce dis cernible amid s t
the s uperflu ous extravagance of m o dern embellis hment s We cann o t .
”
admit that the tune he give s from the Cantus i s the s ame as that printed
in the Mu s eum even th ough it were divested o f the s o called embellis h
,
-
ments We have n o kn o wledge where John son o btained it b u t neither h i s

.
,
air n or that in the Cantus i s in our opinion Sc o ttish , , .
1 51 AH ! THE PO OR SHEPHERD S MOURNFUL FATE ’

. .
Tun e GALLAS HI E LS .
The tune to which the s o ng in the Mu s eum i s adapted is called in the ,
Orp heus Caledoni a s of 1 725 S o w r Plumbs o f Gallo w S h e i l s Thi s i s ,

“ ’
.
the first c ollection in which the tune is printed but it was fo llowed s h ortly ,
’
afterwards by Adam Craig s C o llection of the Choicest Scots Tunes ,
’
Watt s Musical Mis cellany and other publications Ste nhouse says The , .
,
tune of Galashiels was c omposed abou t the beginning of las t century 1 700 , ,
by the Laird o f Galashiels piper We S hall n o t di spute the date but we

’
.
”
do ub t i ts compos itio n by any piper as the scale o f his bagpipe i s nine ,
n o tes o n ly and therefore the tu ne in any of its forms c o uld n o t be played

,
by him on his instrument .
1 52 . MY LOVE HAS F ORS AKE N ME .
Acc rding to Stenho use

o The word s and mu s ic o f this so ng were ,
“
furnished by Dr Blacklo ck for J oh n son s Museum about the cl ose of 1 78 7 ’
, .
Allan Masterton copied b oth f or the D o ctor The song posse s ses merit .
,
but s ome of the line s are a little deficien t in m easure and the first part o f ,
the tune appears to have been incorrectly taken down As to .

”
S te nh ous e s remarks about the deficiency of the lines of the s ong

’
and the inc orrectness o f the first strain o f the tune we express n o ,
Opinion but we can say that the melody in the firs t part is ill suited to
,
the words .
1 53 LOV D
’
. MY CELESTIA .
Tu ne B E NNY S IDE .
This plea s ant melo dy is c o ntain ed in O s wald s Caledonian Pocket Com

,
’
pani on b ook x i i ; also in Franci s Peaco ck s Fifty Scotch Airs In bo th o f

, .
’
.
the s e c o llection s the n ame o f the tune is s pelled Benney Side and Pea ,
cock adds a new Sco tch air

, We may c onclude from thi s circum s tance .
that the tune was comp o sed two or three years befo re 1 762 the date of his ,
c o llection Stenh ou s e s tates the editor h as n o t been able to pro cure a

.
,
“
”
c opy of the o riginal s ong of Benny Side : pr obably there was none it b e ,
ing o nly a name for the air The s ong i n the Museum i s said to be .
written by Alexander Robert s on of Struan .
’
1 54 . THRO THE WOOD LADDIE , .
There are t wo son gs to this tune in the Museum the first beginnin g 0 , , ,
“
,
Sandy why leaves th o u thy Nelly to mourn

, was written by Allan Ram
s ay and is contained in his Tea Table Miscellany 1 724 page 44
, Of the -
, ,
.
s ec o nd Stenhou s e say s Dr Blackl ock communi cated to Mr Johnson the

, ,
o riginal verses to the air T hey were probably hi s own in s tead of the .
original verses Of the mel o dy Stenh ouse informs us It ought to

.
, ,
be o bserved here that the old mel ody consis ted only of one strain and it is
, ,
s o printed in Thom so n s Orpheus Ca l e don i u s

’
The s econd strain which i s .
,
only a repetition of the first an o ctave higher was added by Adam Craig in , ,
etc We s uspec t Stenh o u s e never saw a c o py of th e Orpheu s Cale

.
d on i us o f 1 725 as that publicati on c ontains the two strains almost i de n ti

,
cal with the tune as given in the Mu s eum Our opinion is that the .
air is English wi th o ut any Sco ttish character whatever A son g com

,
.
m e n ci ng Cam le n d lend y are lugs J oe s i s directed to be sung to th e

“ ’ ”
, , ,
tune of Through the Wood Lady i n the first par t o f the Rump C o llee
“
, ,
ti on of S ongs 1 662 which we presume to be the same air The Rump s ong
, ,
.
is in ridicule of the Scots army Ra ms ay pro bably substituted Laddie .
”
for Lady The melo dy mu s t have been greatly in fas hion to account for
.
i ts being included in most of the Scottish Collections published between

1 725 and the Museum .
1 55 . WHERE HELEN LIES .
There are many versions of both the w ord s and mu s ic of this song We .
confine our r emarks h o wever to the tune The first printed set we
, , .
have o bs erved i s in Franci s B a rs an ti s C o llecti o n of Old Sco t s Tunes ’
1 74 2 . It i s a strange fact that neither Th o m son Ram s ay Craig O s wald , , ,
n o r M Gi bb o n have included i t in their c o llect i o n s I t n ext appears

‘
.
112 E ARLY SCOTTISH MELODIES .
’
likewis e the mel o dy of Roy s wife o f Aldi va l loch and makes n o further ,
remark This air has been alluded to in The P opular S on gs and Melo dies
.
of Sc o tland 1 8 8 7 a s Cog na S ca l an in the Macfarland MS

, , and .
in Angu s Cumming s C o llection 1 78 0 ; als o in The Minstrel s y of Sc o t

’
,
“
land 1 8 9 5 a s The Ru ffia n s Ran t which is the name in Bremner s

,
” -
,
“ ’
,
’
“
Sc o t s Reel s or C o untry Dance s 1 759 and in o ther auth o ritie s It ,
”
, .
is reserved f or u s to mentio n that we have di s covered it under the name

of Lady France s W e e m y s Reel in Wal sh s 24 C o untry D ances f or the ’ ” ’
year printed in Londo n a s mall c o llectio n in o ur p os s essio n We , .
may say that the date o f the Mcfarlan MS i s c onjectural We have seen . .
another manu s cript v o lume of Sc o t s Tunes for the Vi o loncello written

by D avid Young in Aberdeen ab ou t twenty year s later with the date , ,
1 760 The Mcfarlan MSS were al so by David Yo u ng

‘
. . .
1 57 . THE BANKS OF THE DE V ON .
Tu ne— “
B HANNE RACH DHON NA C HRI .
Thi s Highland melody is not fo und in any c ollectio n of printed mu s ic

prior to the Mu s eum It has appeared in s everal publicati on s s ince
.
,
’
n o tably Alby n s Anth ol ogy and Captain Fraser s Air s and Mel o die s
’
,
’ “
”
peculiar to the Highlands o f Sc o tland and the Isles both is sued in 1 8 1 6 , .
The set of the air given by Johns on which Burns received from a lady in ,
Inverne s s i s i nfinitely better than that of Fras er th o ugh the latter alleges
, ,
that the lady mu s t have had acces s to the compilation s o f hi s pr ogenitor

and Mr Fraser of Cul du th e l Campbell give s a di ff erent versio n of the .
”
melody of le ss vo cal c o mpass and probably o lder but he makes no boast

, ,
o f its being the o riginal or hithert o unpublished , .
1 58 . WALY WALY , .
B o th the words and air o f this song beginning 0 Waly Waly ! up , ,

‘
,
’ ”
yon bank are very a ncient,
With these w o rds Stenhouse begins h i s n o te .
'
in the Illustratio ns We take no n oti ce of the many conjectures c o nnected

.
with the w ords of the song The air judging from its construction may .
, ,
be c onsiderably older than i ts fir s t appearance in any printed c ollection ,
alth o ugh we pos s ess n o po s itive evidence It is c o ntained in the Orpheus .
”
Ca l e don i u s 1 725 in O s wald s Curi ous Collec tion of Sc o t s Tunes
,
’
1 74 0 and in nearly all the subsequent collecti o ns o f Scottish Tunes little

, ,
m o dified up to the present time but purged of several so called graces or ,
embellishments .
1 59 . THE SHEPHERD AD ONIS .
Th o ugh Ramsay publi s hed thi s as an old song in the second volume o f
his Tea Table Miscellany we suspect bo t h words and music to be Anglo
-
,
~
Scottish .
1 60 . DUNCAN f
GRAY .
Stenh ou s e s ays It is generally rep orted that this lively air was com
,
p os ed by Duncan Gray a carter or carman in Gla sgo w about the beginning

, ,
o f la s t century and that the tune w as taken d o wn fr o m h i s W hi s tling it t wo

,
o r three times to a musician in that city We are dubious o f the state .

”
ment especially the alleged era f or alth ough the tune is rather a favourite
, ,
’
on e it did n o t appear in any c o llecti o n befo re the third b oo k of O s w a ld s
,
“
Caled onian P o cket C ompanion 1 750 and M Gibb on s Third C o llection ,
”
,
‘ ’
,
1 755 . We d o ubt if the old s ong printed in the Mu s eum can be found
at any earlier date .
1 61 . D UMBARTON S D RUMS .
Stenh ouse makes his fir s t reference to this tune as follow s : Thi s song “
i s in s erted in the s eco nd editio n o f Th oms o n s Orpheus Ca l e d oni u s pub

’
,
li s h e d in 1 733 I t als o appeared in Daniel Wright s Miscellany f or

’
.
D ecember 1 73 3 under the title o f D um b arton s D rum s never befo re printed “ ’
, ,
to mu s ic The w ords were inserted in the Tea Table Mi s cellany in 1 724

.
-
,
but the auth o r i s unkn own It may be s tated that the s ong appeared .
”
in the fir s t v o lume of the Tea Table Mi s cellany with the letter C -

,
appended to it ; it i s therefore on e of th o se that were c ontributed to

Ram s ay s w ork The tune is contained in the Musick f or the Scot s
’
.
“
S ong s in the Tea Table Mi s cellany ci rca 1 726 a w ork which has n ot
” “
-
,
”
been known to Stenh o u s e The air however is much earlier ; a primitive .

, ,
versio n o f it i s given in the Skene MSS called I serve a worth i e .

, ,
“
”
ladie and another s e t with variatio n s i s twice included in Ap o llo s
, , ,
“ ’
Banquet 1 68 7 firs t as A New Scotch H ornpipe and again as A Scotch

,
”
,
“
,
” “
”
Tune . Stenhou s e adds Burn s s ay s that this is the last of the West
,
“
,
”
Highland Airs but we cann o t se e the leas t Highland character ab out it
, .
Our opinion is that the tune was at firs t a Scot s measure and afterward s ,
became the march o f the regiment rais ed by the Earl o f D umbarton It .
is still so u s ed by the l e t Regiment or Royal Sc o ts , .
1 62 . CAULD KAIL IN ABERD EEN .
What Stenhouse say s of this melo dy is far true : This beautiful air so
“
d oe s not appear in any o f ou r old collecti ons by Tho m s on Craig M Gi b b on , ,

‘
,
or Oswald Had he s imply m ade the s ta te m ent that it i s n o t to be found

.
prior to the Sco ts Musical Museum it w ould have been all that was ,
necessary We are t o ld in the preface to his b ook that the printing

.
of the w o rk was begun at the end o f 1 8 20 an d fini shed in a few ,
mo nth s Yet he adds . For upward s of half a century few if any

,
“
, ,
H
of tunes have been greater favourites with the poets than that of
our
”
Cauld Kai l in Aberdeen an assertio n w hich in the ab s ence of any , ,
evidence prio r to the Mu s eum we take to be n o n s en s e In th e s ec ond , .
v o lume o f the Tea Table Mi s cellany there is indeed a song fro m the
-
Gentle Shepherd entitled Cauld Kale in A b e rb e e n but the air i s a ,

“
,
”
Strath s pey tune bearing n o relatio n W hatever to the one under review
, ,
and it has appeared as late as 1 783 wi th the same name We have made .
an exhaustive s earch and have arrived at the conclusio n that the present
,
tune is not o lder tha n the Museum Stenh ouse refers to the w o rd s in .
Herd s C o llecti on but there are n o tunes in that publication

’
, .
1 63 . FOR LAKE OF GOLD .
This s ong we are t o ld by Stenhouse was c o mp o sed by Dr Austin

, , ,
physician in Edinburgh who had courted Miss Jean Drummond of ,
M e ggi n ch and to whom he was s h ortly to have been married

”
, However .
,
s h e jilted the doct o r Again Dr Austin adapted h i s w o rd s to the tune “

.
,
o f an o l d s o ng which has a similar beginni n g called For the La k o f ‘

, , ,
G o ld I l o st her O ; the mel o dy of which is in serted in Oswald s Pocket

’ ’
‘
C ompanio n b ook iii page 2 There are several passages in the tune however
,
.
,
.
, ,
the very same as in that called I love my Lo ve in Secret The latter ’

.
tune i s pr obably n o t o lder than For lake of G o ld sh e left me as b oth “

,
”
a re contained i n the B l ai k i e Manuscript o f 1 69 2 If there was no older .
’
s ong than Dr Austin s the title o f the tune mu s t have suggested the sub
,
j e ct o f hi s verse s We give the melody as in the Manuscript

. .
1 64 . KATHARI NE OGI E .
1 65 . THE PLOUGHMAN .
S tenhouse asserts This pretty little tune in c omm o n time c onsists

,
“
, ,
only o f on e strain like that o f the original melody in triple time called
, , , ,
”
‘
Sleepy Body from which it is evidently taken
’
,
He als o give s the air .
,
’ ”
under th e name of The Ploughman s Whi s tle fro m an old manuscript in ,
it is the original melody He gi ve s n o proo f of hi s assertion and so f ar

.
,
as we have been able t o di sc over the first printed c opy o f the tune i s ,
contai ned in Wm M Gi bb on s th i r d c o llection 1 755

.
‘
Rit son in his ’
, .
,
Sc o tti s h S ongs 1 794 has given n o air to the vers e s but leave s the stave s
,
”
, ,
tha t precede the song blank There is an o ther tune in th e B l aik i e Manu .
script 1 69 2 named J ock y wood a w oo ing go which s uits the words of

, , , ,
the ol d s ong and i s perhap s the o riginal melo dy

,
The air in the Museum .
i s n ot given in the Orpheu s the Tea Table Mu s ic Craig s and O s wald s

’ ’
-
, ,
c ollectio ns or any o ther before 1 755

,
.
1 68 . O ER BOGIE
’
.
This quaint old mel o dy was first printed in the Orpheus Cal e do ni u s
1 725 and it was used for on e of the s ongs in Ramsay s Gentle Shepherd
’
,
.
It i s also c o ntai ned i n the Mu s ick f or the Scots S o ngs in the Tea Table -
Mi s cellany which Ramsay published ci rca 1 726 The song i s on e of h i s , .
o wn ,
and was printed by hi m in 1 720 Stenh ou s e wh o s h ow s a grea t .
,
liking f or the tune s ay s , The unc omm o nly wild structure of thi s mel o dy
.
,
a c opy of which i s in s er ted in Mrs Crock a t s Mu s ic B ook written in 1 70 9 ’

, ,
”
evinces it to be o f very high antiquity etc and again Befo re the days , .
,
’
o f Ram s ay the tune o f O er B ogi e w as adapted to an old s illy so ng the ,
fir s t s tan z a of which r an thus

I ll aw a wi
’
I l l a wa wi h e r
m y l u ve ,
'
Th o a m y k i n h d w rn an d s a i d I ll o r B g i e
’ ’ ’
wi h e r
’
a s o ,
e o
I ll’
B ogi e o e s
o er
’
g i o r B ogi e wi h e ;
,
’
r cro e,
’
e r
I n spi t e o m y k i n h ae s a i d I wil l wa wi h e r
’ ’
a ,
a .
Th o ugh the air i s in Mrs Cro ck a t s Mu s ic B ook 1 70 9 we have no evidence ’

, ,
that the old s illy s ong was prio r to Ram s ay— indeed silly w ords are ,
n o pr oo f o f age whatever The tune h as been l ong played as a reel

. .
1 69 . LASS WI A LUMP OF LAND .
This excellent and humor o u s s ong was written by Allan Ram s ay and pub ,
li s h e d by him in the sec o nd volume o f the Tea Table Mi s cellany The tune - .
was firs t printed in 1 73 1 and i s contained in The Mus ical Miscellany ,

“ ”
’ ”
and Mitchell s Hi ghland Fair “
These two w o rk s which have the same .
,
melody note f or note were publ i s hed by J ohn Watt s Lo nd on Stenh o use
, , .
a ss erts as u s ual erroneou s ly that Th om so n preferred Ram s ay s ver s i on

, ,
“ ’
and adapted it to the o riginal melody in his Orpheus Cal e don i u s 1 725 ,
whereas it d o es n o t appear in that w ork befo re the second editi o n 1 73 3 , .
The tune in Tho ms on is superior h o wever to the o ne given by Watts and , , ,
nearly identical with that in the Mu s eum .

1 70 . HEY TUTTI TUITI .
This is undo ubtedly an ancient tune th o ugh its age rest s entirely u po n ,
tradition Burn s refers to the tradition held ab out Stirling and elsewhere
.
,
that i t was played at the Battle o f Bannockburn Rits o n alleges That “

.
the Scot s at that perio d had a little h orn with the blowing of which , ,
a s we are t o ld by Fro i ss art they would make s uch a noise as if all the ,
devil s in hell had been am ongs t them These horn s are the onl y music .
”
( in s trument of music ) ever mentioned by Barbour Th ough we d o n ot .
a ffirm tha t the tune wa s played at Bann o ckburn there seems to be little ,
d o ub t that Ritson was wrong in stating that the Scots had o nly these
little horns We have p o s itive e vidence fro m the Exchequer Ro ll s that
.
,
D avid Bruce s s on had piper s n ot many year s after the battle and it
’
, , ,
require s no great stretch o f imaginati on t o suppose that hi s father had
piper s al so The tune now better kn o wn as Sc o ts wha hae or as The

.
, ,
”
land 0 the leal is played on the bagpipe at the present day We all ow
’
,
”
.
,
ho wever that its firs t appearance in prin t i s in Oswald s Caledo nian Pocket
,
’
Companion bo ok ii i abo ut 1 750 and it afterward s found a place in

“
, , ,
M Gi bb on s Third C ollection 1 755

‘ ’
.
,
1 71 . THE Y OU N G LAIRD A ND EDINBURGH KAT Y .
Thi s song i s by Allan Ramsay and was printed by him i n 1 720 four , ,
years befo re the firs t v olume of hi s Tea Table Miscellany The mel o dy -
.
”
a ppeared in the music for that w o rk which was publis he d ci rca 1 726 , , ,
under the title of Now wat ye wha I met yestreen “

It is to be fo und in .
m os t of our Sco t s C o llection s with the exceptio n o f the Orpheu s Cale ,

“
don i us and Adam Craig s Sc o t s Tunes either as No w wat ye wha I

’ ” “
,
met yes treen or C o mi n g thro the Broo m m y Jo

, .
”
1 72 KATY S ANSWE R ’
. .
This song i s also by Ram s ay and was printed along with the previous ,
o n e in 1 720 The mel o dy is better kn o wn by the first line o f the w o rds

.
,
’
“
My mither s ay glowran o e r me ; and is found in J ohn Pl ay ford s ’
’
Dancing Master as far back as 1 651 entitled A health to Betty

, Fr o m , .
”
this circumstance i ts nationality h as beco me a b one of contention If of .
Engli s h origin it has been much improved on Scottish soil the vers io n
, ,
given in the B l aiki e Manuscrip t 1 69 2 being more sprightly and mel o di ou s , , ,
whereas the Engli s h version is insipid and unw o rthy of compariso n with ,
the air in its pre s en t form It h as two strai n s in B lai ki e s MS though in .

’
the Orpheus Cale don i us 1 725 it i s prin ted with one o nly , , .
1 73 . RAVING WIND S AROUND HER BLOWING .
Ta n c M GRE GOR Rono s

’
‘
or LAM E NT .
This song was written by Burn s The mel o dy is s aid to be an ol d .
Highland on e but we can give n o i n formation a s to i ts age It is c ontai ned

, .
in the Rev Patrick M D on al d s Collection o f Highland Vocal Ai rs ( No

.
‘ ’ ”
.
which was published in 1 78 4 .
1 74 YE GODS WAS STREPHON S PICTURE BLEST ’

. .
,
Ti me —J ‘
1 4TH OF O CTOBE R .
This s ong Stenh ou s e says was written by William Hamilt o n of Bangc ur

, , .
We note tha t the song i n the Tea Table Mis cellan y 1 74 0 h a s n o letter -
,
”
attached to it but in th e edition of 1 73 4 it is marked with an L meaning

, ,
new w o rds by diff erent b an d s Ramsay says My being well as s ured how .
,
acceptable new w ords to kn o wn good tunes would prove engaged me to the ,
making verse s f or a bove s ixty of them i n this and the s econd vo lume about ,
thir ty mo re were done by s ome ingeniou s young gentlemen etc Sten ,

”
.
h o use h o wever c o mm its a n error in regard to the tune ; it does not appear
, ,
in the Orpheus Cal e doni us of 1 725 but in the second vo lume of the sec o nd ,
edition 1 733 It o ccurs again in M Gi b b on s second collection 1 74 6 and

, .
‘ ’
, ,
’
Oswald s Caledo nian P o cket Companion book i i i about 1 750 as well as in , , ,
other later publications ,
1 75 . HOW LONG AND DREARY IS THE NIGHT .
Tu n a A GALI CK AI R .
The Gaelic melo dy to which this so ng is sung was picked up we are t o ld

, , , ,
in the No rth of Sco tland by Ro bert Burn s We are not aware that it is to .
be found in an y collectio n prio r to the Mus eum Burns altered and .
enlarged the song f or George Thomso n as he states in hi s lett e r o f 1 9 th ,

’
October 1 794 : How long an d dreary is the night “ ‘
I met with so me .
such word s in a collectio n o f songs so mewhere which I altered and e n ,
l arge d ; and to plea s e y ou and to s uit y o ur fav ourite air etc Thomson s ’
.
, ,
favourite air to which he set i t in his co llection is Cauld Kail in

, ,
“
”
Aberdeen See Appendix
. .
ROB B D CHA RM D
’ ’
1 76 . SINCE OF ALL THAT MY VIEW .
Tun e M i s s HAM i LTON s D ELIG HT ’

.
We are i nfo rmed by Stenh o u s e that ,

“
This s ong was written by Dr
in Oswald s Caledonian P o cket C o mpani on bo ok vi publi shed abo ut 1 753

’
, .
,
.
The air we think was o riginally a bagpipe tune it is quite s uited for and
, , ,
is played on that instrument It i s co nstr u cted in the min o r m o de and i s

, .
,
pentatonic wanting the t h ir d and sixth o f the scale Our o pinion is that
, .
the tune may be c on s iderably o lder than 1 753 .
1 81 . J OHNY FAA OR THE , GI P S I E LADD IE .
This air i s better known at the pres ent time as Waes me f or P rince “
Charlie It i s very ancient a version of th e tune being co ntained in the

.
”
,
Skene MSS under the title of Ladie Ca s s i ll e s Lilt

.
, For the fir s t .
prin t ed co py o f the melody we are indebted to a foreigner ; it i s included ,

’
in Francis B arsa n ti s C ollectio n of Old Sc o ts Tunes 1 74 2 identical wi th
“
,
”
its present f orm We incline to think that the Skene Manu s cript co py
.
had been much altered at the hands o f later musicians as was s upp o sed by ,
George F Graham and that Barsanti had taken down a traditional se t

.
,
which he had heard sung or played .
1 82 . TO DAUNTON ME .
This is an ancient tune We be l ieve that it i s cont ai ned in what i s .
known as the Atkinson M S 1 694 under the title of Thi s wi fe of min e .

, ,
“
.
”
S o far as we know it first appeared in print to a song called Be valli e n t

,
still in Mitchell s Highland Fair 1 73 1 a ballad opera c on s isting of Sco t s

,
” ’ “
,
”
,
Tunes Afterwards it occurs in Oswald s Curio us Collection o f Scot s

.
,
’
Tunes 1 74 0 ; B arsan ti s Old Scots Tunes 1 74 2 and M Gi bb on s Second

,
’
,
‘ ’
Collectio n 1 74 6 Sten house i n his n o te says The c o mp o ser has stolen

,
.
,
“
some bars of the second part of this tune fro m the ol d air of Andro and ‘
’
hi s Cutty Gun We rather suspect tha t Andro and his Cutty Gun
.
”
is taken fro m To Daunton Me because we can trace the latter to the ,
1 7th the fo rmer only to the 1 8 th century

, .
1 83 . P OLWA RT ON THE GREEN .
This song was writt e n by Allan Ramsay and published by him in 1 720 ,
.
Burns was misinf ormed as to the auth or The tune was first printed in ,
.
the Orph eus Cale don i us 1 725 and shortly afterwards by Ramsay in the , ,
Musick for the Scots Song s in the Tea Table Miscellany ; al so by Craig -
,
1 730 ; Oswald 1 74 0 ; and M Gi bb on 1 74 2 Stenhouse says the mel ody ‘

, , .
is c ontained in Mrs Crock a t s Manuscript 1 709 It must have been ’
, .
’
well kn o wn in Ramsay s day .
1 84 . ABSENCE .
We are info rmed by Stenhou s e that bo th the words of this song and the
tune to which it i s set in the Museum were written and c ompos ed by Dr ,
Blacklo ck wh o presented the s ame to John son for his publicatio n The
,
.
mel o dy is pret ty and in a nice flo wing s tyle

,
.
1 85 . I HAD A HORSE AND I HAD NAE MAIR ,

.
This humorous song under the title o f The Surprise made its first , ,
appearance in Her d s Scots S ong s : Ancient and Modern vol ii 1 776

’ “
,
”
. .
, .
The tune to which the word s of the song are adapted we have failed to di s
c over i n any c ollection manuscript or printed earlier than the publ icatio n
, ,
o f the Sc o t s Mu s ical Museum The melody was pro bably composed after .
’
t h e s ong f ound a place in Herd s C o llection .
TALK NOT OF LOVE IT GIVES ME PAIN

1 86 .
, .
Ta n c B ANK S or S PE Y .
”
The air to which this song is adapted is an excellent on e It was fir s t .
published in 1 755 by William M Gi bb on in hi s third collection and s ome

,
‘
,
’
what later i t was included in Oswald s Caled onian Pocket C ompanion ,
”
b ook xi Stenh o use say s The original song of The Bank s of Spey
.
,
“ ’
”
is s upp osed to be lost We are do ubtful if there was a s ong : it wa s
.
pr obably o nly a n ame for the tune Oswald h as The Bank s o f Forth .
,
”
The Banks of Tay The Banks of S li goe The Bank s of Severn as

,
” “
,
” ”
the names of tunes in his Caledonian Pocket Companion .
1 87 O ER THE WATER TO CHARLIE

’
. .
In J ohn son s 20 0 C ountry Dances vol iv page 9 a Lo ndo npublication

’
,
. .
, ,
of 1 74 8 there is a vers ion o f this tune under the title o f The P ot Stick
,
“
.
”
Tho ugh not exactly the same as given by Rutherfo rd 1 750 and O s wald , , ,
1 752 as Over the Water and Over the water to Charlie respectively
”
, , ,
we are of opinion that the name o f The Pot Stick was merely that of the
dance n o t the tune O s wald gives an o ther mel o dy resembli ng O er the
, .
“ ’
Water to Charlie called S h anb ui e in bo ok x i while Pot Stick page

,
”
, ,
”
1 4 and
,
The Irish P ot Stick appear at page 1 5 in bo ok ix o f the
“
,
”
, .
Caledonian Po cket C o mpan ion The two latter Po t Stick s however .

“
,
”
bear n o relation to Charlie and are n o doub t Iri s h tunes the on e in six , ,
eight and the o ther in nine eight measure Stenhou s e in h i s note say s
,
-
.
,
“
The fourth number o f Oswald s work having been printed as early as ’
1 74 1 fo ur year s bef ore Prince Charle s arrived in Scotland it is probable

, ,
that an o ther and a much o lder s ong which had no relatio n to the J ac o bite ,
”
verse s whatever was the n in fas hion etc S o far as the date o f Oswald s
, , .
’
book iv o f the Caledonian Pocket C ompani o n is c o ncerned he i s eleven

.
,
years too early and as to an older song it is pure conjec ture We con
, , .
s ider the tune to be a Sc o tti s h o n e .

1 22 EARLY SCOTTI SH MELODIES .
’
1 88 . UP AND WARN A WILLIE , .
The oldest c o pie s of this tune we have found are in John Wal s h s ’
Caledo nian C o untry Dance s b ook ii page 3 7 called Up to war a Wi llie

,
.
, ,
“ ’
, ,
”
and in Oswald s Caledonian P o cket C o mpanion book ii i page 1 We are

’
, , .
o f o pini o n that Walsh publi s hed his b ook ii s o mewhat befo re Osw al d but .
,
we are unable to state an approxi mate date The p oint howev e r is of .

, ,
n o c o nsequence as Walsh admits the Scottish o rigin o f the tune

,
Sten .
’
h o u s e is wr ong i n the statement that the third v o lume Of O s wald s
Caledonian Pocket C ompani on was issued in 1 741 : it did not appear till
1 750 or 1 751 He also says The Ballad to which this air is now
.
, ,
adapted in this Museum was composed after the battle of S h e riffm u ir or

,
Dunblane fought on the 1 3 th of No vember 1 71 5 but how long after he

, ,
d oes not tel l us .
1 89 . A ROSE BUD BY MY EARLY WALK .
We are informed by Stenh o use that the air to this s ong was the com
p o s ition Of David Sillar Sch oo lmaster Irvine a c ontemporary Of Burns
, , , ,
and likewise a p o e t .
1 90 . TO A BLACKBIRD .
Tu nc S C OTS Q UE E N .
This tune the S c o ts Queen is contained in Oswald s Caledo nian

, ,
’
P o cke t C o mpan i on book x ii page 1 In his note to this song Stenhouse

, , .
,
say s Mr Stephen Clarke however made an addition of four bars to the

, , ,
fir s t strain in o rder that the melody might sui t the verses better
,
This .
”
assertion is sheer non s ense : the tune is the same as given in the Museum ;
the first strain which J ohnson h as printed i n extenso is by Oswald simply
, ,
marked f or repetition which shows the value Of S te nh ouse s Observation

,
’
.
1 91 . HOOLY AND FAIRLY .
This song and tune with the above title are printed in Robert Bremner s
, ,
’
”
Thirty Scot s Son gs for a Voice and Harpsichord page 1 0 Oswald i a
, , .
cluded the air in the tenth book of his Caled onian P o cket Companion page ,
”
8 called The Drunken Wife of Galloway

”
,
Stenh o use states it is only a .
,
slight variation of the old melody of Faith I defy thee which may be ,
’
seen in the fifth v o lume Of the same w ork page He mentions also , ,
The earliest edition of this very humor ous song which I have met with ,
i s tha t in Y a i r s Charmer vol ii printed a t Edinburgh in 1 751

’
, an d
. .
,
vii of O s wald s Caledonian Po cket C o mpani on page 9 I t is h o wever i n

.
’
, .
'
, ,
cluded i n the Bla iki e M S 1 69 2 and in the Leyden Manuscript under .

, , ,
the name of Bony Ro aring Willie

“
The bar s in thes e tablatures are n o t .
”
c o rrectly placed and the duratio n Of the n otes is somewhat faulty never
, ,
th e l e s s they pr o duce the air G F Graham made a tran s latio n fro m the . . .
Leyden which we have carefully examined and can vo uch f or its accuracy
, ,
.
1 95 . WHERE BRAVING ANGRY WINTER S STORMS ’

.
Twa e N G o w s LAM E NTATI ON A B E RCAIRNY

’
. FOR .
This s l o w air was c omp osed by Niel Gow and pri nted in his co llectio n ,
dedicated to the Dutches s of Athol and publi shed in the year 1 78 4 ,

.
1 96 . TIBBIE I HAE SEEN THE DAY ,

.
Ta n c I NVE B GAU LD S
’
RE E L .
’
This i s said to be on e Of B urn s s earliest s ongs I nve rcauld s Reel an ’
.
,
’
excellent Strath spey was publi shed in Neil Stewart s Collec t io n o f th e
,
Newe s t and Be s t R eel s or C o untry Dance s page 3 1 the fourth number , , ,
1 762 and in Bremner s Reel s s ec o nd v o lume 1 768

’
.
, ,
1 97
’
. NANCY S GHOST .
Tu n c
. B ONI E K ATE OF E DI NB URGH .
This i s said to be one of Dr B lackl ock s songs which he gave to Johnson ’
f or the Museum The melo dy o ccurs in The Caledonian P o cket Com

.
“
panion book v page 5 I t i s some what altered in the Museu m from th e

,
”
.
,
.
version given by O s wald In our opini on the melody is n o t Sc o ttis h

.
, ,
but on e of the Anglo Sco ttish s pecies and a decent imitation

-
, .
1 98 . CLARINDA .
The air this s ong by Burns is supp os ed to be the compos i tion of Mr

to
S ch e tk y We are n ot info rmed which Of the S ch e tky s i s referred to but it
.
,
was pro bably John It i s h o wever a very p oo r melody and wi thout the
.
, , ,
leas t Scottish character .
CROM LE T S
’
1 99 . LILT .
This song h as a long traditional sto ry but its first appearance in print , ,
THE SCOTS MUSICAL MUSE U M . 1 25
’
s o far as we know i s in the second v o lume of Ramsay s Tea Table -
,
Mis cellany Stenh o use says The melo dy to this Old song is inserted in
.
,
the Orpheu s Cal e don i us in This i s an o ther Of his fables or blunders ;

it d oes no t o ccur in that w ork till the sec o nd editio n in 1 73 3 and we have ,
’
n o evidence of the tune pri o r to that date It i s contained in Oswald s .
’
Curiou s C o llection of Sc ots Tune s 1 74 0 and t wo years later in B arsanti s
“
, ,
C ollecti on of Old Sc o t s T unes but it has fo und n o place in M Gi bb on ‘

.
20 0 . THE WINTER IT IS PAST .
The mel ody to which these verses are given in the Museum is co ntained in
O s wald s Caledo nian P ocke t Companio n book x page 9 ( n ot m book seven
’
, .
, ,
as many have it wh o have c o pied from Stenh ouse ) pr obably publi s hed ,
about 1 759 D r Petrie in h i s Ancient Mu s ic o f Ireland 1 8 55 has set up a

.
, , ,
claim to the wo rds and air As it is n o t ou r pr ovince to deal with

.
the s ong we pass to the tune as given in the Mu s eum Petrie s ays
,
.
o f the song ,
at least so much of it was known in Sco tland duri ng
the latter pa rt Of la s t century ; and it is in the highes t degree pro
bable that i t was kn o wn as early as 1 750 ab o ut which time the ,
S cotti sh a i r to which it has been united and which in my Opini o n wa s ,
O bvi o u s ly c o mp o sed f or it first appeared i n Oswald s

,
P o cket Compani on ’
’
a s already alluded to under the name of The Winter it is past The
,
‘
.
Scottis h cla i m to this song as well as to th e ti me to which it is sung might

, ,
therefore appear to be incontr o vertible But the s ame so ng united to a .

,
mel o dy unquestionably Irish has been equally if n ot better kn own in Ire

, ,
land and fro m an equal if n ot a much l onger peri od ; and it appears to me

, ,
that o f the claims of the t wo coun t ries to thi s s ong the Irish on e i s ,
decidedly the s tronger the so ng as s ung in vario u s part s of Ireland fo r

m ore than a century etc As to Petrie s pr oof i t amoun ts to th e foll o w
,
”
.
’
,
ing : in the Index to h i s volume we have The winter it i s pas t ( or The ‘ ’
C u rragh o f Kildare) — Betty S k illi n n o ted about half a century ago by

, ,
and at page 1 68 The following i s on e of the many airs n o ted in my

,
y o ung day s from the singin g o f a near c o nnectio n of my own and which , ,
’
as I have already s tated had been learned in that lady s childho o d from the
,
s ing i ng o f Betty S ki lli n Again at page 4 0 we get : Molly Hew s on

” “
.
, ,
is one o f many tunes n o ted do wn ab out forty year s since from the sin ging
o f a n o w aged lady — a near connection Of my o wn ; the s e airs having been
,
learned in her child day s fr o m the singi ng Of an ol d woman who was f re

-
’ ”
quently bro ught in to assist in wa shing in her father s h o use The Old .
w o ma n in b oth instance s i s Be tty S ki lli n and forty or fifty years ago o nly ,
reaches back to 1 8 0 5 Petrie s date being 1 8 55 How then can P etrie

,
’
.
, ,
a ss ure u s it was sung in vario us parts of Ireland f or more than a century

The Scottish clai m i s no t for the Irish tune given by him but he has ,
failed to prove his claim even fo r the Iris h one Whatever the hist ory .
Of Bet ty S k i l li n ,
he do e s n ot acc ount f or the n on publication o f the air till -
1 8 55 D ean Chri s tie states that the hero of the s ong was a highwayman
.
called Johns on wh o wa s hung f or c ommitting m any r obberie s at the

,
Curragh of Kildare ab o ut the middle o f la s t century .
20 1 . TUNE YOUR FI D DLES ,

&c .
Tu nc MARQ UI S or H UNTLY S RE E L
’
.
‘
In S te n h ou s e s n o t e on this s ong written by the Re v Mr Skinner he

’
, .
,
’
tells us the tune to which Mr S kinner s verses are adapted in th e Mu s eum
,
“
i s called The Marquis of Huntly s Reel which was composed by the la te

’ ’
Mr William Marshall butler to the Duke of G o rdon He next proceed s

, .
”
with s ome hear s ay inf o rmation taken fr o m the Reliques al ong with his ,
”
comment on it and h i s allusio n to Miss Admi ral Gord o n s Reel which

,
’
,
”
we n o tice at page 9 5 He go es o n further In my opi n i on The Marquis

.
,
o f Huntly s Reel
’
is n o t o nly on e of the best and m o st o riginal airs but
’
,
likewi s e more free from plagiari s ms than any o ther tune Mars hall ever
c omp os ed The air in the Mu s eum i s very injudicio u s ly altered and cur
.
tailed A genu i ne set oi the tune with the first verse Of Mr Skin ner s song
.
-
’
”
is therefore annexed The annexed set i s n o t that firs t publis hed by
.
Mar s hall If thi s n ote was indeed penned by Stenh ouse i t is rather a
.
,
doubtful compli ment which really mean s that Marshall was a plagiari s t in
,
mo s t of his c ompositi ons Thi s o pinio n is worthles s : he neither knew .
Mar s hall n or his c ompos itio ns Wh o was the la te ? Stenh o u s e died in . _
1 8 27 Mar s hall in 1 833

, .
20 2 . GLADSMUIR .
Stenh ouse informs us that the melo dy to this s o ng or poem was set to th e .
words by William M Gi bb on We have n o t been able to find it howeve r

‘
.
, ,
in any of the C o llections he published but that may be accounted f or if ,
the statement in the Additi onal No te s to S te nh ouse s Illu s tration s is ’
correct The Ode o n the Battle of Glad s muir 1 74 5 was origin al ly

.
, ,
pri nted for private dis tributio n and was s e t to music by M Gi b b on ,

‘
.
”
203 . GILL MORI CE .
Stenhouse has given a l ong note to this song including the whole fift y ,
vers es which occupies a space of seven pages in his Illustratio ns It is not

, .
o u r purpose to meddle with the history of the ballad n o r to refer to what ,

1 28 EARLY SC OTTISH MELO D IES .
air in th o rough Sco ttis h style ; but we po ss ess n o kno wledge o f the com
,
p os er The author Of the s o ng i s sai d to be Sir Ge orge Ellio t Of Mint o

.
,
Bar t .
20 7 . TIBBIE D UNBAR .
Ti me J OHNNY M ‘
GI LL .
This i s a s prightly Sco ttis h jig named after its co mposer an Ayr s hire , ,
mu s ician wh o lived in the fir s t half of the eighteenth century We are

’
not aware however that it w as printed prio r to J oshua Campbell s Colle e

, ,
’ “
tion of the Newest and Be s t Reels etc 1 778 It al so appeared i n Robert ”
,
.
,
.
Riddell s Sc o tch Galwegian and B order Tunes 1 794 as My silly auld

’ “
, ,
man and he state s This tune is said to have been c o mp o sed by Jo hn

,
M Gi l l To wn Piper of Girvan
”
‘
,
The Irish have a tune of the s ame name .
,
which is contained in Jo hn M acph e rs on M ulh oll a n s Selection of Irish and ’
Sc ot s Tunes 1 8 04 but it is n o t the Sco ttis h melo dy ; and in ign orance o f

, ,
thei r own jig they have claimed ou r Johnny M Gi ll for Ireland This
,
‘
.
THE J10 or JOHNNY c cm . . 1 809 .
a s s umption for it can be n othing m ore arose pr obably thr o ugh the employ
, ,
ment by Moore of the first s train of the Scottis h tune as the second
t o the Ol d mel o dy o f Green Sleeve s and dubbed the m ongrel The ,
”
Bas ket of Oysters in his Iri s h Melo dies fifth volume F Hoff , , .
mann h as included the Sc ottis h ai r in an Irish fo rm apparently deri ved ,
from s o me i tinerant mus ician in Ancient Music o f Ireland fr om the ,

“
,
Petrie C ollectio n 1 8 77 as Oh what S hall I do with thi s silly Ol d man ?

,
”
, ,
”
By such mi s takes the wrong mel o dy has been claimed f or Ireland by many
Of her s ons T h e s ong of Come under my plaidie i s sung to this tune
.
“
.
208 . JENNY WAS FAIR A ND UNKIND .
Ta n c S C OTS J E NNY .
This so ng is an o ther e ff us io n of J ohn Lapraik who h as already been ,
n o ticed as the writer of When I up o n thy bo so m lean The melody is .
’
furni shed from on e of Oswald s c om p os itions called Sc o ts Jenny which ,
“
,
”
was publi s hed in the second v olume of The Collectio n of Curio u s Sco ts “
Tunes dedicated to the Prince of Wale s 1 74 2 page 3 1

,
He made h i s , , .
claim to the tune about ten years previ ou s to the publicatio n of b ook v of .
”
the Caledonian Pocket Companio n .
Oy t I ri sh Fifth S e l e cti on
”
of
’
See “
Th e B a s ke t s e rs , , i n Ai rd s , 1 79 7.
20 9 . MY HARRY WAS A GA LLA NT GAY .
Ti m e HIGHLANDE R S LAM E NT ’
.
The melo dy to this song we cann o t find in any form prio r to Neil
’
Stewar t s C o llection of the Newe s t and Bes t Re e l s or C o untry Dance s
“
,
”
1 762 It i s in s erted on page 27 as Highland Watch s farewell to “ ’

.
Ireland and we therefore c o nclude it was comp os ed abo ut that date We

,
.
have s een it named the Highlander s Farewell but cannot dis cover ’
,
’ ”
it as the Highlander s La ment bef ore the Muse um c opy The tu ne we .
believe to be a bagpipe c ompo s itio n .
21 0 . THE HIGHLAND CHARACTER .
The air Of this song is better known under the title of The Garb Of Ol d “
Gaul from the first line of the song It is the c omp o sition Of General
,
”
.
Jo hn Reid who end owe d the Chair of Music in the University Of Edinburgh
, _
.
S O far as we know it was fir st published in Robert Bremner s Collection

’
of Airs and Marches second number 1 756 entitled The Highland March
, , ,
“
,
”
by Capt Reid The song i s fro m the pen o f Sir Harry Erskine Bar t and
. .
, ,
i s said by D Laing to be included in The Lark a c ollectio n o f songs “ ”

.
,
printed in 1 765 .
21 1 . LEADER H AUGHS AN D YARROW .
This tune appears for the first time in the sec ond v o lume o f the Orpheus
Cal e d oni u s 1 73 3 though it mu s t have been kn own before Ramsay pub
, ,
l i sh e d the Tea Table Miscellany I t is not found in any manu s cript of an

-
.
earlier date that has come down to us so we may infer i t was not ol d in ,
1 724 or at least not held in esti mation

, The next ti me it occurs is in .
,
Bremner s edition Of M Gi bb on s Scots Tunes with additions book iv 1 768

’ ‘ ’
,
”
.
, ,
’
and four year s la ter i n Neil Stewart s Collection Of Scots Songs adapted ,
for a Voice and Harpsichord Stenhous e says in his n o te Both the Old .
,
“
bal lad of Leader Haughs and Yarro w an d the tune are said to be the
‘ ’
composition of Nic o l Burn a border minstrel wh o flo urished about the ,
middl e of the si xteenth century Laing i n his additional note states .

”
,
There is no evidence for giving Minstrel Burn the Christian name Of

Nicol or making him flouris h about the middle of th e sixteenth century
,
.
His ballad bel ongs to the first half or perhaps t he middle of the following ,
century . We suspect both notes to be pure conjecture as we have the

”
,
two songs The mor n was fair and When Phoebus bright in the
, ,
” “
,
se c o nd volume of the Tea Table Miscellany 1 74 0 without any letter -

, ,
to denote tha t they were Old tho ugh the la tter appeared in the o riginal ,
editio n with the letter Z Further Thirlstane Ca s tle the house men .
,
“
,
”
t i on e d
in the fo urth verse was n o t built till 1 674 the date ab ove the do or , ,
’
way We have no pr oof of the existence of the songs before Ram s ay s
.
w o rk and he may be the auth o r of the fo rmer See Ch am b e rs s Sc ottis h

, .
’
”
S o ng s 1 8 29 an d Songs prio r to Burns
, , .
”
21 2 . THE TAYLOR FELL THRO THE BED ’

, E TC .
The air to which thi s s ong is s ung has received the name of The
Taylor s March in Jame s Ai r d s Selection Of Sco tch Engli s h Iri s h and
’ ’
, , ,
Fo reign Airs etc publis hed in 1 78 2 Stenhouse says It i s generally

,
”
.
, .
,
played at the annual meetings f or choosing the deac o n s and o ther Offi ce
bearers o f the ( corporation of Tail ors ) Society The p o pular air Of Logie .
’
O Buchan is o nly a slight variation Of the Tai l or s Old March Thi s ’
.
’
s tatement is d o ubtful and the c onverse may be the ca s e A tune in the, .
Atkinso n Manuscript 1 69 4 called Tak tent to the ripples gudeman i s , , ,

“
,
s upposed to be the parent melody but we think thi s rather t oo far fetched ,
.
O s wald h o wever give s an air in the Caledo nian Pocket C o mpanio n b ook
, , ,
’
xi entitled Beware of the Ripple s which is identical with The Tayl or s
“ “
, , ,
March in Aird mi nu s the embelli s hment s See No te 3 58 tune NO 2

”
, .
,
. .
21 3 . AY W A U KI N O .
This beautiful little mel o dy wa s publis hed by William Napier in hi s

Selectio n of the m o st Favourite Scots S o ngs etc a s hort t i me before the ,
.
,
th i rd v o lume of the Museum appeared Though the preface is dated Feb .
ru a ry 1 79 0 Johnson s w o rk wa Napi e r s ver s io n Of th e

’
s n o t issued ti l l July
’
.
,
air is that which Captain Riddell c ommunicated to Stephen Clarke and which ,
was printed in the fo urth v o lume o f the Museum J ohn W a tl e n in 1 79 3 .

, ,
publi shed an o ther s e t of the air with the song o f Jess M acph arlan e “
.
”
Urbani in h i s second v o lume 1 79 4 and Rit s on i n his Sco tis h S ongs , , ,
”
1 79 4 fro m a m anuscript c o py transmitted fr om Sc o tland — adhere
, ,
to Napier John so n s ver s i on o ccurs again in the s econd volume of the

.
’
Vo cal Maga z ine 1 79 8 Stenh o u s e gives what he calls the ancient tune in
, .
his Illustrations but we have n o m ore than his word for it Which is the
,
.
o riginal ? and has its date been ascertained The editor of a recent
c ollection of Scottish S ong s s tates Rits on is of Opini o n that the air Ay , ,
’ ”
wakin O from i ts intrinsic evidence is very ancient wherea s Ritson merely
, , ,
say s ( we give his own word s ) Th o se songs and tunes o f whi ch intrinsic ,
evidence alone may be supposed to ascertain the age are lef t to the ‘
,
”
genius and judgment of the conn oi s e ur .
21 4 . THE BREAST KNOT .
The melody to this song is a dan ce tune and an example in opposition ,
to the statement which Stenh o use makes that many of our strath s peys , ,
1 32 EARLY S COTTISH MELODIES .
publi shed by Ro ber t Bremner in the additions to M Gi b b on s Sc ots Tunes

’
‘
in 1 768 These reasons may not be co nclusive but we do not find the
.
,
s ongs anywhere pri or to the Mu s eum Chappell refers to a tune ca l led .
“
La dy li e near me but he admits it is not the mel ody which Th o m s on
,
”
sent to Burns .
21 9 . THE BRISK YO UNG LAD .
The tune wedded to this old humorous s ong is called Bung y our eye “
.
Stenhouse inf orms us that it appears in Go w s C o mplete Reposit ory part i ’

,
.
,
under thi s s trange title Hi s kn o wledge o f dance mu s ic c o llection s h ow

.
,
ever mu s t have been very limited The Re os it or y was Eflfi ed i p

p ,
.
, , ,
‘
1 79 9 ; but the tune a c ountry dance, was m e n ded i n J ohn Wal sh s

’
fi e d on i an Country Dances entitled Bung yo ur eye nearly s i xty years ,

”
, ,
earlier It also appeared in Robert Ros s s Ch oice C o llection of Sco ts

.
’ “
’
Reels Country Dances and Strathspeys 1 78 0 and in James Ai rd s
, , ,
”
Selectio n of Sc o tch Engli s h Iris h and Foreign Ai rs 1 78 2 The ballad

, , , , .
appear s in Herd s Ancient and Mo dern Sc o ttish Songs without mention

’
of any air and thi s was pr o bably adapted to it afterwards

, W h o was the .
auth o r of the s ong has not been ascertained .
220 . THE GARDENE R WI HIS PAIDLE ’

.
The words Of this so ng are by Burn s In fo rmer times mo st of the .
trades had either a dance tune or a march c onnected with their bo dy and ,
’
thi s on e is styled the Gardener s Mar ch Stenh o use tells u s This .
”
,
“
Ol d tune has some bars which have a considerable a ffi ni ty t o a tune called

‘
The March of Char les the 1 2th King of Af ter carefully ,
exami nin g the two airs we are unable to see the affinity We are n ot
, .
aware of any collection in which the Gardener s March is print e d prior “ ’ ”
to Ai rd s Selection of 1 78 2
’
.
221 . RONNY BARBARA ALLAN .
It is n ot our intention to enter into the history Of the ballad or ballads

”
known under the title of Barbara Allan Our purpose is to draw “
.
attention to the melo dy There are three dist i n ct tunes Of that n ame.
claimed by Sc o tland England and Ireland respectively Of the Scotti sh

, , .
and English Chappell says A comparis on will S how that there is no ,

“
”
simi larity i n the music The English tune i s in the maj o r mode and in a}
.
,
measure while the Sc o ttis h and Irish are in the min o r mode and in
, ,
’
co mmon measure The Iris h air given in J oyce s Ancient Music of
.
,
“
Ireland 1 8 73 partake s somewhat Of bo th the o ther versions Ireland has

,
”
, .
two bar s in the first strain identical with the Scottish final bars in the
sec ond strain otherwi s e the p rogression Of the t wo tunes is t o tally
,
different ; where the Scottish ascends the Irish descends and vi ce ,
We have never seen any claim made for Ireland before Joyce s ’
.
vers a .
publi cation and we s h o uld like to kn o w h i s authority for it Our Scottish

,
.
melo dy is contained in Oswald s Curious C o llection Of Scots Tune s 1 74 0 ’
,
”
.
There i s not a single word as to the origin o f the tune given i n S te nh ou s e s ’
Illustratio n s nor in the addi tional notes to that w ork

, .
222
. YOUNG PHILAND ER .
Alth ough the w ord s of thi s s on g are c ontained in the second vo lume o f
Ramsay s Tea Table Mis cellany they are directed to be sung to the tune
’
-
”
,
of
“
The Gallant Sh o emaker Stenhouse gives a tune s o called i n his .
”
Illustra t ions with out informing u s where he Obtained it but as he allude s

, ,
”
to C o ffey s Opera Of The Female Parson we conclude it is from that
’ “
,
s o urce The melo dy in the Museum we first discover in Adam Craig s ’

.
“
Coll ection of the Ch oices t o f the Scot s Tunes in or bef ore 1 73 0 next
, ,
”
in the Orpheus Cal e doni us 1 73 3 In b o th o f these w ork s it is named, .
“
The Peer of Leith The Sc o ttish melo dy is entirely different from
.
Phil ander which Daniel Purcell set to a s ong in D U rf e y s Opera The

,
‘ ’
Ris e and Fall of M a s sani e ll o 1 69 9 and which afterwards appeared in the,

”
first volume Of the Pill s to Purge Melancholy 1 71 9 “

,
”
.
223 . ON A BANK OF FLOWERS .
This i s n ot a Sco tti s h tune it was c o mpos ed by a German musician ,
called Galliard wh o died in London ab o ut the middle Of last century

, .
224 . THE D AY RETURNS MY BOSOM BURNS ,

.
Twnc— “
fi E VE NTH or N OV E MB E R .
This song was written by Robert Burns in c ompliment to his friend

Captain Robert Riddel l o f Gl e nri dde l l The tune i s on e of Riddell s .
’
c ompositions and was published in his Collection Of New Music for the
,
Piano Fo rte or Harpsichord 1 78 7 The seventh Of November i s said to be

-
,
”
.
the anniversary of the Captain s mar riage ’

.
’
225 . MY LOVE SHE S BUT A LASSIE YET .
We are t o ld by Stenhouse The title and the last half stan z a of the song ,
“
are Ol d : the rest was c omposed by Burns This la s t half stan z a is taken .
”
fr om Green gro ws the Ra s he s I n Herd s second vo lume p 224 1 776

“
,
’
,
.
, .
The tune h as got the above title in Ai rd s Second Selectio n 1 78 2 ’ “

, .
Stenh ou s e say s that it appear s under the name Of Lady B a di n scoth s ’
Reel in an Old MS copy inserted in page 8 vol ii o f an o riginal editio n

,
.
, . .
,
Of M Gi b b on s Sc o t s Tune s bel onging t o Mr David Laing o f Edinburgh

‘ ’
, ,
b ook s eller M Gi bb on s s ec o nd volume was publis hed in 1 74 6 but

‘ ’
.
,
that i s n o pr oo f Of the age o f the tune ; it might hav e been inserted many
year s afterwards It p roves it to be a dance tune h o wever In an addi
.
, .
ti o n a l n o te to S te n h ou se s Illu s trati o ns s igned ( C K

’
we are t o ld that , . .
“
The ol d title of the air was Put up thy d agger Jamie The w o rd s to thi s ‘
.
’
air are in V ox B oreali s or the N orthern Di scove ri e by way Of dialogue, ,
between Jamie and Willie 1 64 1 Thi s song s ay s the auth or was played ,
’
.
,
’
and s ung by a fiddler a n d a fool retainers of General Ruthven G overnor , ,
of Edinburgh Castle in s c o rn o f the Lord s and Covenanters f or surrenderi ng

,
’
their strongholds The ini tials are th os e o f Charles Kirkpatrick Sharpe
.
,
and the story i s a r o mance ; there i s neither an air given n or mentioned in

V ox B o reali s The tune of My L ove s he s but a Las s ie yet is fir s t printed “ ’
.
in Bremner s Sc o t s Reels or C o untry D ances 1 757 as Mis s Farquhar

’ “
,
”
,
s o n s Reel
’
We give the tune
. Put up thy D ag o r Jennie from a , ,
.
transcript of the Blai ki e manu s cript 1 69 2 , .
226 . THE GABERLUNZIE MAN -

.
Stenh o use s ay s This ballad is attributed to James V Kin g Of Sc o tland

,
“
,
about the year He als o regale s u s with hi s Opini on that the ,
tune in the Museum th o ugh ancient i s but ill adapted to the ballad and
, , ,
that he had o ften heard i t sung to the tune Of M ui rla n d Willie which is ,
”
as ancient a s th e ballad and is probably the o rigin al The wo rds are ,

.
fir s t printed in the first vol ume of the Tea Table Miscella n y 1 724 and the -
, ,
tune in the Orpheu s Cal e don i u s of 1 725 We s hall speak however .

, ,
more particularly ab o u t the tune Ty tler in his di ss ertatio n published in .

,
1 779 at the end o f Arn o t s Hist ory of Edinburgh place s it in an era

’ “ ”
, ,
including James IV and Queen Mary th o ugh he d o es n o t a s cribe it to

.
,
James V Stenhouse h a s therefo re added to Ty tle r s co njecture but there

.
‘
’
is a l ong interval between 1 524 and 1 725 If there was a tradition .

,
we put no faith in it fo r had the ballad or tune been fro m the pen o f the
,
1 36 EARLY SC OTTI SH MELODIES
’
23 0 . MAGIE S TOCHER .
In the first volume Of the Tea Table Miscellany thi s s o ng i s found

- -
, ,
”
beginning The meal was dear sh ort syne Ra ms ay has put to i t the
, ,
'
letter Z to den o te that it i s an Ol d one The fine Ol d tune to which it

,
.
is sung was printed with the w o rds in Thom son s Orpheus Caledonia s 1 725 ’
,
.
It als o occurs in Pl ay ford s Danci ng Master volume ii 1 728 and ’ “

, .
, ,
in John Wal s h s Dancing Master vol i under the name Of A trip to

’
,
”
. .
,
Marrowbon e .
”
23 1 . MY BONY MARY .
This beautiful s ong was written by Robert Burns with the excepti on o f ,
the first four lines which it is said he b orr o wed fro m an o lder s ong The old
, .
or o ri inal w o rds s tand no compari so n whatever with th o se penned by

g
Burns We proceed n ow to qu o te what Stenh o u s e says about the tune
.
,
This fine old air called The Silver Tassie was rec overed and co mmuni
,
’
,
ca te d by Burn s
”
His s tatement would have been appreciated greatly had
.
he mentioned W here he fo und the air under this name Al l a n Cunnin g .
ham i n his editio n of th e Wo rks o f Robert Burn s state s t h at the p o et

,
.
“
,
”
in his n o te s on the Museum s ays the air i s O s wald s In ou r opinio n thi s ’

.
"
’
excellent mel o dy is on e of O s wald s fines t c ompos itions an d it i s c o ntained ,
”
in the Caledonian Pocket C ompani on b ook iv entitled The Secret Ki ss , .
, .
”
It is al so f ound in Colin s Ki s ses published by J O s wald ’
, . .
232 . THE LAZY MIST .
The tune to this song occurs under the same title in O s wald s Caledo nian ’
Pocket Companion bo ok ! I I The w o rds are claimed for Burns in the

,
.
‘
Reliq ue s Oswald in his c ollection annexed a c onsiderable number o f

.
mel o dies that o ught not to have been included under the title of Cale
d o n i an
”
There i s n o Sc o ttish character whatever about thi s tune and our
.
,
impre ss io n i s that it is th or oughly Irish in s tructure and bel ongs to the

, ,
S ister i s le .
23 3 THE CAPTAIN S LADY ’

. .
This strange Old tune appears in Oswald s Caled onian Pocket C o mpanion ’
bo ok vi i entitled Mo unt m y baggage

, It is also fo und in Walsh s .
’
Caled onian C o untry Dances vol ii called The Cady Laddie Stenhou s e , . .
,
“
.
says John Wal s h o f L ondon published the Caledonian Country Dances “ ”
about a century ago His date we think is too early : th o ugh we have no s ure
.
, ,
evidence we should say the work was commenced about 1 73 4 Stenhouse

, .
THE SCOTS M U SICAL MUSEUM . 1 37
’
alludes t o a Strathspey named Dalry House c ontai ned in Gow s Third ,
C omplete Repos itory which he says has been evolved out of this curio u s
,
Ol d tune His remark this time is assuredly well f ounded

. .
23 4 . J OHNI E C OPE .
In his note to this song Stenhouse s ays This ol d air which originally
, , ,
consisted o f one strain was formerly adapted t o s ome silly verses of a s ong
,
entitled Fye to the Hills i n the Morning The ch orus or bu rden Of the .
’
so ng was the fir s t s train repeated an octave higher An indiff erent s e t Of .
the tune under the name of J ohny C ope appears in O s wald s Caled onian
, ,
’ ’
P ocket Companion volume ix So much he states ab out the air but he

, .
,
cites n o earlier source f or a better set than Oswald ; and gives n o e vi

dence Of the exi s tence of any vers io n of the tune prior to hi s w ork Are we .
to believe S te n h ou se s assertion ? We get fr o m him al s o what he call s

’
the o riginal w or ds of the s ong but we ar e do ubtful if they are as he , ,
gives no particulars about their date They are as cribed by him to Mr

'
S ki rve n and he tell s u s ther e are s everal variati ons of the original but so
, ,
far as we can judge they cann o t be s tyled impr ovements We suspect

, .
the s ong was not published till pr obably ten years after the ro ut at
”
Pre s t onpan s O s w a ld s pell s J ohnny
. .
23 5 . I LOVE MY JEAN .
Ti m e— “
M I S S A DMIRAL G ORDON S S TRATHS PE Y ’
.
See Note 115 , page 95 .
Tun e O D E AR M OTHE R , W HAT S HA LL I DO .
The tune in the Mu s eum bearing this name was an ol d and well kn o wn
one in Ramsay s lifetime and he adapted it to h i s so ng in the Gentle
’
,
’
Shepherd beginning O dear Peggy love s beguiling
, ,
Stenh ouse refers , .
”
to the Ol d words printed i n addition to those of Ramsay and says ,
they were tran smitted in a letter from Burns to the publisher wherein
“
,
the bard says Dear Sir the foregoing is all that remain s o f the Ol d words
,
-
, .
It will sui t th e tune very well R Burns This however is n o guar .

-
. .
, ,
antee that they were the original words n or that the tune was ass ociated ,
with them Stenh ouse further adds The melo dy o f this ancient song h as
.
,
latterly been modelled into a reel tune in common time now called The ,
Braes o f Auch te rty re — see G o w s Repos itory vol i page 20 The editor Of
,
’ ’
, . .
, .
the Rep os it ory indee d s ay s that the reel tune is the progenit or Of the melo dy
“
, ,
o f the s ong
” ’
We c o n s ider G o w s assertion to be pure conjecture
. Sten .
h ouse then states The reel tune was modelled from the old air about the
,
“
year 1 723 by Jam e s Crocka t s on of th e lady to wh o m the Ol d manuscript

, ,
Mu s ic bo ok originally belo nged which has been s o frequently referred to in

-
,
the c o urs e Of thi s work James Crock at gave h i s reel tune the strange
.
title of How can I keep my Mai den head which was the fir s t line o f an -
,
’
old indelicate song n o w de s ervedly f o rg o tte n The firs t attempt to make .
th e Old tune int o a reel in the handwriting o f Jame s Cro ck a t i s n ow in the

, ,
p oss e ss i on Of the edit or Bremner altered the Ol d title and published the
.
,
t u ne about the year 1 764 under the name of Lenn o x s Love to Blantyr e ,
’
.
’
It i s n o w called The Braes o f A uch t e rty re Many o f our m o dern reel .
tunes strathspeys jigs etc are indeed palpably borr o wed fr om the subject s
, , , .
,
o f o u r ancient v o cal mel o di e s Several instances o f thi s fact have been al .
ready pointed out in the preceding part of this w ork and the reader will ,
fi nd m ore o f them in the c o ur s e of the sequel .
This l ong pas s age Of Stenh ou s e we have pr o duced in i ts entirety as ,
we wi s h to p oint ou t its many err or s and to shew i ts ab s urdity As we , .
have already remarked on the relatio n of dance tune s to v ocal mel o die s ,
we s hall n o t r e turn to that s ubject in thi s note It i s evident that Sten .
h ou s e was ignorant Of our national dance mu s ic o r at an y rate was ,
un acquainted with many c o llectio ns of reel s s trath speys jig s etc Our , , , .
first Observatio n is on his note o n song NO 4 8 3 The Wren or Lennox s .

, ,
’
Love to Blanty re where he s tate s ,

”
This tune is modelled from the air
called 0 dear Mother what s hall I
‘
,
No w we aver that if any
, ,
mortal with either eyes or ears say s there is the least relationship between
’
the t wo tunes he is simply in s ane Had he kn own Bremner s Reels he
,
.
,
”
c o uld not have said that Le nn ox Lo ve i s n o w The Braes Of Au ch te r “
tyre nor that Bremner had give n a new name to the tune
,
It was .
kn o wn as Lenn ox love to B l an te r nearly fifty years before it was pub

li sh e d by Bremner J ohn Walsh inserted it under the name o f How
.
can I keep my Maiden head in his Caledonia n C o untry Dances vol ii

-
,
”
, . .
,
ci r ca 1 73 6 The m o s t curi o u s point is h ow did Crock at turn O dear

.
, ,
”
Mi nny what shall I do int o Lenn ox love to Blantyre or why h as he
,
”
,
called it How can I keep my Mai den head ? The fact i s both of the -
”
,
tune s are contained in Margaret S i n kl e r s Mu s ick Book 1 71 0 entitled ’

-
, ,
respectively O Minie and Lennox love to B la n te r

, , ,
What ha s .
become of James Crock at s fi rs t attempt It would be a curio s ity

’
.
doubtful as to the shee t havin g never s een one : and the tune is not taken
,
from Napier s Selection which appeared almost s imultane o usly with the
’
,
third v olume of the Mu s eum Patrick Maxwel l E s q in his edition of .

, ,
Miss Susanna B lam ire s Poems assigns the song to that authoress
’
, .
24 1 . ST KILDA SONG .
This air is found in the Re v Patrick M D onal d s Collection of Highland .

‘ ’
Vocal Airs etc 1 78 4 St e nhouse s ay s the s ong is a tran s lation by

,
.
,
.
M D onald of a fav ourite Gaelic song s ung by the native s of St Kilda the
‘
,
”
m os t remote of the Western Isles of Scotland It is certainly n ot a tran s .
latio n as the St Ki ldan s have neither ivy nor willow s

,
In an additio nal .
note we are told that the author ( n o t translat or) of the song i s Andrew Mac
,
donald s on o f George Donald a gardener near Leith where he was born in

, , ,
1 757 He prefixed Mac to his name on becoming a clergyman Of the Epi s

.
c opal Church a vo catio n afterwards relinquished for literary work He

, .
publi s hed under the n om d e plu me Of Matthew Bramble Hi s death .
o ccurred in 1 79 0 .
24 2 . THE MILL MILL O ! , ,
The w o rds of this song were written by Allan Ra msay and published by ,
him in 1 721 Ste n h o use state s This beautiful Scotti s h melody i s very
.
,
“
’
ancient and i s inserted in Mrs Crockat s MSS written in
,
We .
,
doubt this affirmation because as is his cust o m he did n ot refer to

, , ,
an y o lder word s than Ramsay s Still the air may be a s early as 1 70 9 ’

.
, ,
but having had no Opportunity of examining the manu s cript we can ,
not pos itively admit i t That it exis ted before 1 721 we al low as the tune
.
,
given by William Thomso n di ffer s fro m that Of Allan Ram s ay ; the latter ,
h owever has the better fir s t strain while the former i s supe ri o r i n the
, ,
sec ond a fact which p o ints to various versions being current at the time
, .
The air is first f ound in print in the Orpheus Cal e don i us 1 725 and agai n it , ,
o ccur s in the Musick for the Sc o ts S ongs in the Tea Table Miscellany ci rca
-
,
1 726 Barsanti M Gi bb on and Oswald include it in their collections

.
,
‘
, .
’
Robert B urn s s beautiful s ong The S oldier s Return is sung precisely to
’
, ,
the set of the mel o dy given by Francis Barsan ti in 1 74 2 .
’
24 3 . THE WAEF U HEART .
Stenhouse say s in his n o te Bo th the words and music o f this elegant ,
and pathetic song were taken from a single sheet printed at London about
the year 1 78 8 and s old by Joseph Dale NO 1 9 C o rnhill ; s ung by Master
, , .
Kn y ve tt From these circumstances I am led to conclude that it is a

.
m odern Anglo Scottish production especially as it does n o t appear in any

-
,
THE SC OTS MUSI CAL MUSEUM . 1 41
Of the old c ollections of our s ongs This is one o f S te nh ou s e s droll dis .
cove ri e s and conjectures which h as been c opied by m any c ompiler s ,A .
f oo tn ote on page 62 of Dale s C ollection of Sixty Scotch Songs 1 794 clearly ’
, ,
proves that the sheet was published subsequent to the c ollecti on It was .
unlikely that Johns on s h ould c opy from Dale as he published the song in ,
’
1 79 0 and pr obably engraved b o th the words and mu s ic for Domenico C orri s
,
”
New and C omplete C o llectio n of the m ost favouri te Sc ots Songs b ook ii ,
.
,
1 78 3 C orri added to the title of the song Scotch Air which we may ”
.
, ,
suppos e to be c or rect According to Brown and Stratt on s Britis h M usical

.
’
Biography 1 8 9 7 Ma s ter K n y ve tt was b orn in 1 779 s o he was only fo ur

, , ,
years old when Corri publi s h e d his c o llection P atrick Maxwell E s q the , ,
edit o r of Mis s B lami re s P o ems etc believed that lady to be the authores s
’
, .
,
o f the ver s es .
244 . LASS GIN YE LO E ME TELL ME NOW

,
’
, .
This song which i s o f the c omic or hum orous type i s said to be very
, ,
ancient Similar ones are f ound i n Sc o tland as well as England at early

.
dates We are doubtful however of the ver s ions given in the Museum and
.
, ,
Herd s C o llection of 1 776 ; in the latter of which i t i s classed amo ng

’
”
Fragment s The Englis h s ongs are different b o th in w ords and mu s ic
.
fr o m that in the Museum The tune has evidently been taken from Jame s .
Ai rd s Selecti on Of Sc o tch English Irish and Foreign Air s vol ii 1 78 2

’ ”
, , , , . .
,
.
It is not printed in an y earlier collection s o far as we kn ow n or is it found , ,
in any manu s cript prior to that date Ritso n h as copied every w o rd and .
note b o th of s ong and tune fro m the Mu s eum S ome individuals con sider
, , .
the tune to be ancient fro m i ts construction but that is entirely c onjecture , ,
— a house can be bui lt in an old style a ship on Ol d line s and a mel o dy

, ,
c omposed without the interval s of the fourth and seventh of the scale ,
with out proving anearly date .
24 5
’
. THE LOVER S ADDRESS TO ROSE B UD -
.
B Y A LA DY .
The w ords Of this song and the compo s ition of the air are due to a Lady , ,
Sc o tt of Wauchope The tune appears to us to be the result of an ambi

.
tio u s attempt to produce a fine melo dy which has resul ted i n complete ,
failure .
24 6 . CEASE CEASE MY DEAR FRIEND TO EXPLORE

, , , .
The Re v Dr Blackl ock we are info rmed is the author o f this s ong as
.
, , ,
well as the co mp os er Of the tune to which it is s ung Acco rding to Sten .
h o u s e both were given to Johnson f or in s ertion in the Mu s eum

, .
EARL Y SCOTTISH MELODIES .
24 7 . AULD ROBIN GRAY .
The air which i s given to the word s Of this song in the Museum is s aid
to be o ld an d was kn o wn by the title o f
, The Bridegr oo m grat when the
”
Sun gaed do wn We have n ot fo und the mel o dy under thi s name in any
.
c o llection but i t appeared with the w o rds Of Auld Robin Gray in Neil
,
”
’
Stewar t s Thirty Sc ots S o ngs 1 78 1 and though we have failed to find it, ,
earlier we do not do ubt i ts Scottis h origin

, Thi s tune has been .
s uper s eded by an o ther of decidedly dramatic character , and Engli sh

co mp os iti on claimed by a clergyman named the Rev Willi am Le e ve s
, .
Of Wrin gt on This gentlem an fir s t ass erts h i s claim to the melo dy

.
i n the year 1 8 1 2 when he published ,

Six Sacred Ai r s or Hymn s “
.
In hi s preface to that w ork he informs us that in the y e a r 1 770 “

,
when re s iding with h i s family at Richm ond in Surrey he received ,
fr om the Hon ourable M rs Byron a c opy o f Lady Ann Lindsay s vers es ’
which he immedia tely set t o music He then add s it may n ot be .

”
,
“
un s atisfacto ry to declare which can be do ne with the cleare s t c o nscience

, ,
that he never heard of any o ther mu s ic than his own being applied t o the s e
interes ti n g w ords till many year s after that was pr o duced to which he n o w
, ,
ass erts an individual claim ; that his friend Mr Hammersley was well ac
u a i n te d wi th this Ballad l o ng before i t s s urreptiti o u s appearance in pri n t ;
q
and the still more conv i ncing testim on y might be added o f a respectable
relatio n n o w r e s iding at Bath ( 1 2th J u nc w ho was on a visit to the
auth o r s family at Rich m ond when the word s were received and the fir s t
’
manu s cript ( of the music ) pr o duced The st o ry o f the reverend gentle

.
man ( wh o s eems to have been a veritable Rip Van Winkle ) appears ”
s o mewhat doubtful Ro ber t Chambers and o thers sa y that 1 772 was the
.
date when the w ords were written ; the tune which Le e ve s claims was
publi shed along with the o riginal melo dy twenty nine years before he -
’
made hi s assertion by C orri and Sutherland in Sign o r Corri s New and
,
C omplete Collection Of the most fav ourite Scots S ongs 1 78 3 The fir s t ,

.
verse i s headed Auld Ro bin Gray Sc otch Ai r and the remaining ver s e s ,
”
,
have prefixed to them— New Sett of Auld Robin Gray the latter bei ng ”
the subject of Le e ve s claim B o th versio n s appeared I n Calli ope 1 78 8 and

’
. , ,
a fte rwar d s in o ther w o rk s Mr Le e ve s h as n ot explained how his alleged

.
tune got surreptitio usly printed The ballad i s printed in the seco nd .
volume of Herd s Ancient and Mo dern Scottish Song s 1 776 page 1 9 6

’
, , .
24 8 . LEIT H WYND .
’ ’
This tune is none o ther than Hap me wi thy Pettico a t In Craig s .
C o llection o f the most Ch o ice Scots Tunes it i s found very much ,

’
250 . TAK YOUR AULD CLOAK ABOUT YE .
We a re unable to trace this Scottish song in print to a more remote

perio d than the first volume o f Ra msay s Tea Table Miscellany though it ’
-
,
is said to be of a much m ore ancient date Shakes peare gives a snatch o f it .
t o Iago in Oth e llo but gives King Stephen in place o f King Robert
, The .
air we find fir s t printed i n Oswald s Caledonian P o cket Companion b o ok ’
ii page 29 ci rca 1 745 but not in the first edition Bremner afterward s
.
, , , .
gi ves a much better ver s io n in his Thirty Sco ts S ongs 1 757 The tune ,
.
h as l o ng been a favo urite on e In a footnote given by Chappell in The .
Popular Music of the Olden T i me page 505 he s tates I may here remark , , ,
that the tune to Ta ke thy old cloa k a bou t th e e ( one Of the ballads quoted by
Shakespeare) is evidently formed out of Gre en S le e ves Th e earli es t kn own .
’
c opy of the words is i n English idiom in Bishop P ercy s folio manuscri pt
and I have little doubt that b o th words and mu s ic are of English origin . .
We may remark that there is n ot the least affi nity between the tune s as a ,
compariso n of the two versions of Green Sleeves printed by Chappell with

the ai r o f Tak your auld cloak about you will satisfy any candid reader ”
.
251 . H APPY CLOWN .
The song in the Museum wa s written by Allan Ramsay for his Pastoral
”
The Gentle Shepherd ; he had also another in The Tea Table Mis -
ce l la ny — both are in vol ii

,
The t une however i s no d o ubt an English
. .
, ,
on e which does not appear in any o f our collections before The Caledonian
,
Pocket C ompanio n book vi i 1 755 and five years later in Brem ner s S o ngs
, , ,
’
’
in th e Gentle Shepherd Stenh o use says it is contained in Mrs Cro ck e t s
.
M S 1 70 9.
, .
252 . D ONALD AND FLORA .
Stenhouse informs us that this song was written by Hector Macn ei ll on

an Officer who fell at the Battle of Saratoga in America He al so says , .
,
The words are adapted to a fine old Gaelic ai r The song with the same .
words as th e Museum appears with the music in The Musical Miscellany ,

”
printed by J Brown Perth 1 78 6 .

, , .
253 , 254 . BY THE DELICI OUS WARMNESS OF THY MOUTH .
These two numbers are but one song with cho rus though Stenhouse says , ,
Both these songs were inserted without music in the Pastoral o f Pe tie
and Peggy which was publis hed so me years befo re Ramsay w rote hi s
,
’
c o medy o f the Gentle Shepherd Ram s ay however printed it in his .

, ,
THE SC OTS MUSICAL MUSEUM . 1 45
P o ems 1 721 with o ut any allu s io n to a Pastoral under the title o f Pa ti e

, , ,
”
and Pe gi e A S on g He made no mentio n o f any ai r but this appeared in
,
.
,
the Musick for the Scots S ongs in the Tea Table Mi s cel lany ci rca 1 726 -
, .
It may be a c o mposition Of some musical fri end of Ramsay as Stenh o use ,
s ays but this we cannot affirm

, We m ay state that the mel ody i s n o t devo id .
o f merit though it h as none of the characteri s tics o f a Sc o ts tune

, It i s .
not fo und in any c o llection of Scots tunes previous to 1 726 .
255 . O WERE I ON PARNASSUS HILL

, .
Ta n e MY LOV E Is LOS T TO ME .
This ve ry beautiful melody is the comp os ition o f James Oswald and it is ,
in cluded in his Caledonian Pocket Companion book v page 25 I n , .

, .
c o mpass it is rather extensive f or the voice but could be judiciou s ly ,
altered The s ong wa s written by Ro bert Bur ns

. .
256 . SONG OF SELMA .
’
This air Stenho use s ay s is ano ther Of O s wald s comp o sitions We have
, , .
not bee n able h owever t o discover it in any of hi s works kn own to

, ,
us Nei l Stewar t publi shed the tune with the wo rds in his Thirty
.
Sco ts S o ngs f or a Voice an d Harpsichord 1 78 1 from which s o urce it has , ,
evi dently been c opied int o the M useum .
257 . THE CAPTIVE RIBBAND .
“
A G AE LIC AIR .
The tun e is a Highland on e cal led Ro bie donna gorrach or Daft ,

“
’
Robin and is contained in D D o w s Ancient Scots Tunes ci r ca 1 775 also
, .
“
,
”
,
i n the Reverend Patrick M D on al d s Coll ection Of Highland Vocal Ai rs ‘ ’ ”

,
etc 1 784 It is contained also i n the M Farl an MS 1 74 0

.
, .
‘
.
’
258 . THERE S A YO U TH IN THIS CITY .
A GA E LIC AI R .
”
Th e tune to which this so ng is adapted is none other than Niel Gow s ’
La ment f or the death of his bro ther Donald I t is clai med by Niel Gow .
,
and is publi shed in hi s Seco nd Collection of Reels etc 1 788 ,

”
.
, .
’
259 . MY HEART S IN THE HIGHL ANDS .
Ti m e— “
FAI LTE NA MI OS G .
This song is adapted to a melody bearing the above Gaelic title found in
K
1 46 EARLY SC OTTISH M ELO D IES .
James Oswald s Curio us Col l ecti on o f Scots Tunes wh i ch h e dedicated

'
“
,
to the D uk e o f Perth 1 74 0 It o ccurs again in his Caledo nian P ocke t

,
.
C o mpanio n b ook i page 22 Th e Engli sh name of the tune is The Mus

, .
,
.
’
ket s Salute .
260 . JOHN ANDERSON MY JO .
See English Claims page ,

25 .
261 AH WHY THUS A BA ND ON D , & C

’
. ! .
Neither the author of this so ng nor the comp o ser of the tune are known .
Johnso n received an on y m ously the verses and music which Burns con ,
s i de re d worthy o f a place in t h e Museum .
262 D EIL TAK

’
. THE WARS .
Stenh o u s e says Thi s beautiful air was early intro duced into England
, .
We think it w o uld be m ore c orrect to s ay in tro duced int o Sc o tland as i t ,
has not the least character o f an early Scots tune ; besides the original ,
’
words are by Tom D U rfe y Stenh o u s e adds B o th the w o rds and the .
,
music appear in the firs t edition of the Pills i n 1 698 and the ,
tune may be seen i n a Collectio n of Original Scotch Tun es published by

”
Henry Playford in the same year We are unable to verify this statement .
,
'
as we have n ot seen that edition o f the P ill s but the tune is not c o ntained ,
i n P l ay ford s C olle ctio n of Original Sc o tch Tunes dated n ot 1 698 but

’ “ ”
, , ,
1 700 . Stenh o use seems to have given dates at rand om .
263 . AWA WHIGS AWA , , .
The tune in the Museum is no t tha t which is n ow sung to the song .
Stenh o use says This is undo ub t edly one Of our Oldest melodies I have
, .
n o w lying befo re me a very ancient c opy o f it i n one strai n entitled Oh , ,
silly s o ul a lace
,
The second strain appears to have been added to it like ,
many others Of this kind at a much later period etc He also says the
, , .
,
ancient air of Oh sil ly Soul alace ! is evidently the progenit or Of the

‘
,
’
po pular tune called My Dearie an thou die For the follo wing .
r easo n s we are inclined to di ff er from his conclusions Awa Whigs awa .

, , ,
is not found in an y Scots collection befo re book vi of the Caledoni an .
Pocket Compani on page 1 9 ; nor are the words contained in any early
,
publ ication Our Opinion is that instead of My dearie an thou dye

.
,
“
havi ng been constructed from Awa Whigs awa the reverse is the , , ,
case ; it is only in the second strain that there is any resemblance The .
only tune called Oh silly Soul Alace we know is contained in the Sken e
,
he refers to the Opinio n o f Bunting alo ng with fo ur o ther auth o rities wh o , ,
agree that it i s n ot an I ri s h melo dy J M Woo d in th e Popular Songs of . . .

,
“
Sc o tland 1 8 8 7 expre ss e s himself as follows : The air h as been claimed

,
”
,
“
alike by England Sc otland and Ireland : the probability h owever seems

, , , ,
t o be that it is an Old Engli s h dance tune and that the Sc o ttish versio n , ,
with the l o ng n o te in the 2n d and 6th bars is an early fo rm of it ( see ,

’
A i rd s C o llecti o n Glasgo w , This conjectur e is not h o wever
, , ,
supp orted by any evidence The ver s io n in Ai rd s Selection 1 78 2 is called

.
’
, ,
it is almost the present form Of I l O e

’
My l o dging is on the cold ground
na a Laddie but ane but was pr obably used as a quickstep The words o f
,
”
.
the Scottish son g were published i n 1 779 Ritson has th e son g by J . .
but we presum e he has copied from The Sc ots Nightingale where I D ,

”
.
is appended to the wor ds and the s o ng is preceded by Happy Dick ,

“
Dawson which he names as the mel o dy Though we have n ot go t the

,
”
.
Scottis h tune printed as early as 1 775 it is stil l undetermined whether ,
the curtailed air as Chappell calls it or My lodging is on the c old

, ,
gro und is the original As a lively tune the Sc o ttis h on e excels Mr

,
”
.
,
.
M o ff at in h i s Minstrelsy o f Sc o tlan d errs in s ayin g this air bel o n gs to the

, ,
.
1 7th century : it is the comp o sitio n o f Matthew L o cke and is therefo re

.
,
English Locke s tune is entirely diff erent and has been superseded for
.
” ’
m ore than a cen tury .
MY D
LO GING Is ON ran COLD GROUN D
.
’
268 . I LL MAK Y O U BE FAI N TO FOLLOW ME
’
.
We quote the fo llowing from S te nhou se s Illustrations : Ramsay i n ’
se rte d a s ong by an anonym ous hand to thi s lively old tune beginnin g ,
Adieu for a while my native green plains in the second volume Of his
, , ,
’
Tea Table Miscellany but he omitted the original song beginning AS late
-
, ,
‘
’
by a so ldier I chanced to pa s s now inserted in the Museum The tune , .
’ ”
appears in Oswald s Collection and in many others Stenhouse cites no , .
earlier authority for the air than Osw ald wh o gives it in his Caledonian ,
Po cket Companion b ook ix page 1 0 but the melody appears to have been
, .
, ,
kn o wn about fif ty year s before O s wald s publication as the tune is written ’
twice in Margaret S i n kl e r s Musick B ook 1 71 0 It is no t named and ’
, .
,
s eems to have been written the sec o nd time o wing to mistakes in the first
c opy We cannot s ay whether or not the song in the Museum i s the

.
origi nal and Stenh o u s e d o e s not refer to any c o py o f the wo rds prior to the
,
Tea Table Mi s cellany: Fro m th e edition Of 1 73 4 we find that the song

-
,
Adieu for a while was written by Ramsay .
269 THE BRIDAL OT

’
. .
Ta n e LUC Y C AM PB E L .
The tune adapted to this so ng is a s trathspey called Mis s Loui s a Camp “
bell s Delight which makes its first appearance in Alexander M Glash an s

’
,
” ‘ ’
Strathspey Re els 1 78 0 a short time previous to the publ ication of Angu s

,
”
,
Cumming s collecti on The tune seems to have been a favo urite and was
’
.
,
pr obably a composition o f about that date Gow in his collection has not .
changed the name of the tune but Cumming h as applied Gaelic titles to ,
the tunes i n h i s publication which in so me cases had English names ,
previ ously .
270 . MERRY HAE I BEEN TE E THI N

’
A HECKLE .
Ti m e B ODDI CH NA M B RI GS , LORD B RE ADALBI NE S M ARC H

’
OR .
Thi s tune is a Highland melody taken fr om Daniel Dow s Collection Of ’
Ancient Sco ts Music f or the Vio lin Harpsichord or German Flute never , , ,
before printed e tc ci rca 1 775 I t is to be fo und on page 3 2 under the

,
”
.
, .
_
above title The tune is a favo urite bagpipe march

. .
’
271 . A MOTHER S LAMENT FOR THE DEATH OF HER SON .
Tnne FI NLAYS TON H OU S E .
This song was written by Burns in 1 78 9 and sent to J ohnson for i nse r ,
tion i n the Museum The p o et desired it to be set to the air called Finlay
.
“
”
st on House the comp o sition of Mr John Riddell which was acc ordin gly
, ,
do ne by Mr Clarke Fi nl ay s ton H o use was published in the 2n d edition

”
.
’
o f J ohn Riddell s C ollectio n o f Sc ot s Reels Minuets etc 1 78 2 but “
, ,
”
.
, ,
whether it appeared in the firs t edition we are unable to s ay D Laing . .

,
who describe s the title Of Riddell s first publication places its d ate ci rca ’
1 776 but we think that is too late by ten or twelve years

, Vi d e the .
biographical s ketch of Jo hn Ri ddell in the Glen Collec tio n of Scottish ,

“
”
Dance Music b o ok i 1 8 9 1 an d page 256 Of this work
,
.
, , .
272 . THE WHITE C OCKADE .
The tune to this Jaco bite s ong made its firs t appearance in prin t under
”
the title of The Ranting Highlandman in Ai rd s Selectio n of Scotch ,
’ “
,
Englis h Iris h and Fo reign Airs 1 78 2 in which work it is the firs t tune
, , ,
”
,
.
”
In a recently publis hed volume entitled Stories of Famo us S ong by C J , . .
Adair Fit z gerald a m o st absurd claim i s made that the air i s Irish He
,
'
.
Cl arach s Lament by John M D on ne l l supplies the air f or the

’
say s ,
’
,
‘
,
Scottish song with o ut the least evi dence being gi ven to support the
,
”
statement This is not the only irrational claim in his v o lume

. .
273 . ORAN GA OI L .
A G ALLIC S ONG TR NS A LATE D BY A L ADY .
’
Thi s tune with the same title is contained in Corri s New and Complete
Collec tion of the most favourite Scots S ongs 1 78 3 It has but one Gaelic ,
”
.
ver s e in that publication Stenhouse expre ss e s himself in the followin g

.
term s o n the subject of Highland tunes which s o far we consider c o rrect : ,
It may be remarked h o wever that almos t every Highland family of rank

, ,
and fortune have l on g been in the habit of sending their children to the
low co untry for their educatio n in which music has always been o ne of the ,
principal ornamental branches There cann o t be a doubt therefore that .

. , ,
t h e airs peculiar to T weed s ide Ettrick Le ader Yarr o w Gala e tc have , , , , , .

,
long been as famil iar to the Highlanders as to the inhabitant s o f those Low
land pas toral district s where they had their origin .
”
’
We may s ta te that i n the Pipers C o llege i n Skye there was n o musical
,
notatio n empl oyed : th e pupils were taught entirely by ear ; the teacher
playing the tune or humm in g it in w o rds formed Of syllables havin g no
,
meaning in Gaelic n or equivalents in music to assist th e memory We

,
'
, .
'
have tme testimo ny Of a ge n tl e m a n wh o has lived in diff erent parts of t h e

Highlands where o nly Gaeli c i s s poken and wh o as s ures us that he
, ,
h as heard many air s claimed as Highland that have been known for
mor e than two centuries in the Lowlands which they beli eve to be
.
indigenous but have s imply travelled north We beli eve the melody i s a
,
.
Highland on e notwith s tanding Iri s h or other claims ; and if the Old

,
Jew i n Os wald s Caledo nian P ocket C o mpanio n is the same ai r th e only

” ’
, ‘
resemblance is in the firs t strain Fraser h as altered hi s progenitor s .

’
version i n a later editio n can we depend o n what he alleges He gives

n o rea s on for the change .
274 SANDY O ER THE LEE ’

. .
B o th the song and the air given in the Museum are Anglo Scottish -
.
The tune was composed by J ames Hook who furnished a number o f s ong ,
or to Thom son s Songs and Al lan Cun ni ngham states t ha t the o riginal
’
,
” ’
air was Dain ty Davi e The East nook O Fife is an old Sco ts measure
.
,
’
which first o ccurs in Oswald s Caledonian Pocket C ompanion b o ok iv ,
”
.
,
M Gi bb on h as it in his
’ ”
page 5 1 752 as She griped at ye greatest on t
, ,
.
‘
Third Col lection 1 755 and Brem ner in his C urious C o llection 1 757
,
”
, ,
”
’
the title in both being The East nook O Fife I t is a very lively tune . .
’
278 . THE SHEPHERD S PREFERENCE .
We are unable to find the mel o dy to which this song is adapted in any
Sco ttish c ol lectio n prior to the Museum Our impression i s that the tune .
is an Irish one a fact on which o ur friends across the Channel probably

,
’
found their claim for O whistle and I ll come to you my La d as the re
“
,
, ,
is a slight re s emblance be tween the tunes .
279 . MY MARY DEAR DEPARTED SHAD E

, .
Tune - J C APTAI N C OOK S D E ATH ’

, &c .
The tune to which the words of this song are adapted is the compositio n
o f Miss Lucy Johnston of Hi l l ton She became the Mrs Oswald of .
A uch i n crui ve to whom several musicians dedicated their collections of

,
dance music about the end of l ast century

,
.
28 0 HARD Y KNU TE
. : OR, THE BATTLE OF LARGS .
’
In h i s Illustrations to J ohnson s Museum Stenhouse has given a long ,
account Of the Battle o f Largs as connected with this ballad but , ,
in regard to its age he has been studio usly cautio us He says that .
,
“
such a celebrated personage as Lord Hardyknu te ever existed i n Scot

land has n ot yet been dis c overed i n any of her annals : the name there
”
fore mus t either be fictitio us or c orrupted etc Again It is equally i m , .
,
pro bable that so impo rtant a battle as that of Largs and the actio ns o f ,
those gal lant heroes who obtained so signal a vict ory remained un n o tic e d ,
and un s ung by the Scottish bards of that era That such a ballad indeed .
did exist ther e seems little reason to do ubt for Mr William Thomson ( a ,
per s on o f wh o m we have scant knowledge ) who was one of the performers ,
at E di nburgh in 1 69 5 and afterwards settled in London s olemnly assured

, ,
Mr Tytler of Woodho uselee and Dr Clarke that he had heard severa l

, ,
stan z as of it sung long before its first appearance in print in 1 71 9 Nay , .

,
more — Oswald who was b o rn about the beginn i ng of last century has in
, ,
”
h i s Caledonian Pocket Companion preserved the very tune These .
assertions of Stenhouse amount to very little as we sh all shew The , .

ballad h as not been traced to a more remo te date than near the end of the
seventeenth century and the original is evi dently the compo sition o f Lady
,
Eli z abeth Wardlaw i n toto a mere metrical r omance founded on the battle
, ,
.
It may as well be asserted that Robert Burns did no t write Sco ts wha “
hae but that it was penned sho rtly after Bann o ckburn was fought and he
,
”
,
u t it only in a more modern f o rm That Wi l liam Tytler o f Woodhouse

p .
lee had any solemn assurance fro m William Thomson we have great reas on
to dou bt as acc ording to Burney Tho mson had a benefit concer t in 1 722
, , ,
presumably in Londo n and when he publis hed his Orpheus Cale doni us i n “ ”
1 725 he resided in Leicester Field s

,
At the latter date Tytler was only .
,
in his 1 4 th year and in h i s 2l s t year when Th omson published his sec ond
,
’
editio n in 1 73 3 No thing h as been learned of the latter s subsequent his
.
tory Our Opini o n is that Thomso n and Tytler were unknown to on e an o ther
. .
”
The reference to O s wald s Caledonian P ocket Companion bo ok v whi ch ’
, .
,
was published about 1 754 was unnecessary as the tune is printed in the , ,
”
“
Second C o llection of Curio us Scots Tunes dedicated to the Pri nce o f ,
Wale s in 1 74 2 Th o mso n c o uld not possibly have t old Tytler that he

, .
heard several s tan z as o f the ballad sung l ong befo re 1 71 9 .
28 1 . EPPIE ADAIR .
The melody to which this song h as been adapted is found in Oswald s ’
Caledo nian Pocket C o mpanion bo ok x i page 1 9 called My Appie n o t i n , , ,

“
,
”
book x i i as erroneously sta ted by S tenhouse Burns is said to have con

,
.
tributed the song to J ohn son .
28 2 . THE BATTLE OF S HE RRA -

MOOR .
Tu ne C AM E RONIAN R ANT .
Stenho u s e in his note tells us that Johns n was fond Of the tune which o
“
’
is called the Cameron s March and sometimes The Camero nian s Rant or
’
,
’
Reel We have never seen the first name applied to the tune and
.
,
it is evidently a mistake I t is a reel which appears in p ri nt under the .

,
latter title in D Rutherford s 24 Country Dances for the year

.
’ “
Oswald has it in The Caledonian Pocket C o mpanion book x i and Walsh , ,
in hi s Caledo nian C o untry Dances volume ii part l s t ( which means

“
,
.
,
book v of the w ork ) and its publication may be anterior to Rutherford s

.
,
’
Country Dance s .
28 3 . SANDY AND J OCKIE .
This is Angl o Scottish or at least a parody on a song and tune of the

-
,
1 54 EAR LY SC OTTISH M ELO D IES .
Grub Stree t species which appeared in the first volume of Calliope or

, ,
Engl ish Harmony about 1 73 9 published by Henry Robert s London It

”
, , , .
’ ”
was entitled in that work Jenny s Lamentation .
28 4 . THE BONIE BANKS OF AYR .
This s ong Bur ns believed would be the last fro m h i s pen befo re leavi ng
his native Caled oni a His prospects h owever we re entirely changed by
.
, ,
the advice he received from Dr Blacklock and in stead o f leaving the ,
country f or J amaica he s e t o u t for Edi nburgh where he was patro nised

, ,
by and mingled in the be s t society of the time He there formed the

, , .
acquaintance of Allan Masterton one o f his greates t cronies who com , ,
posed the melody f or the words I n the Museum .
B A D E NY OND
’
28 5 . JOHN O .
The air adapted to this song fro m the pen of the Reverend John Ski nner
, ,
is a s trath s pey first prin ted in Al exander M Glash a n s C o llection of Reels

,
‘ ’
,
”
etc 1 78 6 an d in A i rd s Selection vol i ii 1 78 8 under the same title

.
, ,
’
, .
, , .
In the Rev Patrick M D onald s C o ll ection of Highland Vo cal Ai rs etc

.
‘ ’
, .
,
1 784 there is a tune Of one s train with o u t name NO 3 5 bearing a con

, , .
,
s i d e rab l e resemblance to it ; and a second called La th e s i n bh ai l s le i bh ,
dh om h NO 1 28 has also a likeness

”
.
, .
,
28 6 FRE NNE TT
. HALL .
Stenhou s e has covered fo ur pages in hi s Ill ustratio ns with what are sup
p o sed to be the incidents commemorated in this ballad with o ut n oticing in ,
the least the tune to which it i s adapted i n the Museum We would re .
mark that th e melody appears to be o f Irish o rigin and that after a , ,
m o st diligent search we have been unsucces sful i n findin g it i n any

,
Sco ttish c o llection prior i n date to th e Museum .
28 7 . YOUNG JOCKEY WAS THE BLYTHE S T LAD .
The air to which this song is adap ted is a slight alteration of the melody
”
published by Oswald i n his Caledonian P o cket Compa n ion bo ok vi i page , ,
8. It is o n e o f the Angl o Sco ttish prod uctions that were so c o mm o n in

-
last century for the Vauxhall e nter tainments Oswald calls it J ocki e .
was the B ly thi s t Lad in all our Town Johns on put the letter Z to the .
”
s o ng to indi cate that it was an old o n e with additi o ns or c o rrections but S ten ,
h ouse avers that Burns wrote the whole of it with the excepti on of three ,
or four line s Cunningham says what is Old Of it may be found in Oswald s

.
’
1 56 EA RLY SCOTTISH MELODIES .
B RE W D
’
29 1 WILLIE A PECK O MAUT ’
. .
This song h as the original air which was a c omp o sition o f Al lan Mas ter ,
ton — the Allan Of the three w orthie s c ommemorated in the so ng The

, .
melody as it i s now s ung i s very much changed having received alterations ,
in the first strain and the second being discarded another taking its place
, , .
As the tune was gradually improved it must have passed through several
hands .
292 . KILLIE CRANKIE .
This air was probably wri tten to the song shortly after the battle It i s .
co n tained in the Le yden Tablature M S 1 69 2 styled Killie Cranki e .

, , .
”
That por tion of it w hi ch i s s ung to the chorus is sti ll more ancient ; it

forms a part o f the tune called My M i s tre s blush is bonny in the Skene ,
”
Manuscript s With the exceptio n o f the chorus the verses in the Mu s eum
.
,
were written by Burns The Ol d so ng has apparently been l o st . .
THE E WI E WI THE CROOKED HORN

’
29 3 . .
The tune to which the Reverend J ohn Skinner s song has been adapted ’
is n ot found in any of our c ollections befo re 1 78 0 In that year it appears .
’
in Angus Cumming s C o llection of Strathspeys or Old Highland Reels “
, ,
”
called Carron s Reel or U Ch oi ra Ch rui m and in Ro bert Ross s Cho ice

’
,
”
,
’
Collectio n Of Sco t s Reels or C o untry Dances and Strathspeys entitled The ,

”
E wi e wi the Cro oked Horn

’
S ki nner in a letter he s ent to Burns of .
”
, ,
date 1 4 th Nov 1 78 7 alludi ng to his own p o etic c ontributio ns says Whil e

.
, , ,
“
I was y o ung I dabbled a goo d deal in thes e things but on gettin g the black
, ,
gown I gave it pretty much o ver till my daughters grew up who being , , ,
all tolerably good sin gers plag ued me for words to s o me Of their favo ur ite ,
tunes etc Whether the tune was one of their favourites or th e w ords
”
,
.
,
’
were on e of their father s early effo rts and the air composed for the s ong , ,
we cannot now discover .
29 4 , 29 5 . THE BLUE EYED LASSIE -

, AND THE BANKS OF NITH .
Tu ne — “
ROB I E DONN A G ORAC H .
These are two songs which Burn s wrote for h i s friend Ro bert Riddel ,
E s q of Gle nri dde l who c o mposed both Of the tune s to very inferio r w ords
, , ,
written by himself and published them in 1 78 7 in his C o llecti o n Of New

,
“
Music for the Pian o Forte or Harpsichord etc The first tune is goo d
-
, .
,
but it posses s es a compass too extensive for the voice The second is a .
weak composition which has borrowed somewhat from M y Nanny O

,
THE SCOTS M USICAL MUSEUM . 1 57
The Banks of Nith is Ri dde l s tune wr on gly n amed Robie donna G orach ’ “
in the Museum and s trangely en o ugh J ohnson has omitted that song in his
, , ,
index .
29 6 . TAM GLEN .
The tune given in the Museum to this excellent song fro m th e pen o f
’
Burns is an Engli s h on e called My name i s ol d Hews on the C o bbler
, ,
.
Thi s air was intro duced int o the ballad opera of The J ovi a l Crew 1 73 1 ,
”
,
and int o later operas of the same cla ss The song h o wever is never s ung .
, ,
to that mel ody now ; it has been entirely superseded by the Scottish tune
’ ’ ”
The Mucking o Geo rdie s Byre .
29 7 D RA P O CAPIE O
’
. !
This s ong i s adapte d to an Ol d reel tune called The Rantan Ro arin “ ’
Highlandman which Bremner published in hi s Sco t s Reel s or C o untry

,
” “
D ances in 1 758
”
It was al so included by John Wal s h in th e firs t
.
v olume of hi s Caledonian C ountry D ances ci rca 1 73 4 entitled The

“
,
”
,
”
Ranting Highlandman The tune is a l ively on e but the words are n ot
.
,
rec ommended to be sung i n the drawing ro om Herd printed the song .
fr om a s tall c opy in his Scotti s h Songs Ancient and M o dern 1 776 ,

”
.
298 . ON THE RESTORATION OF THE FORFEITED ESTATES ,
1 78 4 .
Tu ne — “
As I CAM E I N BY A UCHI NDOWN .
Thi s tune is widely kn o wn as The Haughs of Cromdale and is frequently “

,
played as a s trath s pey It is very Ol d th o ugh n ot fo und in any printed

.
,
c o llecti ons before thos e of Alexander M Gla sh an and Angus Cumming i n ‘

, ,
1 78 0 In the fo rmer it is called The Merry Maid s Wedding and in the ’ ”

.
,
”
latter Haugh s of Cr omdale
, We have found it in Margaret S i nkl e r s
.
’
Manuscript Music Book 1 71 0 entitled New Killiecrankie

-
The s ong is
, , .
”
s aid t o have been written by the Rev William Cameron Kirknewton near .
, ,
Edinburgh .
299 . T E H CAMPBELLS A RE COMIN ’

.
In the index to the third v o lume of J ohnson s Museum it i s said that ’
this son g was c omp o sed on the impriso nment of the unfortunate Mary
Queen of Scots in the Castle of Lochleven in Stenhou s e h owever , , ,
adds Nevertheles s the words o f the song contain intrinsic evidence tha t
, ,
it is not much above a century Old In all proba bility it was written about .
1 58 EARLY SCOTTISH MELO D IE S .
the year 1 71 5 We migh t judging fro m the first appearan ce Of the tune
.
,
in print say that it was s omewhat later It i s co ntain ed in Wal sh s Cale

, ,
.
’
d on i a n C o untry Dance s ci rca 1 74 5 under the n am e o f Hob or Nob

, ,
which may be the title of the dan ce ins tead of the proper name o f the tune , .
”
In 1 750 O s wald printed it in the Caledonian Pocket Companion book ii i
, , ,
page 1 2 entitled Campbell s are c omi n g a Oha

, , .
”
3 00 . GET UP AND BAR THE D OOR .
This s ong was publis hed by D avid Herd i n the sec ond v olume o f his
Scottish Songs Ancien t and Modern 1 776 and the air is found in Jam es ,
”
Ai rd s Selection of Scotch English Irish and Foreign Ai rs vol ii page

’ ”
, , , , . .
,
3 1 78 2 under the title of Th e Barrin g Of the D o or

, ,
.
VOL UM E I V .
3 01 . CRAIGIE BURN WOOD -

.
The melo dy of this song is n o t contained i n any collectio n previous

to the Museum therefo re we mus t accept th e s tate m e n t that i t was
,
taken dow n from the singing of a coun try girl It is really a beautiful .
tune : the set now in use i s slightly altered fro m that given by Johnson ,
and is mo re vocal The words were revised and curtai led by Burns ( the
.
ch orus being part o f an Old song was discarded) and s ent to Ge orge
, , ,
Thomson for his Sc o ttish Songs who publi shed i t in hi s second set of ,
twenty five July 1 798

-
, .
3 02 . FRAE THE FRIENDS AND LAND I LOVE .
Tun e —J CARB ON S I DE .
This melody is included i n Oswal d s Caledonian Pocket Compan i on book ’
vii i page 1 0 date about 1 756 and in his Collection of Scots Tunes W ith
, , , , .
variations dedicated to the Earl of Bute The ai r is a plea sant one ; but
, .
to some extent th e firs t st rain is indebted to the tune of Todli n ha me “

.
”
I t has some Cel tic character in the second strain .
3 03 . HUGHIE GRAHAM .
This air as stated by Stenhouse is contain ed in Oswald s Cal edon ia n

, ,
’
Pocket Companion b ook viii page 1 2 u nder the title of D ri m e n Du ff

, , ,
“
.
”
I n the work publi s hed by Burk Th u m o th vi z Twelve Sc o tch and Twelve ,
Irish Ai rs th e same name is given to a similar Irish tune or a t least one

, ,
included among the Irish airs Our Opinion is tha t o f G F Graham . . .

,
endorsed by J M Wood that the version prin ted i n Oswald s work is

. .
,
’
It as wel l as many of the ballad tunes i n this co llection ( the Museum )

, ,
’ ”
was written down from Mrs Burn e s voice The song was given by .
”
Ra msay i n the second vo lume of the Tea Table Miscellany and to the “ -
,
words he annexed the letter Z to denote that they were ol d even in his ,
o wn day ; but he gave n o indicati o n o f the ai r Whether this i n the .
Museum is the original tune whi ch has descended to us traditionally we ,
are u n able to say ; but at any rate it i s a very insipid production and pro
.
,
bably first saw the light a long way south of the Scottish Border .
3 09 . COCK UP YO UR BEAVER .
It is said by Sten house that Thi s li vely old Sc o ttish t un e under the , ,
’
title o f J ohnny cook up thy Beaver is to be found in the D ancing
‘
, ,
Master publis hed by Old J ohn Playford o f London in

,
This state
ment is simply on e o f h i s many err ors The tune h o wever is not .
, ,
c ontained in any o f our Sco ttis h co llections before William M Gi bb on s ‘ ’
Third B oo k 1 755 an d the Caledo nian P o cket Companio n book vii

, , , ,
about the same date An excel lent version o f i t is i ncluded in .
Margaret S i n kl e r s MS B ook 1 71 0 Chappell i n the appendi x to hi s

’
.
, .
,
Popular Mu s ic of the Olden Time say s The words of J o hn ny cock , , ,

’
thy Beaver are s o much in the style Of Jockey i s grown a gentl eman ‘ ’
that I think them rather a goo d humoured j oke up o n the Sc o tch than a -
genuin e Scotch s ong This is a fair specimen o f C o ckney wi t and n eed

.
”
n o t be taken seriously The tune appeared in the Dancing Master 1 68 6 “

.
, ,
”
and in The Divi sio n Vi ol in entitled J Ohn e y Cock thy Beaver A
“
, , ,
”
Scotch Tune .
310 . O LADDIE I MAUN LO E THEE

,
’
.
Stenhouse says Th i s is another edi tion o f the Old Scottis h so ng Come

“
, ,
’
hap me with thy petticoat ; see the remarks on S ong No 1 3 9 beginnin g .
, ,
0 Bell thy l o oks have ki ll d my hear t

’ ’
, On referring to this note we .
’
find no more of O Laddie I maun lO e thee than a quotation from
,
Ty tl e r s Disse rtati on on Scott i sh Mu s ic i n which that air is supposed to be

’
ancient as j udged by his artless standard

, This would have been much .
more c o nvincing had Tytler given us information where the tune is to be

found prio r to Napier If the ai r exis ted in the time Of J ames I Of S cOt
. .
l and as he imagines we scarcely think it w o uld have remain ed unpubl ished

, ,
so long or that the discovery would have been reser ved for him Perhaps
, .
b e communicated the s ong and tune along wi th the Disserta tion to Wm , , .
Napier as it appears in his Selection published in 1 79 0

, , .
THE SCOTS MUSICAL MUSE UM . 1 61
31 1 . LE T ME IN THIS AE NIGHT .
This i s n o doubt a very old tune seemingly of the Sc o ts measure clas s

, , , ,
b ut whether the vulgar words given in Herd s C o llecti o n can claim the
’
s ame age is very dubi o us That the mel o dy was well kn o wn under another .
name the foll o wing will sh o w Stenh o use s ay s There is a c opy o f i t in .

,
“
’
square shaped n o tes in a manuscript book for the Virginals in the Edit o r s
-
pos s ession under the title o f The newe Gown e made

,
Another C opy .
’
i s found as The G o une made in a Manu s cript Music B o ok f or the Flute

”
-
, , ,
latterly i n Chappell s p oss es s io n which bel onged to a Wi lliam Graham

’
, ,
1 69 4 '
and it is also contained in Margaret S i nkl e r s Manu s cript Music ’ “
”
B o ok 1 71 0 a s I would have my gown e made
, ,
“
The verse s printed .
by Herd as well as th os e in the Museum t hough s omewhat altered and

, ,
curtailed are so objectionable tha t they wo uld not be t o lerated n o w

,
.
Burns h o wever wro te o ther w o rds f o r the ai r retaini ng o nly the firs t
, , ,
fo ur lines o f the Old s ong .
’
312 . MY TOCHER S THE JEWEL .
This beautiful mel o dy s o far as we can discover made its first appear , ,
ance i n O s wald s Caledonian Pocke t C o mpanion ’

It i s found on the las t .
”
page ( 28 ) of book iii a s a jig under the tune called The High way to .
,
“
”
E di n burgh Stenhouse erroneously s tates that the jig was c omposed by
.
Oswald tur ning the tune i nt o g measure On examinatio n it can be s een -

.
that there is n o fo undation for such an assertion and it was never claimed ,
by Oswald The song is by Burns When the Reliques were pub

. .
“ ”
’
li s h e d m ore than ten years after the bard s death the v o lume con
, ,
tai n e d a s tatement that the Gows claimed thi s melody under the name
of L ord Elch o s Fav ourite ’ ”
“
On the title page o f their Fifth C ollectio n .
-
Nathaniel Gow replied declaring Burn s to be in err o r as by l ooking int o , ,
Niel Go w S on s Seco nd B ook page 1 8 it will be s een that it is unclaimed

’
, ,
by Nathaniel Go w or any o f hi s family That the po et was correct see .

”
,
account in the Glen C ollectio n of Scottish Dance Music bo ok ii page 1 3 , .

, .
31 3 . THEN GUI D WIFE COUNT THE L AWIN ’

.
Thi s melody is said to have been supplied by Burn s al ong wi th the s ong
to Jo hnson for the Museum We see no reas on to d o ubt this as we
,
.
,
cann o t find the air in any prior collection S te nh ouse s Opinion i s that .
’
the tune was partly borrowed from The Auld Man s Mare s dead “ ’ ’
,
”
especially the chorus We are unable to s ay which is the older o f the .
two tunes .
31 4 . THE WHISTLE .
We would n ot be surpri s ed to find that thi s tune was comp os ed by

Robert Riddel E s q Of Gl e n ri dde l one of t h e competing bacchanalian s f or
, , ,
the po ss e s s io n of the much coveted whi s tle I t is n ot h owever am ong the .

, ,
tunes publi shed in hi s two c ollection s The first one wa s i ss ued before the .
c ontest and the second after his death It reminds us somewhat of the
,
.
”
Iri s h air One Bottle m ore .
31 5 . THE RE LL NEVER BE PEACE TILL JAMIE COMES H AME

’
.
The first publication of this melo dy i s in The Curio us C o llection of “
Sc o t s Tunes dedicated to the Duke o f Perth by Jame s Oswald 1 74 0 page

, , , ,
22. It next a ppears in Wi lliam M Gi bb on s C o llectio n of Sc o ts Tunes ‘ ’ “

,
”
1 742 page 3 0 under the ab o ve title whereas O s wald names it

, , There are , ,
”
few g oo d Fellow s when Jamie s awa Mr M off at in his Min strel s y Of ’
.
,
“
’
Sc otland says he h as ad opted J o hnson s version b u t thi s i s a mistake for
, , , ,
he o mits the second strain and the seco nd verse The s econd s train i s .
nearly the s ame as the firs t o nly an octave higher , .
316 . WHAT CAN A YO U NG LASSIE D O WI AN AULD MAN ’

.
Thi s Old Scottish tune i s contained in Oswald s Caledo nian P ocket ’
Compani o n b ook vi page 5 It is there entitled What sh o uld a Lassie

, .
, .
,
“
”
do wi an auld man That title is suggestive Of an earl ier song than the
.
o n e writte n by Burns .
317 . THE BONIE LAD , &c .
This melo dy w e have failed to discover in any c ollectio n of Scottish music

published prior to the Museum I t was pr o bably an air that had s ome .
’
p opu larity at the farmer s ingle s and it i s said Burns picked it up fro m th e ,
s in ging o f h i s m o ther .
318 . THE AULD GO ODMAN .
This s ong so far as we have been able to learn was first printed in the
, ,
’
second volume of Allan Ramsay s Tea Table Miscellany and the tune “
-
,
with the w o rds found a place in the Orpheus Cal e doni u s s econd edition ,
”
1 733 Stenhouse tells us that bo th the words and mu s ic were copied into
.
the Museum from the Orpheus of 1 725 This i s n o t the cas e ; the 1 725 .
edition which is the o riginal d o es no t c o ntain The Auld G o odman The

, , .
”
’
air occurs again in Oswald s Caledonian Pocket Companion boo k i i i “
,
”
,
page 1 5 and in many lat e r publications

,
-
.
1 64 EARLY SCOTTISH MELO D IES .
3 22 . IF E ER I D O WELL TIS A W ONDER

’ ’
.
The air se t to thi s s trange s ong o ccurs i n The Curio us Collectio n of

Sco t s Tune s dedicated to the D uke of Perth by Jame s O s wald pag e 5
,
”
, , ,
1 740 It is under the title Of If e er ye do well its a wo nder and ’ ”

.
,
pro bably may refer to another song than the on e in the Museum which is ,
taken from the fo urth volume Of Ramsay s Tea Table Miscell any The ‘
’
- .
”
tune al so has O s wald s title in William M Gi b b on s second C o llection 1 74 6

’ ‘ ’
, .
3 23 . THE SOGER LADD IE .
Regardi ng this tune Stenhouse say s B o th the w ords and music of this ,
’
s ong appear i n Th om s on s Orpheus Cal e don i u s 1 725 fr o m whence they ,
’
were copied into the Mu s eum The tun e mu s t therefore have been kn own .
, ,
l ong befo re that period by the name of My Soldier Laddie which is the ,
’
title prefixed to it in Th om so n s work This s ong was repri n te d in the ’

.
’
s ixth v o lume o f Watt s Mu s ical Miscellany in 1 7 The ab ove state
‘ ’
ment i s gro ssly misleading ; the w o rds an d mu s ic are n ot in the Orpheus

Of 1 725 but i n the s econd edition 1 73 3 Watts acc ordi ngly preceded ’
.
, ,
Th om son s publ icatio n That the tu n e was kn own earlier is certain for it
’
.
,
i s included in Margaret Si nk l e r s Music Bo ok 1 71 0 under the title of

’
, ,
No rthland Laddie .
”
3 24 . WHERE W AD BONIE ANNIE LY
It i s so mewhat d o ubtful whether thi s is a Sc ottis h or an Engli s h air A .
versi o n of the tune i s fo und in Pl ay f ord s Dancing Master 1 69 5 under the ’
, ,
”
title o f Red H o use Ramsay in his Tea Table Mis cellany 1 724
.
,
-
, ,
published a s ong to which he gave the name of The C o rdial and

, ,
directed it t o be s ung to the tune of Where shall o ur Goodman ly “

.
Abo ut 1 69 0 Sc o ttis h tunes and songs were fas hionable in England and ,
it must be borne in mind tha t a number o f our tunes were first p rin ted in
London as there were no music publi s hers in Sco tland at this date In
, .
’
1 700 Henry P l a y ford s Original Scotch Tune s appeared a small collection
”
, ,
consisting of thirty nine airs Though the tune is n o t c ontain ed in that

-
.
w ork it was pr obably well kn own at the time by its Scots title of Where
,
shall ou r Go o dman l y ”
It is a favourite bagpipe tune
. .
3 25 . GALLOWAY TAM .
’
This air occurs in Oswald s Caledonian P o cket Companion book vi , ,
page 25 entitled Galloway Tam

,
“
It is als o contained in Walsh s Cale .
’
do n i an Coun trv Dances the 3 rd edition ci rca 1 73 6 under the name of

”
, , ,
Ga ll ay Tom Tho ugh n ot agreein g with Stenh ouse that it is the o l d

.
“
air o f O er the Hill s and far away changed from comm on int o tr e ble time
’
,
’
,
we admit it bears s o me re s emblance to that mel o dy Acc ording to D aun e y .
Galua Tom i s c o ntained in the Stralo ch MS Lute Book but we have

”
.
,
seen a c opy of the tune in the transcript and find it to be a diff erent air ,
.
3 26 . AS I CAM D O WN BY YON CASTLE WA .
This i s a pretty l ittle air but whether ancien t or m o dern it w o uld be

,
difficult to de termine The first s o urce in which it is found is apparently

.
the Museum ; in the firs t two bars it remi n ds us Of The Ewe B ugh ts “
,
and it i s probable the c omposer availed hi mself of that tune .
3 27 . LORD RONALD MY SON .
It has been stated that the air to this ballad is pr o bably the original o f
Lochaber no more ”
Before we can accept this statement there mu s t be
.
evidence ( n ot an unsupp or ted tradition merely ) that the ballad of Lord

” ’ ”
Ronald is an earlier productio n than Ramsay s L o chaber We consider .
the ai r to be a diff erent version of the same tune the pro bable o rigin for ,
bo th being King James March and we refer to our remarks under

“
,
the note to Lochaber ( see page“

instead of repeating them here
”
.
The fo llowing notice of the tune is given in the Reliques of Robert

Burns Crom e k 1 8 08 : Burns says This ai r a very fav o urite on e in
,
”
,
“
, ,
Ayrshire i s evidently the origi n al of Lochaber

, In thi s manner most of .
’
our finest more mo dern air s have had their origin Some early min s trel or .
mus ical shepherd co mposed the co mplete o riginal air which being picked ,
up by the more learned mu sician t o ok the improved form it bears , .
Tho ugh so me accept this s tatement we neither believe in the musical ,

”
shepherd theory n or that Lo rd Ronald is the original o f Lochaber n o
,
”
more . On the latter point we may remark there is nothing but conjecture
concerning the origin of the ballad and to e s timate the age o f the melody ,
because it was known in Ay rs hire wi th only one strain on the suppos ition ,
that the second strain was later is no evidence whatever We see no , .
rea son why the composer of the one strain did not or could not write the
other.
O ER THE M OOR AM O NG THE HEAT HE R

’
3 28 . .
The words of this song are attribute d to a stroll in g singer named Jean
Glover b o rn in 1 758 Stenhouse says there were much Older verses but
, .
,
makes no referen ce whatever as to where they are to be found If the song .

in the Mu s eum i s Gl o ver s and there was n o previou s one it is eviden t

’
, ,
that the tune was firs t a dance tune as it is contained in Bremner s

”
,
’
Collectio n o f Scots Reels or Country Dan ces 1 760 when Jean was o nly , ,
two years ol d .
3 29 . SEN S I B I LI TY HOW CHARMIN G .
This song i s se t to a melody called C o rnwalli s s Lament for C o lo nel ’
Muirhead .It was c o mp os ed by Malc olm Stewart Of the firm of Mu s ic

”
sell er s in Edinb urgh kn o wn as M N Stewart an e s tablishment that

,
. .
,
existed for nearly fif ty years and which published many Scottish C ol lection s,
i n its d ay .
330 . TO THE ROSE BUD .
This s ong is underst oo d to have been written by a j o iner in Belfas t cal led
J ohn s t o n Stenh o use s ays The tune is evidently the progeni t or o f the
.
,
’
a i r called J ocky s Gray Breek s It is certainly fo und in O s wald s
’ ’
.
Sec ond Collection of Curiou s Sc ots Tunes 1 74 2 at page 6 entitled J ock y s , , ,

’
”
Gray Breeches but the nameless tune which fo ll o ws i t in c om m o n time i s
,
far m ore akin to the present version of Johnny s Gray Breeks than the ’
mel o dy of this song .
331 . YON WILD MOSSY MOUNTAINS .
’
The tune for thi s song is on e of Jame s Oswald s compo sitio ns It i s .
c o ntained in his Caledonian P o cket C o mpanion boo k iv page 1 9 and i s , .

, ,
called Phebe Stenh o us e dates book iv 1 74 2 but that is certainly ten

.
”
.
,
years too early The tune has Oswald s name in Universal Harm ony 1 74 5
.
’
,
”
.
332 . BONNIE LAD DIE HIGHLAND LADDI E .
We S hall reserve our remarks o n this melody for a special note in which ,
we intend to review all the Highland Laddies in perfect brigade order ,
including the various tunes accordi ng to their seniority .
333 . IT IS NA J EAN THY BONIE FACE , , .
’
This beautiful melody is another of James Oswald s compositions The
-
.
tune is called by him The Maids Complain t a nd appears in the Curi ous
“ ”
,
Collecti on of Scots Tunes de di cated to the Duke o f Perth which he ,
published before leaving Edinburgh 1 740 Stenh o use says It is certainly , .

,
”
o ne o f the finest Scotti s h airs that Oswald ever c o mpo s ed .
with con s iderable embellishments i n the Orpheus Cal e doni u s 1 725 W hereas , ,
it d oes n ot appear till the s econd edition 1 73 3 ; and referrin g to Pl ay ford s ,

’
“
Dancing Master he as s ert s that it contain ed the tune under the title of ,
Welcome Ho me Old Rowley in 1 657 This is n ot the case ; it firs t ,

”
.
appeared i n the sevent h editio n of the Dancing Master 1 690 The me lo dy ,

.
.
,
we think is a Sc o ttish o n e that had cros sed the B order it was evi dently
, ,
wel l known in Sc o tland In the B lai ki e manuscript 1 69 2 th e t un e occurs

.
, ,
”
entitled Hold away from me D onald though it was publis hed by Henry
, ,
Playford two years earlier ; we consider his title Welcome Home Old ,
“
Ro wley to be a name adopted for the dan ce Urbani is said to have i n

,
”
.
tro duce d the m o dern s e t of the melody but C o rri publi shed it nine years ,
’
before Urbani s work appeared .
3 40 . THE TE ARS I SHED , &C .
The beautiful mel o dy to which the words Of this so ng are wedded is not
’
a Sc o t tish on e It is included in Oswald s Caledo nian P ocket Companio n
.
,
b ook iv page 8 and in o ther o f his publications as Anthy the lovely

.
, ,
“
.
”
The c omposer is not ackn o wledged but is now a s certained t o have been a ,
Lo nd on musician named J ohn Barret .
341 . THE BONNY WEE THING .
’
This charming tune is al s o c o ntained i n Oswald s Caledo nian Pocke t
C o mpanion book ix page 1 under the title of The Bonny wi thing
, .
, We , .
are not aware of any earlier source Stenh o use i s inaccurate he gives boo k .
,
viii in stead o f ix
. .
ALD IVALLOCH
’
3 42 . ROY S WIFE OF .
The ea rliest c ol lecti on I n which this tune appears under the name of the
” ’
Ru ffi an s Rant i s so far as we have disc overed Bremner s Scots Reels o r
’
, , ,
Country Dances 1 759 but the air is considerably Older It is found in

, , .
Walsh s Twenty f our C ountry Dances for the year 1 74 2 as Lady

’
-
,
“
Frances Wemys s Reel and is said to be i n the Macfarlane Manuscript

’
, ,
ci r ca 1 74 0
’
The date of this collection is do ubtful In An gus Cummi ng s
. .
Collection of Strathspeys 1 78 0 it is entitled Coig na S calan , It has , .

”
originally been a dance tune .
3 43 . LADY RAND OLPH S C OMPLAINT ’

.
Tn n e E ARL D OUGLAS S LAM E NT ’

.
This melody is contained in the Caledonian Pocket Companion book V II , .

,
page 3 0 Stenhouse says This beautiful tune if it be n ot the pro

.
,
“
,
genitor of the melodies Of Wh en I hae a S ix pence under my thumb ‘

,
’
Ro bi dhdonna Gorrach etc etc is evi dently nearly connected with them
, .
, .
, .
The song s eems to have been writte n subs equent to th e appearance of

’
Ho me s celebrated tragedy of Douglas in which Lady Randolph is o n e of
’
,
”
the principal characters .
We are inclined to agree with Stenhouse because neither the tune in the ,
Mus eum called Todl e n Hame n or the other airs excepting Rob i dh
, , ,
donna Gorrach men tio ned by him are found in any collection at an earlier
, ,
’
date It is pr obable b o th the s ong and tune were written for Home s
.
tragedy which was produced i n December 1 756 The song To dle n but
,
.
,
an todl e n ben in the Orpheus Ca le doni us has a totally diff erent tune
’
,
”
,
from that i n the Museum and nei ther of them is fo und in the Music for , .
Ramsay s Tea Table Miscellany

’
- .
’
3 44 . C OME HERE S TO THE NY MPH THAT I LOVE
, .
Tun e A ULD S IR S I MON THE K ING .
The tune of this song is without do ubt very old ; acc ording to Chappell it
i s printed in Pl ay ford s
’
Recreation on the Lyra Vio l 1 652 Th o ugh “
,
”
.
ancient we th i n k it of n o importance to di s cuss its origin as we con si der

, ,
it devoid of merit There are several vers ions Of the mel ody
. .
3 45 . THE TITHER MORN .
S tenhouse quotin g from Crome k s Reliques has : Burns says this tune ’
is origi nally from the Highlands He then remarks The musical .

,
reader will easily Observe that the sec o nd strain of this Hi ghla n d tun e is
almost note f or note the same with the secon d part of the air Saw ye ,
‘
Johnie c o min quo she It i s h o wever a fine tune for al l tha t and was
’
.
’
, , ,
sent by Burns to Mr Johnson alongst with the pretty verses adapted to it ; ,
which it is believed are the c omp o sition Of o u r bard

, , This is evidently .
”
a mis s tatement ; the song appear s in the Goldfinch 2n d edition 1 78 2

-
“
, , ,
and may have been included in that of 1 777 Hi s praise we may admit .
,
but the musical reader will see he has not observed that the firs t strain is
”
a version of The Mins trel Boy and the final bar Of the second a return ,
to that air therefore the Highlands have been indebted both to Ireland
,
a nd the Lowlands for this ex traor di nary p roduc tio n .
34 6 . A COUNTRY LASS .
Our purpose i s to direct attention to the tune n ot to contend for the ,
national ity of the song Apparently there was more than one Country .
”
Lass The song referred to by Stenhouse in Thomson s O rpheus Caledon
.
’
ius ( the Second Editio n not that of co n sists of the sam e words , ,
1 70 EARLY SCOTTIS H MELOD I ES .
but the tune is entirely di ff erent fro m No 3 4 6 in the Museum The same . .
”
son g i s given in Pi ll s to p urge Melanch oly but the tune i s C o ld and “
,
”
Raw . Ra msay also h as the song in the s econd v o lume o f the Tea Table -
Mis cel lany and directs it to be s ung to its ain tune

, What that air was .
”
we h ave n o knowledge as it is n ot contained in the Musick f or the Scot s

'
S ongs in the Tea Table Mis cellany Stenh o use alludes to this mel o dy as
-
.
fo llows : The fine o ri ginal air o f one simple s train was reco vered by , ,
Burn s and transmitted to J ohns on ; and the vers es were at las t adapted
,
to th e i r a i n tu ne in the Mu s eum
”
Whether this o rigi nal ai r s aid to have .
,
been recovered by Bur n s is the true melody or s imply a version of , ,
Oscar s Ghost C orri 1 783 to which it has a strong re s emblance may

’
, , , ,
be d o ubtful I t has certainly n o thing to d o with Sally in o ur Al ley

. .
”
’
34 7 . RORY DALL S PORT .
Of this song beginning Ae fond ki ss and then we s ever Stenh o use

, ,
“
, ,
s ay s : Burns in h i s o ri ginal MS n ow before me directs it to be set to

,
.
,
the tune of Rory Dal l s Port in Oswald s Caledo nian Po cket Companion ’ ’
b ook viii This mel o dy was al s o publi s hed by John Walsh in h i s C o untry
.
“
” ”
Dan ces Selected under the name of Rosey D oll , We have been unable .
’
to ascertain whether Walsh s work preceded that of Oswald wh o se bo ok ,
viii w as published not later than 1 757 Walsh died in 1 766 It is a

. .
'
.
matter of indi ff erence wh o Ro ry Dall was or whether h e compo sed the ,
tune We have n ot found it earlier than the two s o urces named The
. .
Ro ry Dall Port in the Stralo ch Manuscrip t is who lly unlike it Ro ry Dal l .

,
in Gaelic means simply Blind Rory or Ro derick

,
.
AS I WAS A WAND RI NG
’
3 48 . .
Ti m e RINN M I CU DIAL M O M HE AL LADH .
A Gaelic air .
We are at a l o ss to understand where Stenhouse re ceived his informa

tion abo ut this tune He says This beau tiful Gael ic mel o dy was Obtain ed
.
,
by Burns during his excurs i on in the North of Sc o tland in the year 1 78 7 , .
It is entitled Ri n n m cu di al m o m h e al la dh i e My dear did deceive me

’
, . .
, .
”
What proof have we for that ass ertion ? It is probable that B urn s received
the tune from an o ther source alt ogether The Rev Pat rick M D onald i h . .
‘
cluded it in his Collection o f Highland Vocal Airs etc 1 784 under the , .
, ,
exact Gaelic title with the E nglis h transla tio n My l o ve has deceived me
, ,
“
.
”
The tune is NO 1 43 in th e collection J ohnson engraved M D onald s

. .
‘ ’
work .
3 53 . WHEN SHE CAM BEN SHE BOBBED ’
, .
This tune i s pr o bably o ne of our o ldest though we have n ot seen i t ,
either in manuscript or print earli er than the Leyden M S 1 69 2 It .

, .
appears al so in M rs Crocka t s M S 1 709 and in Margare t S i nk l e r s M S ’

.
, ,
’
.
,
1 71 0 Af ter these dates the tune is printed in English collections under

.
the name of Buckingham House In the Music f orRam s ay s Scots .

” “ ’
S ongs in the Tea Table Miscel lany and also in later c o ll ections i t appears
-
, ,
under its Scottish name It is n ow better known as The Laird o .

’
Cockpe n
”
.
3 54 . O FARE YE WEEL MY AULD WIFE , .
We are in formed by Stenh o use Thi s fragment of a hum orous Ol d Scot ,
tis h bal lad with its original melody was c o mm uni cated by Herd
, The , .
w o rds are contained i n the second volume of Herd s An cient and Modern ’
Scottish S ongs with o ut indication o f any tune Whether it be ori ginal

, .
or not it i s none o ther than Alister from Walsh s Caledonian Coun try “ ’
,
”
D ances b ook i i i ; or Sir J ohn Malco lm in Bremner s Scots Reels or ’
C o untry Dances Herd ends each verse with sing bum bum bu rn
.
, , , ,
”
’ ”
and wi s ome some some — while bum and some are not repeated
, , ,
“
_
in the Museum and the tune ends m ore abruptly with the lengthened note
,
in the music .
3 55 0 . FOR ANE AND TWENTY TAM ! ,
Tn n c THE M OUDI E WORT .
The name given to the tune of this excellen t song by Burns is The
Moudiewort We think this was certain ly th e original title of the
.
”
melody Its first appearance s o far as we have been able to disc over is in
. , ,
Walsh s Caledonian Country D ances book i ii page 3 0 named M owde

’
, , ,
“
’
wort and again at page 62 it occurs as Porto Bello
,
”
while in Os wald s -
Caledonian P ocket Compani on bo ok iv page 8 it i s simply entitled , .

, , ,
“
Scotch Gig probably because he was not aware of its real name Burns
,
.
shewed great discrimi nation in hi s choi ce of th e ai r for his s o ng .
3 56
. J OHNIE ARM STRONG .
We think i t certain that the ai r of this bal lad and p e rhaps the words ,
also di d not e xis t i n the e arly part of las t century though commemoratin g
, ,
an e v e n t i n 1 529 Stenhouse says I t woul d appear to be the progenitor

.
,
of that class Of airs so frequently n oticed under the name of Todle n

’ ”
Hame Lamen t for the Chief Rob i dh donna gorradh and several oth e rs
,
’
,
’
, .
’
He omits to mentio n Earl Douglas s Lament of which he declares if ,
”
,
it be not the progen itor of the melodies When I hae a S ixpence under
’
my thumb Rob i dh donna Gorrach etc it is evidently nearly connected
,
’
,
.
,
’
with them See Notes 3 4 3 and 275 B o th tunes vi z Earl Dougla s s
. .
,
.
,
“
’ ’
Lament and Armstrong s Farewell are in Oswald s Caledonian Pocket
”
,
C o mpanion the former in book vii and the latter in book ix page 1 3
, ,
.
,
.
3 57 . HEY HOW J OHNI E

, ,
LAD .
Stenhouse tells us Thi s humorous song was picked up by Herd and

, ,
included i n his Collection of 1 776 He asserts that the tune is in Bremner s

.
’
Collection ( which is erroneous) i n stead of in S tewart s Collection of the

,
’
Newest and Best Reels or Count ry Dances 1 762 under the name o f The , ,
”
Lass ies of the Ferry I t also appears in Wals h s C ountry Dances Selec ted
.
’
,
part ii entitled La ds Of S al tcots a wo rk publi s hed abo u t the same da te

.
,
”
, ,
or perhaps a year or two ear l ier .
’
3 58 . LOGIE O BUCHAN .
This song has been claim ed for two di ff erent persons Stenhouse says .
,
the old verses are sai d to be the c o mp o siti on o f Lady Ann Li ndsay ,
authoress o f Auld Robin Gray Peter Buchan in his Gleanings of

.
,
scarce old Ballads Peterhead 1 8 25 says, Lady An ne Lindsay was

, , ,
certainly n o t the auth oress o f thi s s ong or ballad which is s aid to have ,
been c o mp os ed by Ge o rge Halk e t Scho o lma s ter at Rathan in the year , ,
1 73 6 S O far as we have s een there is n o dir ect proof to sub s tantiate

,
either assertion but as th i s i s n ot our province we pass on t o the ai r The

, , .
late J o hn M ui r Woo d searching f or ancient tune s Or their ori gi ns

, ,
fixed upon a tun e called Tak tent t o the Ri ppe ll s i n a manuscript of ,

”
1 694 ; also o n Beware of the Ripples in Oswald s Caledoni an Pocket ,

’
C ompani o n b o ok x i but we c o nsider this to be rather far fetched and

, , ,
o ffer o u r readers c opies of both al ong with the ver s i o n o f J o hnson an d

,
Napier f or c omparis on The Museum melody I s I n the min o r key In

. .
1 798 there appeared a song o n the s urrender of the French to Earl Corn
wallis at B alli nam u k in Ireland to the tune Logie o Buchan which ,
’
,
”
sh o ws that the air had become popular but we have n o knowledge Of the ,
vers ion used .
O KE NM URE S ON AN D AW A
’
3 59 .
,
WILLIE .
It i s n ot our intentio n t o make any remark s on this song co mm e m ora t

ing the part taken by Lord Ke nm ure in the Rebellion of 1 71 5 further ,
”
than t o state that like Sc ots wha hae it was n ot written at the time
, , .
We have n o t seen any copy o f this tune in any publication prior to the _
Mus eum and we suspect that neither verses nor melody existed earlier
, .
At lea s t we have no knowledge that either were printed befo re 1 79 2 .
3 60 . BESS AND HER SPINNING WHEEL .
This son g was written by Burns for the Museum Stenhouse makes the .
following reference to the tune : The beautiful mel o dy to which the verse s
“
are adapted was compo sed by Oswald and published in the fifth book of his ,
"
Caled onian Po cket C o mpanion page 1 0 under the title of Sweet s the
, ,
’
La ss that l oves me This i s an err or for which we cann o t enti rely blame
.
’ '
Stenh ouse as an asteris k is attached to the title in the index to Oswald s

,
’
publicatio n denoting that it was his own c omp os iti on We think it pro .
bably a mi s take of the engraver the index h as been carele s sly go t up and ,
i s defective The tune is an Old Sc o ts measure and was in print befo re

.
,
O s wald wa s born It appeared in Henry Pl ay ford s Original Sco ts Tune s

.
’
,
’
dated 1 700 under the title of Cosen Cole s Deligh t
, .
3 61 . MY COLLIER LADDIE .
In this instance we cann o t do better than quote a part of S te nh ou se s ’
note The words o f this s ong beginning Where live ye m y b onny lass
, , ,
’
1 76 EARLY SCOTTISH MELOD IES .
3 64 N I THS D ALL S
’
. WELCOME HAME .
About this s ong Stenhou s e informs us The verses are adapted to an air
, ,
compo s ed by the late Robert Riddel o f Gl e nri dde l E s q Though the tune , , .
”
does not appear in the two c o llectio ns comp o sed and c ompil ed by that
gentleman we have n o reason to do ubt the statement The melody was
, . ,
probably first given to J ohn so n along with the s ong for the Museum or it
may be a fugitive tune as s everal of Ri dde l s c ompo s i tions are found i n
,
’
,
other collections .
3 65 . JOHNIE BLUNT .
In S te nh ou se s note I t is said that thi s song is the o riginal of Get up

’
and bar the d oor inserted i n the thir d volume o f the Museum This
”
, .
assertion we are rather i ncli n ed to d o ubt becau s e it is unlikely that copies ,
would precede the publ ication of the o rigi nal and we have neither the so ng ,
nor tune till it appeared in the fourth v o lume of the Museum while the ,
tun e of The Barring Of the Door was published ten years earlier by ”
Aird i n his Selecti on of Sco tch English Irish and Foreign A ir s adapte d , , , ,
to the Fife Violin or German Flute

, ,
.
”
3 66 . COUNTRY LASSIE .
A di ff erent s ong an d tune under a sim i lar title has been treated in n o te
346 . This melo dy entitled The C o untry Lass appears to word s
, ,
begi nning Although I be but a country lass in the Orpheu s Cal e doni u s
,
“
, ,
1 73 3 but n ot in that o f 1 725 as stated by Stenh o use

,
He tell s u s , .
,
Henry Carey in c o mpos ing the mel o dy to h i s s ong Of all the girls that
, ,
’
are so smart or Sally in o u r Alley has evi dently bo rrowed fro m this
’
, ,
tune . Whether Carey did or n o t ther e exists no res embla n ce to his

”
,
compo sitio n but we o bserve a s imilarity in th e thir teenth and fourteenth

,
bars o f the air n ow sung to hi s verses which Chappell in The Po pular , ,

“
Music of the Olden Time page 3 75 says is an Older mel o dy With that , , .
exceptio n the tune in the Museum is quite Sco ttish in character and d oes ,
not suggest having been cribbed The s ong i s said to be by Burns but h i s .
,
name was not put to i t in 1 79 2 .
3 67 and 3 68 . FAIR ELIZA .
A G AE LIC AI R .
These are two different Highland tunes to the same song written by ,
Burns who men tions them as alternative airs for the w ords
,
J ohn s on .
gives both in the Museum They are taken from the Rev Patrick . .
THE S COTS MUSICAL MUSEUM . 1 77
M D on a l d s Collection Of Highland Vo cal Airs 1 78 4 ; being respectively

‘ ’
NO 1 1 2 and NO 1 3 3 of that work the former a Perthshire and the lat ter
. . .
,
an Argy l e s hi re melody In our estimation the second is the pret tier .

,
though both are fine t un es .
3 69 . M U I RLA ND WILLIE .
3 70 . THE WEE WEE MAN , .
This tune is better kn o wn at the present time under the name of

Bundl e and go Stenh o use s ays Herd publi shed it in his Col lecti on
.
, ,
fir s t editi on 1 769 and Rit so n co pied it with the melody from the Museum
, , ,
”
in which the words and music appeared together f or the first time That .
s tatement we leave unquestioned but the tune it s elf i s found in A i rd s ,

’
Selection of Sco tch English Iri s h and Foreign Ai rs 1 78 2 entitled I d

, , , , , ,
“ ’
rather have a piece than a kiss of my J O .

”
YE J AC OBITES BY NAME .
In h i s n o te Stenh ouse s ay s This song i s an other un claim ed production ,
Of Burn s .It is adapted to an ai r which has always been a favourite in the

low country and to which several of their songs have been sung The
, .
ballad on the celebrated pir ate Paul J one s beginning You v e all heard of , ,
’
’
Paul Jones have y ou n ot ? have y ou not ? was sung to the s ame tune
, .
There is an o ther ballad to the same air beginnin g My l o ve s in Germany , ,

’
,
send him hame send him hame published as a s ingle sheet s ong by N
,
’
,
-
.
Stewart CO Edin burgh said to have been written by a lady on the death
“
, ,
.
of an offi cer 1 79 4 The late Hector M acn i e ll E s q t o ld me h o wever that

, .
, , , ,
he was the author of this ballad him s elf In a n o te to M acn e i ll s so ng by .

” ’
the late J Mui r Wo od in the Popular Songs and Melodies o f Sc o tland

.
, ,
1 8 8 7 he mention s a n Engli sh sea song written on Admiral Benb ow

“ ‘ ’
-
, ,
Come all y o u sail ors b o ld lend an ear lend an ear the ai r of which , , ,
’
bears su ffi cient re s emblance to justi fy one in thinking that it gave rise

to the present tune probably through the u nintentio nal varia tion o f an
,
untrained singer imperfectly catchin g up by ear what he s uppos ed to

be the correct melo dy This is mere conjecture ; the only resemblance
.
”
lies in the rhythm o f the w o rds lend an ear lend an ear and send ,
“
, ,
”
him hame send him hame no t in the airs The tune i n the Museum is
, ,
”
.
not fo und prio r to 1 79 2 and we doubt the existence of the song You ve ’
all heard of Paul J on es to be earlier than that date .
M
3 72 . THE POOR THRESHER .
Whether this song is a Sc o t tish Englis h or Irish pro duction we will not , ,
presume to determine b u t our opinion is that the ai r bel ongs to Ireland It

,
.
is much m ore in the style of the I ris h bal lad tune than in that of the other
two countries .
3 73 . THE F OSIE .
This s ong was writte n by Burns In Crom e k s Reliques Burns says .

’
, ,
It appears evident to me tha t O s wal d composed his Roslin Castle on the

modulation of this ai r I n the second part of Oswald s in the first three
.
’
bars he has eit her hit on a wonderful similarity to or else he has entirely
, ,
borrowed the thre e first bars of th e old ai r ; and the close o f bo th tune s i s
almost exactly the same The ol d verses to which it was sung when I
.
,
took d own the notes f r om a cou n try gi r l s voi ce had no great m erit Agai n ’
.
, ,
’
Burns in a letter to Mr Thomso n printed in Dr Currie s editio n o f B urn s s ,
’
Works dated 1 9 th Octo ber 1 79 4 say s

,
The Pos i e i n the Museum i s my , , ,
’
,
c o mpositio n ; the a i r was ta ken down f rom Mrs B a rn s voi ce Which state ’
.
”
ment is the true on e Burns was certainly i n err o r about Rosl in Castle .
”
Oswald never claimed the tune u n der any name and it was published ,
by M Gi b b on in his Sec o nd Collectio n 1 746 entitled The House o f

‘
, , ,
Glams some years previ ous to the fourth book of Oswald s Caledoni an
,
’
Pocket Companion It may be necessary to add that we have not the

.
“
least evidence that the tune of The Pos i e is old neither do we get ,
the song beg i n nin g There was a pret ty May and a milke n she went
, ,
( which Stenhouse gi ves as a speci men ) i n any old collection The tune , .
,
instead of being the so urce of Rosli n Castle has probably borrowed the ,
three bars fr om it .
3 74 THE BANKS O D OON ’

. .
3 75 D ONOCHT
. HEAD .
Th i s excel lent song has received its melody from a fine old air contained
in William M Gi b b on s Second Collection of Scots Tunes 1 74 6 page 3
‘ ’
, , ,
”
entitled Gordon Cas tle
, It occurs also at a later date under the
.
’
s ame name in Oswald s Caledo nian Pocket Companion book x ; not in , .
b ook ix as stated by S tenho use

.
, .
3 78 . SUCH A PARCEL OF ROGUES IN A NATION .
’
Stenhouse says This s ong begin n ing Farewell to a our Sc o ttis h
, , ,
fame i s likewise an unclaimed production of Burns

’
,
We are n ot .
surpri s ed that the poet s uppressed the authorship o f the s ong for at ,
the date he lived it might have cau s ed him trouble The melo dy i s
'
’
an Old on e which appeared in Oswald s Caledoni an Pocket C o mpanio n
, ,
book iv and two or three year s later in William M Gi bb on s Third ‘ ’
C o llection 1 755 I n bo th the s e w ork s its title is A parcel of Rogue s in

,
.
“
a natio n a very appropriate o ne at the present t i me The tune is

,
”
.
really a charming one .
3 79 K E LLY B U RN
. BRAE S .
That we are suspicious ab out the old s ong and its air need not excite
w o nder The o riginal verses give n by Stenho u s e never appear ed in
.
any fo rm til l Crom e k gave them a place in hi s Remains of Ni th s dale and “
Gallo way Song We think the l ines have been written by s o me W i t

.
”
wh o palmed them Off as tradi tio n al The melo dy which canno t be found .
,
i n any c ol lectio n i s sued before the Museum has the ring o f a good modern ,
tune .
380 . EVANTHE .
This song i s s aid to have been written by Dr B l ackl o ck and he i s also ,
cre di ted with the mel o dy The tune is a rambl ing so rt o f air here and
.
,
there reminding us of other s e s pecially the first strain of O er the hills

,
’
and far awa .
381 . JOCK Y FO U AND JENNY FAIN

, .
The air of this s ong under th e above title i s contained in Adam Craig s ’
Collectio n of the Ch o ices t of the Scots Tunes Stenhouse says it has .

”
been greatly embel lished by Craig and gives an o ther version i n his note , ,
No 28 9 which he calls the o riginal but he neglects to mention the so ur ce

.
, ,
whence he obtained it He s ays also The composer Of Tullochgo

.
,
“
has evidently taken the subject of it from this old tune Ab Surd !
”
.
3 8 2 AY WAKIN OH ’
. !
This is an other version Of the tune NO 21 3 of the Museum It was . .
received by Mr Stephen Clarke from Captain R Riddell of Gle nri dde l l . .
Tho ugh Stenhouse prints in his Illustrations page 20 6 what he calls “

,
”
,
the o ri ginal this air di ffering little fr om it was published by Napier in

, , ,
his Selection 1 79 0 and Ritso n ad opted his version

, , We think it the .
better one .
’
3 83 . PATI E S WEDDING .
’
Th ough the verses are to be foun d in Herd s Ancient and M o dern “
Scottish Songs etc the s ong m ay be r e latively m o dern S O far as we have

”
, .
,
.
been able to ascertain it is n ot included in any earlier Scottis h co llection

, ,
’
nor i s the fo olish old ballad We ll put the Sheep h e ad in the pat the ,
-
,
”
tune of which Stenhouse says this air is a m o derni z ed version .
’
3 84 . THE SLAVE S LAMENT .
This song is not furnished with a Scotti s h tune It i s said both wo

rds .
and mu s ic were c ommunicated by Burns The air i s understood to be an .
African melody .
3 8 5 ORA NANAOI G : OR,

. THE SONG OF DEATH .
A G AE LIC AI R .
This is a beautiful song written by Burns to a Highland mel o dy

contained in the Re v Patrick M D on al d s Collectio n of Highland Vo cal
.
‘ ’ “
Ai rs etc 1 784 The tune i s an excellent one I n Woo d s Songs o f

” ’
. . .
, ,
”
Scotland edited by G F Graham an incident is mentioned in connection
, . .
,
with the death of Camero n Of Fassifern taken fro m James Grant s w o rk ,

’
entitled The Romance Of War The piper at the request Of Cameron .

”
, ,
is said to have played The ancien t Death Song of the Skye men Oran - -
an A oi g This i s indeed a romance The tune cannot be played o n

.
’
.
th e bagpipe in any fo rm ; the com pas S b e i ng too great That instrument '
has only nine notes whereas the melo dy c o ntains thirteen , Even by .
rai s ing the two lowest n o tes of it an o ctave eleven remain , .
38 6 AFTON WATE R
. .
The melody to which this song is s ung is not c o ntained i n any earlie r
coll e ctI on It seems to be contemp orary with the word s and is pro bably
.
,
a composition of Maj o r Logan o r some Ayrshire w orthy The p opular air , .
for the song is a c omposition ab out half a century Old by Alexander ,
Hume wh o has written a number of Sc o ttish melodies The original

, ,
.
tune however is not altogether discarded ; by some it is even preferred

, , .
EA RLY SCO TTI S H M ELODIES .
3 8 7 RONIE . BELL .
Burns is said to have c ommunicated the air for this song along with the
w o rds The s ong is hi s own but h o w he acquired the tune we are unable
.
,
to say Our su s picio n is that it i s not Sc o ttish We are told that the poe t
. .
n ever wro te any ver s es until he had thoroughly mastered the t u ne We .
can not find it i n any Old c oll ectio n It m ay be modem or more li kely .
, ,
I ri s h as it has several trait s of their style After adoptin g the title of

, .
”
The Scots Musical Museum and av o wing the intention to confine the ,
work to really Scottish songs and tunes those frequen t excursions are to ,
be deplored esp e cially when n o explanatio n is gi ven

, .
3 88 . GREEN SLEEVES .
Th o ugh this song is the pro ductio n of Allan Ram s ay and published in ,
the first vo lume of the Tea Table Miscellany 1 724 we have no hesita
“
-
,
”
tio n in pronouncing the melo dy to be English The tune was long and .
greatly i n fav o ur in Scotland but that does not alter its character although
, ,
it is su ng to many English songs It has original wor ds of its o wn from .

,
which the name is derived Ramsay s adaptatio n does not aff ect either its
.
’
character or nationality .
389 . THE GALLANT WEAVER .
’
The melody un ited to the words of B urn s s song Where Car t rins ,
’ ” ”
r owin to the sea is called The Weaver s March : or the l t August ’
.
, ,
The ai r is co ntain ed i n James Ai rd s First Selection o f Scotch English ’ “

, ,
I ris h and Foreign Ai r s adapted for the Fife Vio lin or German Flu t e
, , , , ,
”
1 78 2 a work apparently well known to th e poet

, The tune however i s .
, ,
much earlier as it is included i n the second volume of Play f ord s Dancin g

,
’
Master 4 th edition 1 728 entitled Frisky Jenny or The Tenth of June

, , , ,
“
,
.
3 90 . SLEEPY BODY .
Th e me lody un i ted
to this song is fo und i n the O rpheus Cale doni us of
1 73 3 , and i s the las t
tune given in that work The versio n contai ned i n .
the Museum is n ot identical with that o f Wil liam Thomson St e nhouse .
mentions as a curious circumstance that Oswald h as a j ig to the air of The ,
Plowman n ea rly in the notes which constitute the melody of Sleepy

,
“
”
Body . We scarcely thi nk the circum stance is curious as apparently both ,
th e tunes have the same parentage .

DE UK S
’ ’
396 . THE DANG O ER MY DADDIE .
We have no hesitation in pro nouncing this tun e to be of English o rigi n .
We certainly ag ree h o wever with G F Graham that our Scot tis h

, , . .
,
versio n i s much the better in melo dic form and ani mation It has been .
l ong kn o wn in Scotland by the abo ve title In England i t was entitled .
The Buff C o at .
397 . AS I WENT OUT AE MAY MORNING .
This tune is n o t fo und in any Scott i sh collectio n p rior to the Museum .
It appears t o be a mongrel The latter half Of it is a palpable plagiarism of

.
’ ’
When the King cam o er the Water Stenhouse begin s h i s n o te by .
”
s aying, The words and m u si c o f this Ol d ball ad but he does not prove th e ,
”
age of either the on e or the o ther He says Burns al tered the w o rds of it .
,
but it w oul d have been better had he done it so mewhat more We are .
do ubtful if the so ng was ever printed before the Mu s eum .
’
39 8 . SHE S FAIR AND FAUSE , &c .
Stenhouse tells us Burns picked up this charming old melo dy i n the

,
country and wrote the ver s es to which it i s so happily adapted i n the

,
Museum We are afraid this statement about the mel o dy is not a correc t
.
”
”
on e
. The tune was well kn o wn by its Ol d name The Lads Of Le ith un der ,
“
,
’
which title it appears in the fo urth book of Oswald s Caledoni an Pocke t
C o mpanio n It o ccurs al s o in Walsh s Caledonia n Co untry Dances book i
.
’
, .
,
3 rd edition which was publi shed we be l ieve not later than 1 73 6 or full y
, , , ,
s ixteen years befo re Oswald The latter has bee n credited for preserving .
the tune in his publ ication and we are not aware that Walsh change d th e ,
tunes i n his vario us edition s after the mann e r of Joh n Playford , .
’ ’ ’
399 . THE DEIL S AWA WI TH EXCISEMAN ’
.
This Old tune is not Sco ttish Its origi nal name i s The He m pd re s se r .
,
an English country dance tune which appears in J ohn Pl ay ford s Engli sh ,

’
Dancing Master 1 651 and i n later editio ns Of tha t work as the Engl is h
, , ,
Gentlewoman or The He mpdre sse r

“
, B u t for B urn s s words the tun e .
” ’
would n o t have been heard of now .
400 . MISS WEIR .
We cann o t find this melody in any earlier c ollection therefo re think it ,
is the composition of the writer of the song who Stenhouse s ays was a ,
dissenting clergyman at Biggar It is a fine mel o dy and being withi n the .

,
compass of nine notes is well su i ted for the voice , .

VOL UM E V
.
401 . TH E LOVELY LASS OF INVERNESS .
This song Stenh ouse tells us was written by Burns with the exceptio n
, ,
o f the first half s tan z a which i s Old ; and Crom e k say s Burn s t ook up
, ,
“
the idea fro m the fir s t half verse which is all tha t remains o f the ol d w o rd s , .
,
and this promp ted the feelings and t o ne of the time h e wished to c o mmem
orate No where can we find any earlier trace Of this ancient half s tan z a
.
-
.
Where does it o ccur ? In o u r opinion Burns was not indebted to any s uch
’
fragment The s ong evidently received i ts title fro m Oswald s melo dy
.
,
which was published ab o ut s ix years before the Battle of Cullo den in his
Curious Collection of Scots Tunes de dicated to Jame s Duke o f P erth , ,
1 74 0 The tune is a goo d one but i ts compass is too extensive f or the

.
,
v orce .
402 . A RED RED ROSE .
Stenhou s e says Thi s so ng beg i n ning 0 my l uve s l i ke a re d red rose

, , , ,
was written by Burns and s ent to J o hns o n f o r the Museum ,

The original .
man uscript is n o w befo re me Burns in a n o te annexed to the ver s e s s ays .

, , ,
’
The tune of t hi s s ong is in Neil G o w s firs t collection and is there c al led ,
”
Major Graham It is to be fo und on page 6 Of that c o llectio n
.
’
In .
’
the advertisement prefixed to the second volume of P Urbani s Selection .
’
Of Sc o ts Songs the fo ll o wing o ccurs : The words o f the Red Red Rose “ ‘
were Obligingly given to him by a celebrated Scots Poet wh o was S O struck ,
with them when s un g by a country gi rl that he wrote them do wn and not , , ,
bei ng plea sed with the air begged the autho r to set them to music in the ,
sti le o f a Scot s Tune which he has done accordingly , Ge orge Tho mson .
,
in the i ndex to the p o etry Of his seco nd vo lume second edition states , , ,
’ ”
O my love s like & c Author unknown and on page 8 9 give s the song
, .
, ,
’ ”
under the title of O my Love s like the Red Red Rose ,
Fr o m an old .
MS in the Editor s pos sessio n Ai r— Wi sh aw s Favou rite — c o mposed by

.
’
,
’
”
Mr Marshall J ohnson gives an other air to the same so ng NO 4 03
.
, .
,
entitled Old s e t— Red Red Rose wh ich we refer to in our note to the , ,
”
”
followi n g song NO 4 04 The tune Maj o r G raham is a palpa b le plagiaris m
, . .
“
’ ’ ”
of Ma rshall s Mis s Admiral Gord on s Strathspey Stenhou s e i n his note .
, ,
blames Mr Cla rke who he says has made the second strain twice the leng th
, , ,
’
Of the first and he states wha t was evidently the poet s intentio n
, It is .
not Clarke tha t is w rong for he added nothing to Gow s second strain and ,
’
,
’
we have no evidence whatever of the poet s intention only S te nh o use s ,
’
assertion The song first apppe are d with Urbani s air April 1 794 ; next
.
’
, ,
”
in the Museum with Major Graham and the Old set May 1 79 7 ; “ “
,
”
afterwards with W i sh a w s Favourite in Thomson s Selection J uly 1 79 9 ’ ” ’

, .
W Sco tt Douglas has in his index A Red Re d Rose 1 79 4 and Johnson s

.
,
“
,
”
,
’
Muse um , He adds Burns did not liv e to see the song attached to ,
“
its melody He appears to have intended it to be sung to the sim ple

. and
pretty air which we s ubj o in Lament f or Mary Queen of Sco t s
, ,
‘
. Is
there any warrant for such a n a s sertion ? We s hall n ot pronounce any
Opini o n o n the merits o f the variou s tunes but simply menti o n that , the
words are no w usually s ung to an altered versio n of Low d own i n “
the
”
Bro om .
4 04 . MARY QUEEN OF SCOTS LAMENT .
This song was written by Ro bert Burns I t is united to the same .
”
mel o dy as the second setting of the Red Red Rose Stenhouse states “
.
,
The verses are adapted to the ancient ai r entitled Mary Queen of Sco ts ,
Lament which Burns communicated to the Editor of the Museum along s t

,
’
with the Ball ad It consists of one simple plaintive strai n endi ng on the
.
,
fifth of the key and has every appearance of bein g one of our earli est tunes
, .
”
Stenhouse fails to n o tice tha t J ohn s o n with the Red Red Rose h as ,
“
,
”
printed t h e mel o dy in two s trains bo th having repet i tion marks which , ,
render the w ords abs urd if repeated We doubt the story c o n n ected with .
the tune Did Burn s cal l the air a nci n t ? D o e s the circumstance of the
. e
tune en di n g on the fifth of the key or S te nh ous e s mere as s ertion a ff ord ,

’
any proof Of its age ? The melody is not contained in any collectio n prio r
to the Museum nor is it the one called by Corri and other s
, Queen ,
’ ”
Mary s Lamentation .
4 05 . A LASSIE ALL ALONE .
Twne — “
C U MNOCK P S ALM S .
The Verses of this song by Bur ns are exceedi ngly fine but the melody to ,
which they are adapted is a silly chant Burns is said to have c ommuni .
cate d the tune w hi ch we are unable to find in any collection p rior to

,
the Museum .
’
406 . THE WREN S NEST .
Stenh o u s e says Mr Clarke has the fo llowing note on his manuscrip t

,
’
of th e wo rds and music : The tune is only a bad s e t of Johnny s Gray “
’ ”
Breeks ; I took it down from Mrs Burns singing Is Clarke accountable .
for the note ? The tune appears to be c onstructed from three airs ,
“
J ohnny s Gray Breeks Where Gaudi e rins and The Highland
’
,
” “
,
”
”
laddie .
4 07 . PEGGY IN DEVOTION .
This tune is not Scottish ; it is simply an imitation of the Grub S treet

o rder I t was ori gi n ally s ung to som e very vi le words entitled The Scotch
.
’
Parson s Daughter con tained in Tom D Urf e y s Pills to Purge Melancholy
’
,
” ’
.
EARLY SC OTTISH MELODIES .
1 566, could n o t have been written before 1 600 or 1 620 I t had been .
i nserted along with vario us miscellane o us airs b y a di ff erent hand pro

, ,
-
bably between the two latter dates Though Stenhouse s ays that he had .
the manu s cript s written by Thomas Woode befo re hi m he o mit s to s how ,
what the soprano and bass parts were l ike or if any melody is c o ntained ,
in them Our endeavour is always to find proo f o f the age o f the airs
.
,
i n stead Of inventing traditional antiquity and assuming it t o be true We , .
have no de s ire to throw away traditio n when there is any support for i t but ,
we cannot accept mere a ss ertio n We have n o t dis covered the tune o f .
Ta m Lin befor e i ts appearance in th e Museum .
’ ’
41 2 . HERE S A HEALTH TO THEM THAT S AWA .
Stenhouse says : The word s and air of this song were communica ted
“
by Burns b ut neither of them are genui ne The words consist o f a verse

, .
of a Jacobite so ng with verbal alterations by Burns hi mself Th e tune

, .
has h al f a bar in the first s train mo re than it s h o uld have ; and J ohnson ,
to mend the matter h as marked the tune in place of

, These remarks
he fo ll ows with what he calls a co rrec t copy Of the w o rds and mu s ic but
“
,
”
neglects to state where he Obtained them T h o ugh Johnson e rred in pre .
fixing g to the tune Stenh o use apparently did not observe that it wa s
,
printed in g measur e and in ca ll in g attention to the redundancy of half a

,
bar he fail s to note that n othing was needed to correct it but to turn the
,
first two n otes into semi quavers and the final d o tted In i ni ms in both strains
-
,
’
into d otted cro tchets and cro tchet s tied J o hn son s vers ion is th e better
, .
o f the two S o me c o mpilers have substituted for the final c rotchet the
.
thi rd and fifth of the key and added the w ord Hinny ,
The tune which .
,
’
bears a st rong resemblance to Kenm a re s on and awa is first fo und ,
printed i n the Museum We beli eve that the song was written entirely by
.
Burns n o twith s tanding Hogg s ass ertion i n hi s Jacobite Relics Stenhouse

,
’
.
off ers no proof t o the contrary .
41 3 . AULD LANG SYNE .
The w o rds of this song were writ t en b y Ro be rt Bur ns This tu ne was .
See our n ote No 25 page 66

'
t h e one first applied to them .

, .
,
.
There has been a go od deal of controversy about th e melody n ow kn o wn

as Auld La ng Syne Certain write rs have assigned its composition to
.
”
William Shield and therefore clai m it f or England wh i le o thers co ntend

, ,
that it is o f Scottish o rigin Now and agai n the discussion is renewed by

.
a class Of s uperficial explorers wh o are content to quote of t repeated asser

,
-
tions as if such assertions consti tu ted evidence o f fact That the claim in
,
.
favour of Shield cannot be upheld however we hope to be able to convince , ,
our readers The dispute in question seems to have had its origin in a
.
THE SCOTS MUSICAL MUSEUM .
note by the erratic Wil liam Stenhouse ( Illus trations to th e Sco ts Musical
’
“
Mu s eum ; O can y ou labour lee y o ung man No 3 9 4 page

”
in -
,
”
.
,
which he s ay s The Ol d tune wa s m o delled into a Strathspey called The

,
"
’ ’
Miller s Daughter which Shield se lecte d f or on e of hi s airs i n the Over ture
,
to Ros ina and Gow afterwards printed the air from that Overture under
,
the name of Sir Alexander D o n s Strath s pey It is n ow c a lled Auld ’

.
’
I n hi s n o te to A ul d Lang Syne ( pp 3 73
”
Lang Syne . S tenhouse .
further s tates— J As Burn s had men tioned that the o ld tune was but
‘
m e d i ocre Mr Thomson got the words arranged to an air i n tr oduce d by

,
Shield in his Overture to the Opera Of Rosina written by Mr Brooks and , ,
Ta: M ILLBB S DAUGHTER

’
M Gtasha n ct: Cummi ng
'
.
1 78 0
sha re ( 1 783)
Thomson.
( Iv
n erte d no e s t for re pea t. )
acted at C o vent Garden in 1 78 3 It is the las t mo vement of that o ver .
ture and in imitation o f a Scottish bagpipe tune in which the Obo e is

, ,
substituted for the chanter and the ba s s oon for the dr one Mr Shield , .
,
however borrowe d the air almost note for n o te from the th i rd and four th
, , ,
s train s of the Scottish Strathspey in Cumming s C o llecti o n under the title

’
’ ’
of The Miller s Daughter but the strath s pey itself i s modelled fro m the,
’
Lowla nd melody of I fee d a lad at Michaelmas See Note o n S o ng No .
’
.
3 94
. Gow also in troduced the air as slightly altered by Shield in his , ,
Collection of Reels & c Book I and gave it the name of S i r Alexande r

,
.
, .
,
’
Do n s Stra thspey i n comp liment to hi s friend the late Baronet of Newton
,
’
Don in the county of R oxburgh who was a good vi o lin player and a
, , ,
”
steady patron of the musical art .
On the previous page we present our readers with the tunes from the c o llee
tions of Al exander M Gl ash an and Angus Cum m ing 1 78 0 from Shield s ‘
, ,
’
Overture of 1 78 3 or 1 78 4 fro m Niel Gow s Fir s t C o llecti on 1 78 4 and also ,

’
, ,
the tunes 0 can ye labour lee young man and Auld Lang Syne
( George Thomso n s h o wing the variati o n s o n the mel o dy fr o m 1 78 0 to
,
1 79 9 All owing that Shield improved on M Gl ash a n s versi o n n o grea t meri t ‘ ’

.
,
i s due to him The mel o dy i s intr o duced at the end of the overture and we
.
,
have no proo f that the overture included the air at the time the Opera was
first produced Our opini o n is that Shield pr o bably added the Scots
.
melody at a later date Rosina was performed in Edinburgh in January .
1 78 4 and in order to tickle the ears o f the audience Shield inserted the
,
tune o btained from some l o cal musician or fr o m William Napier wh o first

, , ,
published the Opera ( afterwards s old to Joseph Dale ) The opera o f .
Rosina like o thers by Shield wa s n ot entirely hi s own c o mp o sition

, ,
.
The titl e i s R o sina A C omic Opera as performed at the Theatre Royal , ,
”
C o vent Garden c omp os ed and selected by William Shiel d
,
Bes ide the .
airs claimed by him there i s on e by Paxt on an o ther by S acchi ni also two , ,
French t unes and two Sc o ts tunes We have never s een n or heard o f any
, .
claim made by Shield to the tune of Auld Lang Syne .
In a recent publicatio n St ories of Famous Song s 1 8 9 7 the auth o r says ,

“
,
”
of Auld Lang Syne To c o m e to t h e p o int at o nce the mel o dy to which “

,
the lyric is now s ung was beyo nd dis pute c omp o sed by William Shield , , ,
who was b o rn at Durham He also asserts that the overture in ,
which the melody o ccu rs was publis hed separately in 1 78 3 but we have n o ,
evi dence whatever of s uch a fact an d with o ut telling us where Shield says ,
so he add s The air known as Auld Lang Syne he distin ctly claimed as
“
, ,
hi s own c o mpositi on We shall give one other quotation from this a ble
.
”
a u th or s f a mou s s tor i es He says a t page 3 09 of his w ork “ Allan Ramsa y

’
.
, , ,
when he came a cr os s Blue B o nnets over the B or der i nserted it in his ‘

,
’
’ ’
Tea Table Miscellany and labelled it ancient little knowing that it was
-
, ,
’
written by Sir Walter Scott who founded it on General Le slie s march to ,
’
Lo ngm a rs ton Moor But most collect ors of old s o ngs are bound to be
.
”
de ce i ve d occas i ona lly by fal lin g victims to their own enthusiasm
'
Further .
c omment on Famous S ongs is needles s Ramsay died in 1 758 Scott

“
.
,
born 1 771 .
It remains for us to show that Gow did not copy the air from Shield .
Niel Go w has on e n o te nearer to the present version of the air i n the fir s t

s train ; he also a s cends in his repea t o f the s ec o nd strain to E G instead
-
,
’
Of remaining at B E like Shield and Gow h as anticipated J ohn so n s version

-
,
’
of the air o f 0 can y ou labour lee y o ung man and Thomson s air of
’
, ,
Auld Lang S y n c with the s e two notes No reference to Rosina”
,
.
appeared i n Gow s Collection before the seco nd editio n in 1 80 1 — fully

’
Tea Table Miscell any ci rca 1 725 The air also occurs in the Orpheus
-
, .
Cal e do ni u s 1 73 3 and in many later c ollections

, , O s wald published it in .
the Caledonian Pocket C o mpanion Book VII entitled Had I the wate , .
, ,
S h e bade me
” ’
In Ramsay s music the melody has but one strain Being
. .
a danc e tune however it probably h a d the sec ond strain lo ng befo re

, ,
Os wald printed it .
41 6 . THE AUL D MAN , E TC .
In his note Stenhouse says The tun e i s said to be very ol d Our ,

“
.
Opinio n i s that it has been constructed from The Queen 0 the Lo thian s ’ ”
,
wi th a sl i ght touch o f The Carle he cam o er the craft and i ts age is ’

,
”
another of h i s pious imaginations .
41 7 COMIN THRO THE RYE ’

.
, 1 ST S E TT .
This air I s clo sely allied to the t une now kn o wn as Auld Lan g Syne .
NO 4 1 8 is an o ther ver s i o n which was i ss ued by J ohn W at l e n i n 1 79 4

.
, .
See Englis h Claims page 57 ,
41 9 . THE D UKE OF GORD ON HAS THREE DAUGHTERS .
Stenhouse states that owin g to ignorance of the original air t hi s ballad was
, ,
so metimes sung to that o f the Ewe b ugh ts in the S o uth of Sco tland Mr -
.
Clarke t ook down the air as it was chanted by a lady of his acquaintance ,
and thus rest ored th e ballad to i ts original tune The words and mu s ic .
firs t appeared t ogether in the Museum Ritson does not give any air wi th .
the w o rd s To u s the lady s tune s eem s a s il ly chant Dean Chri s tie has
.
’
.
t wo distinct mel o dies to the ballad in his Traditio nal Ballad Airs to ,
which he adds foo tn o te s What can evidently be trusted to traditio n ?.
There is a tune called G ordon Castle in William M Gi bb on s Sec ond “ ” ‘ ’
C o llection 1 746 which suits the words well and may perhaps be the
, , ,
o riginal mel o dy .
4 20 . YOUNG JAMIE PRIDE OF A THE P LAIN ,

’
.
Tu n e THE C ARLI N OF THE G LE N .
The tune given to this song in the Mus eum is n o ne o ther than the fine
”
o l d air of Barbara Allan the Sc o ttish versi on c o nsiderably embelli s hed
, , .
The title of the melody is evidently Obtained from Clark s Flores M us i cae ’ “ ”
,
the only source where i t is to b e found previous to i ts appearing i n the

Museum .
421 . O UT OVER THE FORTH ETC , .
In his n o te Stenh o u s e say s This song was written by Burns and ,

“
adapted to the air entitled Charles G ordo n s Welc ome H ome He add s ’
.
,
“
At the end o f the s ong Burns has the follo wi ng note : The encl osed ‘
t u ne i s a part of G o w s Charles Gord on s Welco me H o me but I do no t

’ ’
think the cl os e o f the second part of the tune happy Mr Clarke on l ook .
,
’
ing over Go w s air will pro bably c ontrive a better
’
Mr Clarke h as
, .
retained Mr Gow s tune but at the close of the seco nd strain he h a s

’
, , ,
a ttended to the hint given him by the bard Whether Burns is account .
able for an error or it origin ated with Stenh ouse we can not tell bu t
, , ,
’
there i s n o tune called Charles Gordon s Welco me H ome in G o w s Col ” ’
lectio n On page 20 Sec ond C o llecti on h owever we find Mr Charles

.
, , ,
“
Graham s Welcome H ome A S to Clarke s amendment the s ec ond part

’ ” ’
.
o f the tune was t oo l o ng f or the w o rd s and he s imply used the fir s t six ,
bars o f it adding the two last of the first s train The wr ong name is given
, .
to the tune by all wh o derive their info rmation fr o m Stenhouse .
4 22 . WANTONNESS FOR EVER MAIR .
Stenhou s e furni s he s the fo ll o wing n ote : Thi s bagatelle wa s w ri tten by

Burn s Clarke th ought it w orthy o f a place in the Museum that the
.
,
tune might be preserved which is a nci en t and de serving of better line s , ,
”
than th os e furnis hed by the bard The first appearance of this s o .
’
called a nci e n t but charming mel o dy is fo und in Ai rd s Third S election ,
1 78 8 a w o rk evidently well kn o wn by Burn s

,
.
4 23 . THE HUMBLE BEGGAR .
The tune of thi s ol d Ballad was contributed to the Mu s eum by Ro ber t

Mackint os h a li a s Red Rob a well known music i an in Edinburgh in the
,
”
,
-
latter part o f the eighteenth century He is said to have taken it .
down fr om an acquaintance wh o used to s ing the ballad with great

glee Acc ording to J ohnso n the publisher the song was in m uch request
.
, .
The ballad is hum or o u s but n o t very c o n s istent The s ec o nd li ne info rm s .
us He had neither house or hald nor hame and the sec ond las t line o f ,
the s ong which consists of ten ver s e s declare s But he was first hame at
, , ,
”
hi s ain ingle side The air is m o stly recitative and the t wo last bars are
-
.
,
identical with the Irish tune of the B oys of Kilkenny .
THE ROW I N T
’
4 24 . IN HER APRON .
The Museum is the first s o urce in which we find this air whether it be ,
old or modern Stenhouse says This a n ci e nt fragment beginning Our

. , , ,
N
y oung lady s a hunting g o ne wi th its original air was recovered by

’
,
’
Burns .He omits however to give any further informatio n as to where

, , ,
when or h ow Burn s Obtained the words and tune We have seen a MS of

, . .
Charles I I s time having a tune written in t ablature called Shoe ro w d it

.
’
, , ,
’
”
i n hir a prone but it was n o t the same as that given in the Museum I t
, .
may be mentioned that neither Scott D ouglas nor Allan Cunningham in ,
their editi ons give the w ord s and music of this a n ci en t fragment said to
,
have been recovered by the p o et .
Nos . 4 25, 4 26, 4 27 . THE BOATIE ROWS .
This song in the Museum is set to three different tune s The first i s a .
mongrel air its first four bars are taken fr o m The Keel row and the
,
“
,
remainder made up fro m There s nae luck ab o ut the h o use The s econd ’
.
”
i s an original melody which never t ook the popular fancy and the third ,
may be described as a wretched versio n of th e tune as n o w sung The .
’
pre s ent excellent m el o dy appears in the f o urth v o lume o f R A Smith s . .
Scottish Min s trel 1 8 22 but to whom we are indebted for it is n o t Stated

, , .
428 . CHARLIE HE S MY DARLING ,

’
.
Stenhouse a s serts that the reader will find a genuine copy o f the Old ai r
in H ogg s Jacobite Relique s vol ii p 9 2 He also say s The air was
’
, . . . .
,
“
moderni z ed by Mr Clarke but without stat i ng where Clarke got the Ol d ,

”
air to alter ; it was certainly n o t fro m the Reliques in which Stenh o use ,
'
assisted Hogg with the mu s ic Stephen Clarke died abo ut a quarter of a .
century bef ore Hogg s second v o lume was is s ued The pre s ent excellent
’
.
version of the melody has been modelled fro m the se t in the Museum but ,
by whom we have not disco vered It is contained h owever in R A .

, ,
. .
Smi th s Scottish Minstrel s y vol i with the latest version of the word s
’
, . .
,
.
4 29 . AS SYLVIA IN A FOREST LAY .
The excellent mel o dy adapted to the vers e s in the Museum is the com ,
position of James Oswald who published it under the name of The ,

“
Maid s C omplaint in his Curious Collectio n of Scots Tunes dedi cated to

’ ”
the Duke of Perth 1 74 0 p 1 4 He als o included it in the Caledonian

, , . .
Po cket C o mpanion book iv p 3 0 Stephen Clarke made some s light

, . . .
alterations to render the tun e more vo t al which m ight have bee n more ,
effectively done .
43 0 . THE LASS OF ECCLEFECHAN .
This song is wedded to a tune called Jack Lat i n which occurs i n “

,
Oswald s Caledonian Pocke t Companion book xii p 6 It is also con

’
,
. . .
4 34 . LE E ZI E LINDSAY .
In h i s n o te Stenh o use declares This beautiful old air was communicated ,
by Burns and he adds on the strength of a memorandum w ri tten by

,
”
John s on on the original manuscrip t o f the mu s ic M r Burns is to send ,

“
words but they were never transmitted We give the above s tatement
”
, .
'
f or what it is worth G F Graham says The old air pr obably Highland

. . .
, , ,
”
was sent by Burns to John so n It i s the mu s ic to which we de s ire to .
turn our attention Both Stenhouse and Graham say old air but nei ther
.
,
have adduced any proof o f i ts age and the latter s ays pr oba bly Hi gh la nd , , ,
which is simply c o njecture No such melody is fo und i n any collection .
whatever prior t o the Museu m having the name Le e z i e Lindsay or any ,

”
o ther title ; and we therefo re consider the tune c o eval with the stan z a .
Those wh o p os s ess S te nh ou s e s Illustrations will o bserve that Burns is n o t ’
”
co mmitted to a single word in it ; c ommunicated by Burn s was written ,
“
by Burn s and Mr Burn s i s to s end wo rds are n ot his ; do es the las t n o t

,
.
,
”
s uggest that he never wrote the vers e in the Museum ? and J o hn s on has
n o t prefixed to the tune Written f or this w o rk by R Burns The tune . .
in the Museum we prefer to what is the more modern one .
435 . THE AUL D WIFE AYONT THE FIRE .
This tune we are informed by Stenhouse is contai ned in Mrs Crockat s

, ,
’
Manuscript Music B o ok written in 1 709 under the title o f The ol d Wi fe

-
, ,
”
bey o nd the Fire If the statement is correct it is the earliest s o urce we
.
,
'
have f or the mel ody The air is also included in Walsh s Caledonian
.
’
C o untry Dance s book ii entitled Set the old Wife beyond the Fire
, .
, ,
and in Oswald s Caledonian P o cket C ompanion b ook v page 2 The old

’
, .
, ,
“
Wife bey ond the Fire We have now ascertained that Walsh i s the earl i er
.
”
o f the two printed c o llections This mel o dy is sung to the song of Welcome .
”
Royal Charli e The auld Wi fe ayont the Fire is on e o f several song s
.
that were added to the first volu m e o f th e Tea Table Mis cellany -
.
’
43 6 . FOR THE SAKE O SOMEBO DY .
This son g was written by Burns for the Museum with the excep tio n o f ,
two lines The s e were taken from a s ong of the same name in the second
.
v o lume o f the Tea Table Miscellany The tune united to B urn s s words i s
-
.
’
n o t that now sung and is taken fro m Oswald s Caledonian P o cke t Com
’
panion bo ok iv I t c onsists o f on e strain o nly For the excellent melo dy

,
. .
n o w in use we are indebted to Urbani in wh o se Selecti o n book iv 1 8 00 , ,

.
, ,
it appears ( bu t not claimed by him ) three years o nly af ter the Museum , .
437
’
. THE CARDIN O T, & C .
All the information which Stenhouse give s about the tune to thi s
excellent s ong written by Burns am o unts to the fo llowing The words
are adapted to a lively o ld Sc o tch measure called Salt Fish and Dump “
lin gs and G F Graham ( wh o apparently could n ot find the air elsewhere )

,
”
. .
’
adds b ut h e d o es not mention where else it is to be found but in Jo hnson s
,
“
’
Museum We may state that the tune is c ontained in James Ai rd s
.
”
Selection of Sco tch English Irish and Fo reig n Ai rs & c vol iii NO 4 8 7
, , , .
, . . .
,
1 78 8 under the title of Sal t Fish and D umplings It i s however very ”

, .
, ,
much Older as it o ccurs i n Margaret S i nkl e r s Musick B o ok written in 1 71 0

,
’
, ,
entitled Q u e e n sb ury s Scots Meas ure ’

.
”
THE SOUTERS ’
43 8 . O SELKIRK .
W ithou t referring to any traditional acc o unt o f either the word s or

music we have evidence that the tune reaches back to the seventeenth
,
’
century I t is included i n J ohn Play fo rd s Apo llo s Banquet 1 68 7 entitled
.
’
, ,
“
A Scotch H ornpipe The air may be h o wever of a much earlier date
.
”
, , .
It does not occur in any printed c o llection of Scottish mu s ic before that o f

Ada m Craig There were n o music engravers in Scotland before Richard
.
C ooper wh o se first known work was the mu s ic for Al lan Ramsay s Scot s
,
’
S ongs in the Tea Table Miscellany ci rca 1 726 We do n ot think it mar

-
, .
v e ll o u s that a n umber of o u r mel o dies were first printed in Lo nd o n where , ,
n o d o ubt s ome o f o u r Sco ttish mu s icians had s ettled at an early date

, .
43 9 . ROCK A ND WEE PI CKLE TOW .
This is another very ancient tune S o far as known to us we are .

,
i ndebted to John P layfo rd for i ts earliest pu blication Stenh o us e say s .

,
“
A c opy o f the tune under the title Of A Scotti s h March appears in
,
‘
,
’
J o hn P layf ord s Musick s Hand Maid publi shed in 1 678 : but the second
’ ’
-
,
s train c o ntains a redun dant bar which spo ils the measure That however .
, ,
is not its first publicatio n Playfo rd i ncluded it in the 1 663 edition of .
’ ”
Musick s Hand Maid ; and in both he spells Scotish with one t o nly He
-
“
.
’
als o inserted it i n Musick s Recreatio n 1 669 u nder the title Of M ontrose s , ,
“ ’
March .It has c o me do wn to us n e arly in its early fo rm minus the

”
,
redundancies th o ugh Oswald applies the t i tle of A Rock and a wi Pickle

,
To w to it in his Curi o us Collecti on 1 74 0 , .
44 0 . TIBBIE FOWLER .
The tu ne u nited to thi s song pro bably belongs to '

t he beginning of las t
century Allan Ramsay h as a s ong in hi s Po ems
.
, 1 720 calle r Genty
,
“
1 98 E ARLY SCOTTIS H M E LODIES .
Tibby and Son s y Nelly with o ut directing it to be s un g to any air and it

, ,
al so appears in the fir s t v o lume Of The Tea Table Mis cellany ; but “

-
”
whether th e tune Of Tibbie F owler i s referred to in the first edition o f

tha t w ork we are unable to say though it is mentioned in th at w o rk as ,
early as 1 73 4 H o wever a very good version of the mel o dy i s given in

.
,
The Musick for the Sc o ts S o ng s in the Tea Table Mi s cellany ci rca 1 726 -
,
”
,
”
en titled Genty Tibby It i s remarkable neverthel es s that the tune
.
, ,
d o es not o ccur again till 1 78 0 when i t is c o ntain ed in three di ff erent

c o llections as Tibbie Fo wler Stenhouse remarks that two mo dern .
stan z as were added to the s ong S i nce the publicatio n of the Museum The .
verses he refer s to are included in William Napier s Selection vol ii 1 79 2 ’
, .
,
five years previ ou s t o the Museum The tune we consider was o riginally .
,
a dance on e .
44 1 . ON HEARING A YO UNG LAD Y SING .
B o th the w ord s and music of this so ng are under s t o od to be fro m the

pen o f Allan Mastert on an intimate friend of Burn s and the Allan Of h i s
, ,
’
song Willie brewed a pe e k O maut
,
.
”
44 2 . THERE S THREE GUDE FELLOWS AYONT YON GLE N

’
.
In S te nh ou se s note we are told the tune i s taken fro m M Gi b b on s

’
,
“ ‘ ’
Fir st C o llection o f Scot s Tunes p This may be an inn ocent mis ,

.
take as i t is in the Second C o llection at page 1 8 where it o ccur s entitled

, , , , ,
There s three goo d fellow s ay o nt yon glen

’
O s wald has the mel o dy .
s omewhat later in The Caledonian P o cket Companion b ook v page 1 ,

”
.
, ,
under a s lightly altered title .
443 . THE WEE THING ; OR MARY OF CASTLE CARY .
We cann o t find the tune fo r this s o ng in any c o llec tion anterior to the
Museum Stenh ouse mention s that Macneill the writer of the w ords i n
.
, ,
formed him that the tune to which h i s s o ng is adapted in the Mu s eum is

the genuine mel o dy that he intended for the word s The tune which i s a .
”
,
g oo d one never became p o pular pr obably because it requir ed to be

, ,
repeated so often for the ten verses Of the song and the words for a very
, ,
”
long period have been sung to the tune Bonnie Dundee The song is .
adapted to a n other air in The Caledo nian Musical Reposit o ry .
444 O CA N YE S E W
. C US HI ONS .
With the exception Of the followi ng The late Mr Urbani of Edin ,

“
”
burgh an excel len t musician an d co mp os er was very fo nd of the melody
, , ,
made the bed to me but its tune i s quite di ff eren t to that in the Mu s eum
, ,
neither is it the same as The Cumberland La ss which Chappell gives in the ,

”
Popular Mu s ic o f the Olden Time .
44 9 . SAE FAR AWA .
’
The melody given to this so ng is entitled D a lke i th s Maiden Bridge a ,
Scot s meas ure or hornpipe which made i ts appearance pr obably for the ,
first time in James Ai rd s Selecti on o f Sc o tch Englis h Irish and Foreign

’
, , ,
Ai rs vol i i i 1 78 8
, .
, .
4 50 . PUT THE GOWN U P ON THE BISHO P .
The few lines given in the Museum are s aid to be a remnant of a ballad
s upp o sed to have been written about the period of the Refo rmati o n but ”
we suspect there is no foundation for such a s tatement The air occurs in .
Aria d i Camera ci rca 1 73 2 M Gi bb on s Third B ook 1 755 and ab o ut the

,
”
,
‘ ’
, ,
s ame date in Oswald s Caledo nian P o cket Compani on b ook vii the latter
’
.
,
differing cons iderably from the former The version in the Mu s eum i s taken .
fro m Bremn er s M Gi b b on s Sco ts Tunes wi th a dd i ti ons 1 762 and is much

’ “ ‘ ’
, , ,
nearer to that of Oswald than to M Gi bb on of 1 755 It is pr obable the ‘

.
doggerel words to the tune are little more than a rhyme coi n ed about
the beginning Of las t century .
4 51 . HALLOW FAIR .
T HE RE S FOU TH RA W J OCKI E S &C

’
OF B ,
.
The tune to which the w ord s of this song are adapted is found in J ame s
’
Oswald s Caledonian Pocket C o mpanion b ook vi i page 3 entitled Walley , , ,
”
H o ney .The s ong which p o ss e ss es a deal of humour Of a racy de scri p
,
ti on was written by Robert Ferguson

, .
’
452 . I LL NEVER LOVE THEE MORE .
See English Claims page 3 1 , .
4 53 . MY FATHER HAS FORTY GOOD SHILLINGS .
In Popular Music o f the Olden Time at page 462 under the title of I , ,
am a poor Shepherd undone Chappell makes mention of a black letter ,

’ ”
ballad called The Maiden s sad complaint f or want of a Husband etc to , .
,
the new wes t country tu n e o r Hogh wh en s hall I be married Rit so n , ,

.
THE SCOTS M USICAL MUSEUM . 20 1
al s o refer s to it Chappel l state s that three s tan z as c ommencing My

.
“
father h a s forty go o d s hillings have been appropriated in co llection s o f ,

”
Sco tch songs Whe ther they were appro priated by Scotland o r England
.
we s hal l leave f or others to determine : what is of more importance the ,
Mu s eum tune is n o t the air given by Chappell .
&C
’
4 54 . OUR GOODMAN CAME HAME AT E EN ,
.
This very s trange ballad is c onsidered by many pers ons to be a remna n t

’
o f the Jac o bite time s It is c ontai ned in D avid Herd s Sco t s S ongs
.
,
Ancient and Modern 1 776 Stenh ou s e tell s u s tha t Mr Clarke t ook do wn

, .
the tune for J o hn s o n from the singing of an ol d man named Geikie a hair ,
dres s er i n the Candlemakers Row wh o s ung it with great glee We do ’
,
.
n o t d o ub t thi s s tatement f o r s o far as we are awar e it d o es n o t o ccur in

,
any earlier c o llection .
4 55 . SIR JOHN MALCOLM .
We have referred already to this tune in n o te 3 54 It is evidently .
taken fro m Robert Bremner s Collecti o n o f Sc o ts Reel s or C o untry Dances

’
curtailed i n the s ec o nd s train and the two final notes changed The tune ,
.
is contained in J ohn Wal s h s Caledonian C o untry Dances book i i i ci rca

’
, ,
”
1 74 1 entitled Allister
“
.
,
4 56 LI Z AE . BAILLIE .
This ballad is taken fro m the fragments in D Herd s s ec o nd vo lume o f .

’
Sco ts S ongs Ancient and Modern 1 776 omitting the firs t ver s e Sten
, , , .
house says This charming Old s imple mel o dy o f one strain to which the
, ,
verses are adapted in the Mu s eum was co mmunicated by Burns I t is the , .
genuine original air o f the so ng which has long been a fav o urite at every ,
farmer s fires ide in Sc o tland The w ords and music never appeared to
’
.
”
gether in print however until the publication o f the Museum
, , We are .
inclined to do ubt the antiquity of the tune and S te nh ouse s assertion is not ,
’
correct ; the first six verses given in the Museum were published along
with the air in Wm Napi e r s Selection of Scots Songs vol ii 1 79 2
.
’
, . .
, .
4 57 S TU M PI E
’
. THE REEL O .
This old reel tune had no words til l Burns wro te the two verses for the
Museum of Wap and row the fe e ti e o t The tune is in Ai rd s and ’
.
” ’
many other co llectio ns c alled S tum pi e but its earlies t appearance so far ,
”
’
as known is in John Walsh s Caledonian Country Dan ces book i ci rca , .
,
1 73 4 ,
’
entitled B u tte r d P ea s e Stenhou s e says The Reel o f S tu m pi e .
,
“
was f ormerly called J ock y has g otten a wife and was selected by Mr ’
,
Charles C o ff ey f or one of hi s s ongs beginning And now I m o nce more s e t ,

’
free in the opera o f The Female Par son or Beau in the Sud s acted at
,
’
, ,
’
London 1 73 0 , We understand thi s o pera was c ondemned on its firs t

.
performance and if that tune was intr o duced into it the former name wa s
,
evidently n ot J ocky has got a wife which Wal s h includes in his thir d ,
”
book — an entirely di ff erent melody in measure erroneo usly given in a ,
measure .
’
4 58 AY
’
. I LL CA IN BY YON TOWN .
The two s ongs in the Museum which are sung to this air were written
by Bur ns The earl iest authoritie s we have for the melo dy however ar e
.
, ,
James Oswald and Rober t Bremner bo th of wh o m publi s hed it ab out the ,
same date the former in h i s Caled o nian P o cket C ompanio n book x page
, , .
,
1 5 and the latter in his Sc o ts Reel s or C ountry D ances page 6 in 1 757

, , ,
In b oth these w orks it is entitled I ll gae nae mair to your T o wn an d is ,

’
, .
identical in every respect .
459 . WILL YE GO AND MARRY KATI E ?
The old reel to which the words of the son g are adapted in the Museum
is c ontained in Neil Stewart s Collection of the Newest and Bes t Reels or ’
C o untry D ances c a lled Will ye go and marry Kettie page 22 It is not

, , .
’
in Bremner s Collection as asserted by Stenhouse The tune occurs in , .
ma ny later c o llections and is that s ung to Wh a wadn a fecht for Charlie

,
4 60 . BLUE BONNETS /
We are informed by Stenh ouse that This fine old pastoral ai r appears “ ‘
in the m odern pa rt of Mrs Crockat s Manuscript Music Book dated 1 709 ’

-
, ,
’
under the title Of Blue B onnets It i s apparent from this note he .
admit s the manuscript was n o t wh o lly written in 1 709 O s wald published .
the tun e in 1 74 2 and M Gi bb on in 1 74 6 ; the latter version bei ng the

,
‘
’
more embellis hed Oswald s i s nearly the same as that in the Museum
. .
Th ough Stenhouse say s th e t wo so ngs Wherefore S ighing art thou , ,
P hillis ? and Powers Celestial whose protectio n were written by

”
,
Burns we are do ubtful if either is fro m hi s pen as J ohns on in his fifth

, , .
vo lume placed in the index Burns to the songs which he wrote and to a ,
”
number throughout the vo lume Written f or this work by Robert Burns , .
Nevertheless we are of opinion the melody is not a genuine Sc o ttish one ,
but an English im itation so common in last century Notwithstanding i ts .
publication by Oswald and M Gi b b on i t po s sesses no Scottish characteris tics ‘

,
do n o t believe it is Sc o ttish Both the song and the mel o dy we consider to .
be imitations which were s o c o mmon last century and su ng at Vauxhall ,
Gardens and other places Of public entertainment Neither w ould its .
appearance as a Sco ttis h s ong or air i n Pills to Purge Melancholy n or in ,

”
the Beggars Opera c o nvince u s ’

,
.
4 66 . THE CHERRY AND THE SLAE .
Tu n e THE BANK S or H ELIC ON .

”
Without makin g any remark concerning this ballad we wo uld expre s s ,
o urselves as to the mel o d

y in the Museum given by J Oh n son It is o ur
’
Opini o n whether ancient or n o t the re is a somewhat o f

, Duncan Davi ds on , ,
or Ye l l a be welc o med back again

’ ’ ”
c ontained in it and we cannot receive , ,
it as the o rigi n al The tune which Stenho us e gives in his I ll ustratio ns

.
may be o f a much earlier date but to afii rm it to be Sc o ttish is a different ,
matter It rather seems the production of so me learned musicia n from its

.
f o rm and regular modulation .
4 67 A S I . CAME O E R THE
’
CAIRNEY M OUNT .
The air to this so ng is not o n e o f the many tunes which bear the title of
’
Highland Laddie It appears i n Oswald s Curio us Collectio n of Scots
.
”
Tunes de di cated to the D uke o f Perth 1 74 0 under the name of the

,
”
, ,
Highl and Lassie and it also occurs in two Of his later publications We
, .
presume it was composed ab out that date b u t it is not claimed by Oswald , .
’
In the additional n o tes to S te n h ou se s Illustrations we are informed Burn s ,
s ent o ther verses to Johnson entitled The German Lairdi e Aird i n his , .
”
,
Thir d Selection 1 78 8 has in cluded the air and named it As I cam e o er

, , ,
.
,
’
”
the Cairney Mount .
4 68 . HIGH LAND LADDIE .
’
The tune given in the Mu s eum to this s on g is found in Oswal d s Collee
tion of Curious Scots Tunes dedi cated to the Prince of Wales 1 74 2 It ,
”
, .
has got no name attached to it but it is preceded by a slow tune entitled ,
.
The Highland Laddie In a number of later collections the tune receives
.
”
the tit l e of The Black ( dark ) Highland Laddi e though in Bremner s Scots
’
,
”
Reels 1 759 it is simply styled The Highland Laddie
, ,
“
.
4 69 . CHRONICLE OF THE HEART .
Tu ne G INGLING G E ORDI E .
This air we have failed to find in any printed collection prior in date to
the Museum nor apparently did Stenhouse make any such discovery He
, .
remarks h o wever it has such a striki ng resemblance to the air published

, ,
in O s wald s Caledonian Pocket C o mpanion un der the title of Pi ob e rach d

’
’
Mhic D h on uil & c that there can scarcely be a doubt as to the l o calit y of
, .
,
the air So far as resemblance goes he might have said J o hnny COpe
.
” “
,
”
as there i s ab solutely none A superior a n d plai ner version of the tune i s .
in Margaret S i n k le r s Manuscrip t 1 71 0 entitled j i ngi li ng G ordy ’

, ,
.
”
4 70 . WILT THOU BE MY DEARIE ?
John so n has Written f or thi s Wo rk by Robert Burns,

“
The air t o .
’
which it has been adapted i s contained in Neil Stewart s Collectio n of the
Newes t and Bes t Reels & c a work publi s hed in number s the first in , .
, ,
1 761 six being issued as early as 1 762 but the date Of the remaining three
, ,
number s which c o mpl ete the collection we have been unable to discover
, , .
It i s ca lled Shoe Maker s Daughter and is printed o n page 72 the last o f ’

,
”
,
the c ollectio n In Alexander M Glash an s Reel s & c 1 78 0 it is named

.
‘ ’
, .
, ,
“
The Sut tor s Daughter and in the co llectio n publis hed by Angus Cummin g
’
,
”
the same year i t is s tyl ed The D utche s s of B u ccl e ugh s Reell

,
The tune ’
.
”
do e s not appear in Bremner s Scot s Reel s th ough said to be by Stenh ouse ’
, .
4 71 . LOVELY POLLY STEWART .
Tu n c YE RE WE LCOM E C HARLI E S TEWAR T

’
.
Stenhouse ass erts that the wor ds are adapted to an ol d favourite tune ,
“
’
called Miss Stewar t s Reel to which so me Jacobite verses written about
‘ ’
,
.
the year 1 74 8 were adapted whe n the tune re ceived the new name o f
,
’
You re Welc ome Charlie Stewart
’
We are not informed where Stenhouse .
’ ”
fo und the tune under the name o f Miss Stewart s Reel Robert Bremner s .
’
“
Collection of Reels i s the first printed in Scotland and the tune called ,
Queensberry House appears in the fifth number which was published in ,

’ ”
1 758. Whether Miss Stewar t s Reel o r Queensberry H ouse was the
o ri i nal title an Older set of the same air entitled The C o nfederacy is “ ”
g , , ,
found in Walsh s Caledonian Country Dances book ii ci rca 1 73 6

’
, .
, .
4 72 . THE HIGHLAND BALOW .
In th e Illustrations Stenhou s e says This curious song beginning Hee

“
,
“ ‘
balow my sweet wee Donald is a ve rs i ficati on by Burn s of a Gaelic

, ,
’
nurs ery song the literal import of which as well as the air were com
, , ,
’
m uni ca te d to him by a Highland lady The bard s original Manu s cript is .
in the Edit or s posse ss io n However this may be both w o rds and tune are
’
.
”
,
trifling and of no account The music is not worth calling a melody eve n .
,
a s an old Highland Croo n an .

4 73 . AULD KING COUL .
England acc ording to William Chappell po s s es s ed m ore than on e tune

, ,
bearing this title The first auth o rity he qu o te s f or the air i s Gay s
.
’
”
Achille s a ballad opera publis hed in 1 73 3
, Old K i ng C o le he add s .
“
, ,
”
i s al s o s u n g t o an o ther tune which we find in no way resemble s that in ,
the ballad Opera but s eem s remini s cent Of the mel o dy The Bri t i s h
,
Gren adiers in th e min o r The air in the Mu s eum appears to be a ver s io n

, .
O f the tune in Gay s

’
Achilles changed fro m the min o r int o the maj or
“
,
”
m o de Sc o tland in our Opinio n has n o claim to the mel o dy and it i s n o t

.
, , ,
c ontained i n any e a rlier Sc o ttis h collecti on .
4 74 . THE RI NA WAY BRIDE .
This s ong i s c on s iderably older than the Mu s eum It is contained in .
Y a i r s C ollecti on Edinburgh 1 751 and in Herd s Collection vol i i 1 776

’ ’
, , , , . .
, .
The tune we cann o t find anywhere before i ts appearance al o ng with the

wo rds in the Museum s o we are indebted apparently to the Roxburghshire
,
gentleman wh o commu n icated it to Mr Clarke .
4 75 BANNOCKS O BEAR MEAL ’

. .
S tenhouse tells u s tha t the air was o riginally called The Kill ogie and
“
,
’
in 1 68 8 Lord Newbo ttle wr o te a satirical song on the Rev o lution to the ,
tune which he named Cake s Of Cro wdy The reference to Lo rd Ne wb ottl e .

”
’
is evidently taken fr om H ogg s Jac obite Relics 1 8 1 9 Surely if the song , .
was written in 1 68 8 the o rth ography w o uld differ fr o m that given by

,
H ogg The air h o wever i s fo und in Margaret S i nk le r s Manuscript B o ok

.
, ,
’
1 71 0 entitled B on ox of beare meal Cake s of Cr ou di e It appears also

“
.
, ,
in Oswald s Caledo nian Po cket C ompanio n b ook i ii as B a n oks o f Bear

’
, ,
Meal and as There was a lad and a lass in a Ki logi e in book vi

, ,
”
.
4 76 . WAE IS MY HEART .
We are frequently t old by Stenh o us e that Burns reco vered this or that
air but o ccasionally no explanatio n is given h ow they were acqui red He
,
.
also state s that Burns never wro te any Of his s ongs until he was well
acquainted with the melody Whether the vers e s o f thi s s ong are beautiful .
or o therwise is n o t ou r c on cern but we may p oint o u t that J ohns o n neither ,
prints letter nor name to signify that they were written by Robert Burn s ,
although he was careful to do s o in the fifth volume which was published ,
after the bard s death Our impression i s that a number of compositions

’
.
Bla i ki e Manuscript called Kind Ro bin which has furni s hed the basis ,
for the m o dern air and which suits the Old w o rds perfectly including al so
, ,
( 2) While we find i n Herd the f our

”
“
My m o ther sent me to the well .
”
lin es beginning My m o ther & c we think he may have been mistaken
“
,
.
,
’
in as s igning them to Whis tle o er th e lave o t b ecause the auth o r Of the ’
,
”
“
Presbyterian El o quence who wr o te upw ards of eighty years befo re him
,
”
w as m o re likely to kno w the song then current ( 3 ) Stenh o use says o f

“
“
Whistle o e r the lave o t ’
The air was composed abo ut the year 1 720
’
,
” “
”
by John Bruce a musician in the town of Dumfries ( se e our n o te) The
, .
m o dern ai r is firs t printed in William M Gi b b on s Collec tion 1 74 2 under ‘ ’
, ,
the title o f Robin Cushie .

”
4 79 . WE LL PUT THE SHEEP HEAD IN THE PAT

’
-
.
Thi s curi ou s o ld song appears to be a versio n of on e called Miss

C uddy contained in the si xth volume o f The Pills to Purge Melancholy
, ,
”
and commencing P o or Sawney had m arry d a wife “

Three ver s e s of it ’
.
”
however are o mitted in the Museum In the Pills i t i s set to a tune in

,
.
,
4 me a sure totally diff,

erent fr o m the Scot tish air in J o hn so n , and very
much inferior We have failed to discover the melody in any pri or coll e c
.
’
ti on th o ugh we su s pect i t i s considerably Older

,
.
480 . HERE S HIS HEALTH IN WATER

’
.
The tune to which the w o rds of this song are adapted is called The job
of j o urney work It is contai ned in Ai rd s Third Selectio n of Sc o tch
.
” ’
Engl is h Iris h and F oreign Ai rs & c 1 78 8 and is the first tune in that
, , ,
.
,
v o lume The melo dy I s somewhat s prightly th o ugh not o riginal the com
.
, ,
’
p o ser having b o rr o wed several bar measures fr om My wife has ta en the
gee .
”
48 1 . THE MAID GAED TO THE MILL .
We are at a l os s to c o mprehend how Jo hn s o n s h o uld have admitted

s uch a song into the Museum after finding faul t with A e day a braw ,
“
woo e r by Burns on the sc o re o f its double e n te ndr e and m o re e s pecially

’
, , ,
as the tune adapted to i t is J ohn Anderson my j o It w o uld have been .
better omitted altogether as the melody I s previ o usly given but perhaps it
, ,
was needed to fill the fif th volume .

48 2 . SIR PATRICK SPENS .
There i s a l ong acco unt given in S te n h o us e s Illustrations of what is ’
called The fine Ol d ballad and its real or supp osed c on nectio n with
,
”
event s that o ccurred in Sc o tti s h hist ory but not a single w o rd re s pecting ,
t h e air We pass over the ballad and direct ou r attention to the mel o dy
.
,
in the Museum It is not printed in any earlier w ork that we know o f

.
,
from which circum s tance we co nclude that it i s a c o ntemporary pro duction .
The last f o ur bars are taken fro m Will ye go to Flanders o r Gra m ach re e
“ ”
,
“
M o lly . In his Sco ttis h S ongs 1 794 three years before the Mu s eum
”
, , ,
Rit son gives the ballad leaving a blank space f or the tune A diff erent
,
.
tune is given by Ge orge Th o m s o n in hi s fourth v o lume and still another ,
o n e i n H o pkins editi o n o f Ri tson s w o rk 1 8 69

’
We may a sk therefore ’
, .
, ,
which Of the three is the o riginal melody ? even if we adm it the ballad to
be ancient .
48 3 . THE WREN , OR LENNOX LOVE TO BLANTYRE .
This air is of considerable age It is a dance tune o f the Strath s pey .
kind which is included in Rober t Bremner s Sc o ts Reel s 1 757 page 1 7

,
’
, ,
Stenhouse repeat s his as s ertion that Thi s tune i s m o delled fr om the air “
called 0 dear M o ther what shall I do For further remark s we refer ou r .
readers to note NO 23 6 . .
4 84 . GUDE WALLACE .
Whatever merit may be found in the s o called Old ballad there is not -
,
the lea s t in the melo dy We may state that the air is n o t c ontained in
.
any source manuscript or print that we kn o w Of anterio r to the Museum

, , ,
n or has it since been reprinted Stenh ou s e s ay s The bard s ( Burn s ) ’

.
,
MSS of the music and the words are in the p oss ession of the edit or
. .
”
What has become of the s e MSS ? They wo uld be both important and
curio u s
48 5 . THE AULD MAN S MARE S DEAD ’ ’

.
Stenh ou s e info rm s u s that the words and tune of this strange Ol d s ong
were believed to be the c om po s ition of Pati e Birnie Of Kinghorn Alla n .
O
21 0 EARLY S C OTTISH M E LOD IES .
Ramsay whose Elegy on

,
F atie Birnie is dated January 25th , 1 721 ,
intr o duces him as
Th e Fi d l e r of Ki ngh orn
F a m o us ,
Wh a s l ai d th e st i ck out o e r th e s t ri n g ’
,
W ith s i c an art ,
Wh a s ng sae s w e e t l y t o th e S pri ng
a ,
A nd rai s d th e h e art
’
.
He makes P a ti e both vo calist instrumentalist and auth or in the foll owi n g

, ,
Thi s s n g h e m ad e fra e hi s ai n h ad
a e ,
An d e k e Th e A ul d Man s M are s h e s ( l e ad
’ ’
.
,
Th o P e t s an d Ture s an d a s t o l e d
’ ’
e a ,
0 fy upon h e r
A b onn y aul d t hin g thi s i n de e d ,
An t l i k e y e r Hon our
’ ’
.
Stenhouse alleges that it was c o mposed as early as 1 660 It i s remarkable .

,
h o wever that the song i s n ot fo und in any collectio n prio r to the Museum
, ,
n or the melody before A i r d s Selection of Scotch English Irish and ’
, , ,
Fo reign Airs vol ii 1 78 2 though we have no reason to doubt that both

,
. .
, ,
are much earlier .
48 6 . THE WINTER OF LIFE .
We are in formed by Stenhou s e that This song was written by Burns for
the Mu s eum He likewi s e c o mmunicated the plaintive air to which his
.
verses are adapted It is apparently b o rrowed fro m the English tune

.
’ ”
Chevy Chase i n Dale s C o llection
,
’
Granting that it h as been borrowed .
fro m Dale we do n ot admit that the mel o dy is Engli sh though the w o rds
, ,
are the English version Dale gives the identical air publis hed by .
Bremner i n the four th volume of M Gi b b on s Sc o tch Tun e s with additions ‘ ’
1 768 while Chappell clai ms f or England two entirely di ff erent tunes as

,
”
th ose of Chevy Chase .
48 7 . GOO D MORROW FAIR MISTRESS , .
The words of this song are taken from Herd 1 776 The melody pro , .
bably made its first appeara n ce in the Museum and Stenh ouse tells us ,
that the beautif u l air was c o mmu ni cated to Mr Clarke by a gentleman

who sung the so ng with much pathos and feeling S till this origi nal air .
”
may not be a Scottish on e The melody has much Irish c haracter and .
,
bein g i n the min o r mode with its six th sharp or major throughout we are, ,
doubtful of its nationality .
4 88 . THE HAWS OF CROM D ALE .
This song is a complete ab s urdity It i s well kn o wn that th e g re at .
Montrose never fought any battle a t Cromdale The only battle fought at .
are adapted to a Highland Strathspey composed by th e same au thor but it

i s evidently m o de l led fro m the tune called The B oatie Rows We are ’
.
’
at a los s to under s tand S te n h ou s e s a s sertion The tune i s a c o mpound of .
the ol d air Over y o ung to marry yet and Cameron s go t hi s wif e ,

” ’
again . To The B oatie Ro ws we fail to see any re s emblance The song .
p os ses s e s c on s iderable humour In the S cotsm a n Jan 22 1 8 3 1 it i s s tated

.
, .
, , ,
The Auth or of the s o ng s The Wee Wi fiki e and The Kai l Br os e o Auld
, ,
’ ’
Sc otland i s said to be Deaco n Al e x r Watson Tail o r Aberdeen who died

,
’
.
, , ,
”
on the 5th inst in hi s 8 5th year .
, .
492 . THERE GROWS A BONIE BRIER BUSH ,

E TC .
This song with the exceptio n of a few lines which are old ( accordi ng
,
to Stenhouse ) was written by Burns f or the Museum It is acco rdi ngly

, .
marked with the letter Z to den o te i ts be i ng an ol d s ong with additions

, .
Burn s also communicated the air to which the words are adapted It .
i s apparently the progenit or of the impr oved tune called For the lake of
go ld s he s left me
’
In the fif th volume o f the Mu s eum J ohns on insert s
.
,
th e fo ll o wing n o te The so ngs in the fo ur preceding vo lume s marked B ,

’
R X and Z a nd the Auth o r s names cannot be inserted in this Index as
, , , , ,
t h e Edit o r does n o t kn o w the names o f those Gentlemen who have favoured

the Public and him with their productions There are a number marked .
B and R which the Edi tor i s certain are B urn s s compo sitio n Yet in this ’
.
”
volume there are s o me attributed t o Burn s which are not by him .
Whether Stenhouse is right in ascribing There grows a bo nie brier bush

to Burns we know he i s wrong co ncerning the mel o dy Instead of
, .
assertio n we want proof as to which is the proge ni tor For Lake of “

.
”
G o ld she left me is c ontained in the Bl ai ki e Manuscript 1 69 2 , .
49 3 . C OULD AUGHT OF S ONG .
This s ong was written f or the Museum by Burns The air howe ver is .
, ,
an Angl o Sc o ttish on e by Dr Samuel Howard which is set to Ramsay s

-
,
’
”
song in The Gentle Shepherd beginning At s etting day and rising
“
, ,
“
m orn and included in Calliope or English Harmony vol ii page 63

,
”
, , . .
, ,
”
as The Faithful Shepherdess The modula t ion in the fir s t strain seems .
too academic for a Scottish melody .
4 94 . O ! DEAR WHAT CAN THE MATTER BE

, .
Both this song and its mel o dy are Angl o Scottish although neither the -
,
auth o r nor the comp os er are known The words and music are n o t much .
earlier than th e Museum 1 79 7 ; at most a few years The s o ng was , .
very p opular for a considerable length of ti m e and the tune also i n ,
many forms .
49 5 HERE S TO THY HEALTH MY BONNIE LASS

’
. .
,
Twa e L OGGAN B URN .
Burn s it is said c ommunicated the air alo ng with the s ong and he
, , ,
called the tune Laggan Burn It is apparently a m odification o f a Strath .
s pey in Gow s Third Collection 1 79 2 page 1 5 claimed by Nat haniel Gow

’
, , ,
”
under the title o f Lady Shaftsbury s S trath s pey but the tune w as pub
'
l i s h e d in Malc o lm M D on ald s Second C ollection 1 78 9 entitled Gre e n e n d

‘ ’ “
, ,
P ark.
”
The mel o dy has been s omewhat abbreviated in the s ec ond strain
to suit the w o rd s We have never s een the tune s tyled Laggan or Loggan
.
burn before i ts insertio n in the Museum

”
.
49 6 . JENN Y S BAWBEE ’
.
Mr Will iam Chappell has set up an ab s urd claim for this tune as an
English co mpo s ition We simply repeat our argument given in th e
.
,
i ntr o duction t o the Glen C o llecti on of Scottish Dance Music vol i in , . .

,
o rder t o exp os e the fallacy Mr Chappell not only claims the tune as.
Engli sh but he accu s e s a coun tryman o f his own Stephen Clarke o f

, , ,
making changes in well kn o wn airs to fit them for the Sc o t s Musical

-
Mu s eum of which Clarke was the o s tensible musical edit o r

,
Little .
s cruple was sh o wn in making such change s f or even the well kn o wn -

,
country dance and nur s ery song P o lly put the Kettle on was trans ,
“
,
~
fo rmed into a Sc o tch tune f or the Museum in 1 79 7 Mr Chappell .
further has the hardihood to say that the word s of Jenny s Bawbee “ ’
’ ’
were adapted to it alth ough as they begin A that e er my Jenny had
, , ,
”
my Jenny had my Jenny had they were evidently intended for the tune
, ,
of Sike a Wife as Wil ly had as Willy had as Willy had No w while it , , .
' ”
is qui t e true that Jenny s Bawbee appears in the Sc ot s Musical
“ “
Museum for 1 79 7 and that three years previo usly the s a m e tune under
, ,
the ti tle of Polly put the Ket tle o n had bec o me very p opular wit h
“
,
’
you ng ladie s by mean s of Dale s Variations for the Pianoforte it i s
,
“
,
”
equally true tha t if Mr Chappell had extended his re s earches a little

’
farther he would have fo und Jenny s Bawbee in Archibald D uff s
,
“ ’
Collection Ai rd s Selectio n vol iii and J o shua Campbell s C o llectio n

,
’
, . .
,
’
1 79 4 1 78 8 and 1 778 re s pectively

’
, , In Dale s Collectio n o f Reel s and .
’
Dances No 2 p 8 it is called Jenn ie s Ba wbi e or Mo lly put the
, .
, .
,
“
,
“
”
Kettle o n n o t Po lly The popular verses are fro m the pen o f Alexander
, .
Boswell George Thomson asked for the exclusive right to publish the
.
words which was refused

,
.
EARLY SC OTTIS H MELO D IES .
49 7 RI GHTF U
’
. IT WAS A FOR O UR ’
KING .
We have neither fo und the w o rds nor the melody of this song in any
work prior to the Mu s eum and Stenho u s e do es n ot mention any publi ca ,
tio n that con t ain s either o f them Charles Kirkpatrick Sharpe d o es not .
believe the verses were written by Burn s nor do we ; J ohn so n d oe s not in ,
any way claim them .
49 8 . THE HIGHLAND WIDOW S LAMENT ’

.
Thi s pathetic song Stenh ouse says was wh olly c o mposed by Burns f or
-
, ,
the Museum unless we except the exclamatio n Och on ochon och ri e !

, , ,
We are do ubtful if this is the truth ; J ohnson neither places n ame n or

letter to it The ai r is a perfect little gem which we have fai led to di s
.
,
cover i n any earlier coll ection It is evi dently a Hi ghl and mel o dy . .
49 9 . GLOOMY DECEMBER .
J o hnson h as n ot fai led to s tate Writte n for this work by Robert ,

“
”
Burns nor to add the letter R at th e end of the verse s ; we cannot
,
” “
do ubt the auth o rship The mel o dy to which the w o rds are adapted is
.
beau tiful and worthy o f being united to them I t appears to have been
, .
cho sen by J ohn so n as the verses were intended for the tu n e of Wan dering
,
Willie which he had already published

,
The tune is seemingly of .
Highland o rigin .
50 0 . EVAN BAN KS .
The tune to which the words of this song are adapted is called Green
”
gro ws the Rashes I t is the las t mel o dy in Oswald s Curious C ollection
’
.
of Sc o ts Tunes dedicated to the Duke o f Perth 1 740 slightly altered i n , ,
the final cadence This is not the tune n ow kn own as the Gree n gro ws
.
the Rashes o f Burns Joh n so n was wrong in attributing to Bur ns the

.
’
song of Evan Banks though fo und i n the po et s handwriting and his
“
,
mistake has been fo llowed by various editors It has been ascertained .
to be a comp o sitio n of Hele n Maria Williams .
VOL UM E VI .
,
50 1
’
. MY PEGGY S FACE .
To thi s song J ohnso n has prefixed Written for this Work by Rober t ,
Bur ns . The poet after the verses adds the following note Dear Mr
Publisher — I hope agains t I return you will be able to tell me from M r
, ,
P re face da t e d June 4th 1 8 0 3 I s sue d March 5th 1 804 , .

, .
50 2 . MY BOY TAMMY .
This s ong al o ng with the ai r was firs t published in an Edinburgh

, ,
Maga z ine called The Bee May 1 79 1 The words were written by
“ ”
, .
Hect or Macnei ll but by wh o m the music was c ompos ed we have been

,
unable to as certain ; at an y rate the tune seems to have been derived fro m ,
the old melo dy of M ui rl an d Wil l ie The foll owi ng year we find it

“
.
”
’ ”
i ncluded in Wi lli am Napier s Second Selecti on of Origin al Sc ots Songs .
George Thomson al so h as it in hi s Select Original Scotish Airs vol ii ,

”
.
1 79 9 under the name o f The Lammy

,
Urbani published the s ong in hi s .
”
f o urth v o lume 1 8 0 0 which s h o ws it had become a favourite at an early

, ,
date .
503 . RED GLEAMS THE S UN .
The w o rds of this s ong are adapted to the tune ca l led Niel G o w s ’
Strathspey It wa s c omp os ed by Duncan M I n tyre a tea cher of Sc o tch

.
‘
,
dancing in L ond on ab out the end o f last century and published by him in
, ,
hi s C o llecti on of Sl o w Air s Reels and Strath s peys As a Strathspey the , ,

.
tune i s a great favourite but i s n o t so effective as a setting to the ver s es , .
504 . O STEER HER UP AND HAD HER GAUN .
This so ng has been wedded to an excellent and very ancient Scots

meas ure which dates fr o m the seventeenth century A very much better
, .
versi on of the melody than that given by Johnso n is included in Hen ry

Pl a y ford s Origi nal Sco tch Tune s publi shed in 1 700 entitled Steer her
’
, ,
”
up and h old her gangi ng It appears also in other publications . .
505 . WHEN I GAED TO THE MILL .
The melo dy to which this song is wri tten i s an adaptation of The Birth
’
of Ki s se s a t une contained in Oswald s Caledonian Pocket C o mpanion
, ,
bo ok x page 1 3 not in book ix as stated by Stenhouse We suspect tha t

.
, ,
. .
the air i s n o t a Scottish one ; there is a considerable touch of the Iri sh

style about it which is even more pronounced in the version J o hn son
,
gives in the Museum .
506 . WHA R ESK ITS SILVER STREAM ’

.
This song is u n ited to a melody taken from Oswald s Caledonian Pocke t ’
’
C o mpanion caller I ll never see him more
, The second strain of the
,
“
.
tune given by Oswald in hi s sixth book page 1 6 con sis ts of six bars ( pro
, , ,
bably the origin al word s did n o t require more ) whereas in the Mu s eum ,
two bars mo re have been intro duced Stenh ouse must have examined the .
Caledonian Po cket C ompanion in a careles s manner o therwise he could ”
This tune is omitted in the Index of Oswald s W or

’
n o t have said ,
It
i s fo und there but out of its alphabetical o rder placed at the end o f the
, ,
index to the s ixth book .
50 7
’
. THO FOR SEVEN YEARS .
The old tune of Ba nnok s of Bear Meal and B ann ok s of Barley is

“
attached to this song As mentio ned by Stenh o use the same words are
.
,
united to a p o o r vers ion of the tun e in Watt s Musical Miscellany vol i v ’
,
. .
,
”
1 73 0 entitled I ll never leave thee
’
,
“
Watts calls the song a dial ogue .
“
”
between Jonn y and Nelly Stenho use s ays A lad and a lassie lay in a
.
,
“
Killogie was the name of the melo dy which was afterwards call ed Ban ,
n o cks 0 Bear Meal and Bann ock s o Barley but his assertion wants cor
’ ’ ”
,
rob o rati on He also alleges that the s ong One day I heard Mary say
.
“
,
”
”
with the tune of I ll never leave thee is given in the Orpheus Ca l e don i us
“ ’
,
of 1 725 It d o es not occur til l the second volume of the edition 1 73 3

.
,
.
See note 4 75 .
508 ROW . SAFTLY THOU STREAM , .
The air which this song i s adapted bear s the title o f Captain
to
C Ka in e and is certainly Iri s h but whether it had any word s before th o se
’ ”
, ,
’
written by Richard Gall we are unable to find Gall s s ong was published, .
i n a sheet and was called Captain O Kai n e under which name the ’
,
melody appears i n J ames Ai rd s Selection o f Scotch Englis h Irish and ’
, , ,
Foreign Ai rs vol i ii 1 788 At tha t date Gall was only i n his twelfth
,
. . .
year and it must have been several years later when he wrote the verses
, ,
which were pro bably inspir ed by the beau tiful melo dy He died in 1 8 01 .
,
in his twenty fif th year -

.
’
509 . AS I WENT O ER , &c
.
This so ng is also wedded to an Irish a ir called Peggy Bawn The .
melody i s a very pretty one but we are do ubtful of i t s being ol d because , ,
it is not found in any col lection of Iris h or other airs much anterior to the
Museum Neither the author of the song nor the composer of the tune
.
, ,
has been di s co vered .

51 0 . O CHERUB CONTENT .
The melody given to this s ong is again an ancient Iris h on e Its pre s ent
. .
”
name i s The C oo lin but it was known in the beginn ing o f the eighteenth
,
century as M o lly St George It i s a moot poin t amon g Iris h authorities.
wh o w a s the c o mposer S o me consider i t to be by Caro lan while others

.
,
att ribute it to Co nnallon Many of the Irish people supp ose that the tune
.
is older than either o f them .
51 1 . AS WALKING FORTH .
The tune adapted to thi s s ong in the Museum i s neither tha t contained ,
i n the Skene manuscript s n or i n Oswald s Caledonian P o cke t Companion

’
, ,
”
under the name of Omnia vincit Amor and we h ave failed to find it in ,
’
any book anterior to the Museum The song is in Al la n Ramsay s Tea .
Table Miscellany under its Lat i n title but witho ut a reference to any ,
tune Although Stenhouse s ays neither o f the air s publis hed by Oswald
.
or J oh n s o n a re so o l d as the w o rds
”
we are c o nvinced that the song was ,
not intended to be sung either to the Skene or Oswald s melodie s which ’
clearly di ffer fro m each other We have no knowledge whatever o f the .
source fro m whi ch Johnson deri ved his tun e .
51 2 . THE BATTLE OF HARLAW .
In his Illustrations Stenh o u s e gives a long account of the battle and ,
menti ons a foli o manu s cript of Scots tunes of considerable antiquity ,
from whi ch he presents u s with a pibro ch called Battle of Hardla w It .

”
is apparently a bagpipe vers io n o f the tune in the Museum which John son ,
’
has take n from Daniel Dow s Ancient Scots Tunes but has altered
the sec o nd strain .
Tm: Bu r ns or Hm u w
.
51 3 . O BOTHWELL BANK .
This tu ne is the composition of John Fergus o rganist in the English ,
Chapel Glasgow 1 789 It is a fine air b u t partakes somewha t too much

, , .
,
of the character of psalmody .

51 8 . GO TO BERWICK J OHNNY , .
Thi s is an early tune ; whether or n ot the w o rds firs t s ung to it were the
s i lly verse s used by nurses to divert children those in the Museum were ,
written by J ohn Hamilton the author of the favo urite s ong of Up in the ,
“
m ornin g early Bannocks o Barley meal and several others of con s ider
,
” ’
able merit Stenh o us e s ay s O s wald publis hed the tun e with variatio n s ”
.
, ,
’
but the melody with variatio ns i s included in Margaret S i n kl e r s Musick
”
B ook 1 71 0 under t h e title of Berwick J ohny which proves its existence
, , ,
in that fo rm before Oswald was born .
’
51 9 . TWAS AT THE SHINING MID DAY HOUR -
.
The tune to which the words of this s ong are adapted is called T he “
’
Maid i n the Mill It is contained in O s wald s Caledonian Po cket Com
.
panion b ook vii page 27 The s ong entitled Watty and Madge said
,
.
, .
“
,
”
to be written by All an Ramsay i n imitatio n o f Willi am and Margaret “

,
is p ublished in the fo urth volume of the Tea Table M i scellany -

.
520 . HAVE YOU ANY POTS OR PANS ?

Thi s song is known as Clout the Caldro n but the tune which ,
J o hnso n has give n it with the remark See another set of this tun e vol i
, , , . .
page 24 is en ti rely di ff erent and is n o t the original Clout the

, ,
Caldr on The ai r n ow under consideratio n is a strathspey tune ca lled

.
”
Camero n h as go t h i s wife again which appears in Robert Bremner s ”
,
’
Scots Reels or C o untry Dance s page 4 publis hed in 1 757 The writer of , , .
the original ver s es i s unknown those in the Mu s eum are at tributed to Allan ,
Ramsay and appear in the Te a Table Miscellany near the end of the third
,
-
,
vo lume .
521 . NOW BANK AND BRAE .
The really fine melody to which this s ong is sun g we believe to be a ,
modern one The name of Cassili s Banks is probably derived from the
.
”
recurrence of these words i n the verses We are not aware of the tune .
occurring i n any collection prior to the M us eum The song was written .
by Richard Gall a poetic genius wh o followed the occupatio n of pri n ter

, , ,
and who died in his twenty fif th year I t has been errone o usly ascribed -
.
to Burns by Allan Cunnin gham and others .
522 AE
. DAY A BRAW WOOER &c , .
We are told by Stenhouse that the tune to which the words of thi s song
’
are adapted is called The Queen of the Lothians the name of a cur i ous ,
old which i s produced in the s ixth volume o f the Museum and

ba llad ,
inserted after the modern verses of Burns It is n ot our in tention to di s .
cuss the merit s or demerits of the song which came from the pen of the
ha rd n or to give ou r opinion respecti ng the ver s i ons published either by
,
Thomson or John son We turn our attentio n to the melody of the Queen
.
”
o f the Lo thian s sometime s des ignated The Lo thian La ss ie and i ts ”
, ,
curiou s ol d ballad Neither the on e n or the o ther can we find in any

.
collectio n of tunes or so ng s prior to the sixth v o lume o f the Museum .
We question the age of either song or mel o dy and require e vidence ,
bey ond S te nh ouse s a ssertio n to prove that his statement i s n o t a mere

’
ficti on Had the mel o dy been ol d s ome mu s ician would have fo und
.
,
a place for it in his c o llection It i s s aid Burn s never wro te any o f .
his s ongs until he was well acquainted with the air which he usually ,
indicated ; but so far as we kn o w he did n ot refer to any melo dy when he ,
gave thi s son g to eit her J ohn son or Thomso n and neither of the vers io ns ,
o f it were published i n hi s lifetime Th om so n printed it fir s t i n 1 79 9 .

,
and John s on in 1 8 04 th ough his preface is dated June 4 th 1 8 03 We

, , .
are of Opin ion that the mel ody was unkn o wn till 1 79 9 and that it bears ,
the stamp of a m o dern air .
523 . GUD REN TO YOU KIMMER .
Stenh ouse s tate s in his Illustra tio ns : This comic song was corrected “
by Burn s and the words are adapted to the old tune o f We re a nid
,
‘ ’ ’
’
n o ddin in o ur hou s e at hame
’
We think his statements are at vari ance
.
with facts : had either the words or air been old we may b e sure he ,
w o uld have referred to the s o urce There are several s o ngs s aid to have .
pas sed thro ugh the hands o f Burns and ascribed to him by s ome a u th ori ,
ties which mus t be received with caution and Stenh ouse alleges certain
, ,
airs to be old with out the least evidence We have failed to find a c opy of .
either so ng or tune befo re the Museum .
524 . IN BRECHIN DID A WABSTER DWELL .
This s ong is we are convi nced on e o f th os e silly rhymes which were

, ,
common abo ut the end of last and the beginning o f this century The .
m elody however is b o th pretty and lively but so far as we are aware does
, , ,
n o t appear in any work published prior to the Mu s eum .
’
525 . WILLY S RARE AND WILLY S FAIR
’
, .
Stenho u s e s ays This ancient fragment with its origi nal air was c opied
, , ,
from Thomso n s Orpheus Cale doni us London 1 7

’
but i t was not , ,
published till the sec ond edition in 1 73 3 The p oem give n in the Orpheus , .
may be the original but a m ore simple and beautiful version of the melody
,
is contained in the B l ai ki e and th e Leyden manuscripts 1 69 2 u nder the , ,

”
name of Sweet Willie “
.
526 . MY DADDY LEFT ME , &0 .
This so ng is merely a humorous inventory o f the go ods an d chattels

bequeathed by a father to his son windin g up with their e s timated value , .
The wo rd s along with the melody called Will ie Wi nk i e s Testament are

,
’
,
contained in the second volume o f the Orpheus Cal e doni us 1 733 but not , ,
in the first edition of that w ork 1 725 as stated by Stenhouse In the pre , , .
’
lim inary di ss er tation to D aune y s Ancient Scotish Melo dies page 1 46 a , ,
tune called Willie W i nki e s dead away is menti oned as o ccurring in a

“ ’ ”
s mall manuscript which bel o nged t o th e late David Laing pr o bably n o t ,
o lder than the early par t of the eighteenth century ; but n o t havin g seen
the M S we are unable to say whether i t is or is not the s ame air In our
.
, .
o pinion the tune i s an old dance one and it i s f o und i n Wal s h s Caled onian
’
,
Country Danc e s boo k i entitled Will ey Win key ci rca 1 73 4

,
.
, , .
527 . STERN WINTER HAS LEFT US .
Stenhou s e info rms us This bal lad was c o pied fro m Y air s Charmer vol
,
’
,
’
.
prin ted at Edinburgh in The date is evidently a misprint f or

1 751 as the fir s t vo lume appeared only in 1 74 9
,
Our impression i s that .
the bal lad is English The Charmer is a collectio n of choice s ongs

.
,
English and Sco ts and the words of the song are pure English
, .
Stenhouse also says The origin al air under the title of J ockey and
,
“
,
Jenny is in s erted in the fifth volume of Oswald s Caledonian Po cket Com

,
’ ’
panion page ,
’
If it is indeed the original tune we believe it to be an ,
English air The beautiful melody in the Museum i s said to be Gaelic

.
,
but we have failed to discover it in any col lection of Highland music

,
published befo re 1 8 03 We suspect it first occur red in the Museum

. .
528 .
The s ec o nd tune to the same words is the well kn o wn Irish ai r ca lled

Kitty Tyrell .
529 . AH ! MARY SWEETEST MAID , .
The air to which this song is adapted is taken from Gow s Fourth Col ’
lection 1 8 00 It is called The Maid of Isla and a footnote states I

, .
“ ”
, ,
asser tion however must be taken for wha t it is w o rth as he adduces no

, , ,
evidence i n suppor t of it The tune i s a lively o ne of the Scots Measur e .

,
class .
53 3 . COME UNDER MY PLAI D Y .
This so ng sh o ws the p o wer that riches have over so me of the fair sex ,
who when they get an off er of marriage are unconcerned about the age o f
, ,
a wealthy s uitor It i s an exce llent e ffusion fr o m the pen of Hecto r

.
,
Macneill wh o has written several good songs some of which are given in
, ,
the Museum The air is Johnny M Gi ll which has been already noticed
.
‘
,
”
( se e No .
53 4 . CO M E FOLLOW FOLLOW ME , .
Th e wo rds of this song and the melody which is adapted to , it , are both
English compositions .
53 5 . LORD THOMAS AND FAIR ANNET .
We have no i ntention of making any remark s on this ballad The air .
to which it is adapted in the Museum is called The Old Bard It was , .
publis hed by James Oswald in book x ii of the Caledonian Pocket .
C ompanion page 1 0 The tune is a swee t little melody but i s probably

, .
,
n o t Scottish .
53 6 . WILLIAM AND MARGARET .
This song th o ugh it is called an old ballad by Allan Ramsay in his

,
”
Tea Table Miscellany and by William Thomson in the Orpheus
-
,
Caledoni a s 1 725 was written by D Malloch or Mallet in 1 723 In the

,
”
, .
, , .
Orpheus Thomson call s i t an old Scotch Ballad with the Origin al Scotch
,
Tune .Stenhouse however s ays that it is the well kn o wn tune Chevy

”
, ,
“
,
Chase but the tune under this l attte r n ame is not fo und in any Scot tish
c ollection before 1 74 2 Oswald in his Curious C o llection 1 74 0 has a.
, ,
”
melody enti tled William and Margaret and in hi s Collection of Curious

, ,
Scot s Tunes 1 74 2 another called The old Tune of Wil liam and Margare t ;
, , ,
“ ”
but neither of these two tunes suit the ballad as given by Thomson In an .
edition o f the Tea Table Mis cellany 1 73 4 the ballad is given in the index
-
, ,
”
under the heading New Wo rd s by D iff erent Hands th o ugh above the
,
“
,
word s it is called An Old Ballad The tune in the Museum is one

“
.
adapted to it by Stephen Clarke .

THE SCOTS MUSI CAL MUSEUM . 225
53 7 . WHAT AILS THE LASSIE AT ME ?
This humorous s ong we are info rmed was written by Alexander Ross
, , ,
the author o f several o ther go od songs Be s ide s this two more of his pro .
,
’
ducti on s are contained in the Museum It was first printed in the author s .
'
w orks at Aberdeen i n 1 768 and di rected to be sung to the tune of An the ,
Kirk wad let me be Johnson however has supplied another lively mel ody
.
”
, , ,
which is not found in any earlier Scottish c o llectio n In our opinio n it i s .
probably an Irish air .
53 8 . THE S UN IN THE WEST .
’
This is an o ther o f Richard Gall s lyric s written in the pathetic style , .
Stenh o use s ay s The beautiful air to which the w o rds are adapted is
,
“
suppo sed to be of Gaelic o rigin We are inclined to think it rather an .
imitati on of a Highland mel o dy drawn considerably from th e ol d tune of ,
“
Bonnie D undee at an y rate it bears a strong resemblance to that tune , .
53 9 S CR OGGAM
. .
In the Museum this s o ng is s aid to be written by Ro ber t Burn s Sten .
house says This humorous and eccentric song beginning There was a
,
“
,
“
’ ”
wife won n d in Cockpe n was written by Burns for the Museum There , .
i s another and a very old song to the same air but it i s quite inadmis sible
”
.
,
Scott Douglas merely mention s This s ingular song has B urn s s name ,
“ ’
attached to it in the Mu s eum We place it here in c o n s equence of i ts .
c onnection with the preceding song s o far as l o cali ty is concerned & c , ,

”
.
The auth orship i s thu s inv o lved i n do ubt and Stenhouse add s to the nu ,
certainty by withh o lding the name of the inadmi s sible song and giving no ,
clue to the pre vi ous history of the air .
54 0 . O TELL ME MY BONNY , &c .
This is on e of Hect or M acn e i ll s l ove song s in which he makes the dear ’
,
’
lassie in order to try her l over s affectio n s assert that he has broken h i s
,
”
, .
vow and that his motive was s imply to p o ssess her t o cher
. The tune is .
an excellent one which Macneill is s aid to have picked up in A rgy l e s hi re

, .
In character i t smells strongly o f the heather .
54 1 . 0 MARY TURN AWA .
This and the following song are two excellent eff usions of the Muse
, , .
The firs t was written by Richard Gall and the second beginning Wh at , ,
“
P
226 EARLY SC O TTISH MELODIES .
ails this heart of mine ? is from the pen o f Miss B l am i re of Carlisle They ”
.
”
are both adapted to the old melody of My D earie if thou die which we , ,
have already noticed See No 8 2 page 8 3 . .

, .
542 . O GUDE ALE COMES ,

&c .
In the I l lustration s Stenhouse says This humo ro us drinkin g so ng wi th , ,
”
the exception o f the chorus which is old was wr itten by Burns Scot t , ,
.
Do uglas states The bulk of this son g is by Burns although a line here
,
“
,
and there belongs to an o lder s train of even less delicacy The air adapted .
to the words is The Bott o m of the Punch B o wl a tune belonging to ”
,
’
the first half of last century It i s included in Oswald s Collection of .
Curious Scots Tune s 1 74 2 , .
54 3 ROBIN SHURE IN HAIR ST ’

.
Stenhouse s ay s The tune and title of this song are ancient but the
,
“
,
’ ’
rest is by Burns In Oswald s Caledonian Pocket Companion book v
.
, .
page 1 1 the ai r with variations is i nserted under the title of Robin

, , ,
’ ’
Shear d in Her s t but the old words of the so ng are prob ab ly l ost The
’
, .
’
tune in some moder n collections is called Bobbing John but erroneously
, ,
‘
, ,
for that is the n ame of a very old Englis h air prin ted in Pl ay ford s Dan ci ng ’
Master in the tim e o f g or s i x quavers in the bar s o far back as 1 657

, , ,
and i n all the subsequent editio ns of that work I t i s qui te different .
fro m the Sco ttish ai r The ab o ve note is very f ar wrong Should the
;
.
”
.
’
reader turn to Oswald he will find a different air called Rob shear d in ,
”
Her st Th e tu n e in the Museum is assuredl y named B obbin J ohn
’
.
in some collections and Bob and J oan in others but the n ame of the
,
”
very old English air in the Dancing Master is not Bobbing J ohn but
I t was prin ted in 1 651 an d is quite diff erent fr om the
”
“
Bobbing Joe .
,
on e under review The tune J ohnson gives i s popularly kn o wn as Bob

.
“
and Joan and Bobbin John and is at the present date sung to a song ,
”
’
called Ta Ph ai rs on“
The mel o dy however occurs in Walsh s Cale.
, ,
“
”
d oni an C ountry Dances b ook i ii as The Key of the Cellar The t une , ,
.
’
given by Oswald and later by Bremner is als o found in Wal s h s Cale
, ,
“
”
domian Country Dan ces book ii as Rob shear i n Harve s t but in ,
”
c o mmon instead of 3 measure .
544 . WHA WADNA BE IN LOVE , &0 .
Thi s tune is Maggie Lauder . See English and o ther claims page 4 9 , .
228 EARLY SCOTTISH MELO DIES .
’
550 . TIS NAE VERY LANG SINSYNE .
The tune to which the words of thi s s ong have been adapted is err one o usly ,
called by Stenh o u s e We ll kick the world befo re us

, The air h o wever ’
.
”
, ,
appears in book xii of O s wald s Caledonian P o cke t C ompanion page 4

.
’
, ,
’
under t he title of We ll kiss the world before u s
“
It c onsists of six .
strain s and the s ong i s s ung to the firs t and f o urth Stenh o use seems to
, .
have confo unded the name o f this tune with that of Kick the world before
you contained in the Caledonian Pocke t Companio n b ook x page 1 5
, ,
.
,
.
The song is take n fr om He rd s Ancient and M o dern Scotti s h Songs 1 776 ’
,
.
551 LOV D
’
. O ONCE I .
This s ong i s said to be Ro bert B urn s s first attempt at lyric and he ’
directed it to be sung to a reel tune a fav o urite o f h i s hero ine called I am , , ,

“
”
a man unmarried Stenho use tells u s s o the s tory g o es that Bur n s
.
,
abando ned the idea of using this tune and had i t s e t to the beauti ful ,
s low mel o dy in the Museum which he picked up and tran s mitted to the ,
publishers of tha t work ; i t is said to be very ancient We are afraid .

”
S te n h o us e s story cannot be trusted

’
Wh y was th e so ng with i ts beautif ul .
,
melody n o t published before t he death o f the p oet and of Stephe n Clarke ?

,
It may be remarked that the sixth volume of the Sco ts Musical Museum “
did n ot appear t i ll March 1 8 04 th o ugh its preface i s dated 4 th June ,
1 8 03 .We have fai led to find any tune whatever bearing the name of I
am a man unmarried It might have been a l o cal n ame for s o me well
.
known reel which cann o t n o w be discovered The supposed ancient ai r

,
given in th e Museum is we are dispos ed to think fro m the style of its con
, ,
cluding cadence composed for tha t work by some precentor

,
.
552 . WHEN I THINK ON MY LAD .
This song was wri tten by Allan Ramsay Stenhouse tel ls us Ra msay .
,
published it in his Tea Table Mi scellany under the ti tle of Her Daddy -
‘
forbad her Minny forbad in

,
This is another of his mistakes ,
’
,
it did n o t appear in that year Ramsay named his s ong My Dady forbad .
,
and my Minny f o rbad and made no reference to any air The tune adapted
”
,
.
to the w o rd s in the Museum is an English melody comp o sed by Jeremiah

Clarke a musician who lived at the end of the s eve n teenth and commence
,
’
ment of the eighteenth centuries It is contained in Oswald s Cale .
doni an Pocket Companion book x page 1 cal led Hark the cock ,
”
.
, ,
“
,
We posse s s a co py of Th e Te a Tab -
leM i sce ll a n y , or a C o ll e c ti on of S co t ch S a ngs . Th e
Te nt h E diti on . Be i ng th e Wh ol e th a t a re conta i n d i n th e Th re e Vol um e s j us t P ub li s h e d
’
. By
553 . RETURN H AM E WA RD .
This song though Stenhou s e says it i s in the Tea Table Miscell any 1 724
,
-
, ,
d o es not appear before the end of the third volume in the edi ti on o f 1 73 4 ,
mentioned in the previ ous note I t bears the name of Fint a crum of .
thee she faws in the Miscellany and has the letter Z attached to it but , ,
n o tune is mentio n ed The tune in the Museum h o wever is contai ned

.
, ,
in Ai rd s Selection of Sco tch Engli sh Irish and Foreign Airs 1 78 2 as

’
, , , ,
”
The Spinning Wheel and that song is in cluded in the sec ond volume
,
o f the Tea Table Miscell any We kn o w of no tune in any collectio n pri o r

-
.
’
to the Museum entitled Fint a crum o f thee she faws Oswald s .
“
Spinning Wheel i s not the same air Since writing the above we have
”
.
”
discovered the melody entitled A Scotch Tune in a London publication , ,
of 1 729 .
’
MY LADY S GOWN THERE S GAIRS UPON T
’ ’
554 . .
This is another song having prefixed to i t in the Museum Written for ,

“
”
this w o rk by Robert Burns It may be his b u t we he s itate to believe .
,
that John son retai n ed in his poss ession sixteen songs written by Burn s till
he published hi s sixth v o lu me seven years after the bard s death The ai r ,
’
.
to which the words are adapted is a strath spey beli eved to be the com
position of James Greig a teacher of dancin g i n Ayrshire It i s much in, .
’
the style of Greig s Pipes a tune named after the same composer , .
555 . MAY MORNING .
This song o f May M orni ng is a mere trifle which was anonymously

“
_ ,
given to Johnson Stenhouse says It is adapted to an old strathspey

.
,
“
”
tune which is very pretty but his opin ions anent dance music seem to us ,
of li ttle value What its name is or where he found it we know not ;

.
,
but the second strain somewha t reminds us of My love she s but a ’
”
lassie yet .
All an Ramsa y Dub l in 1 734 We find th e l ast te n songs i n th e third v ol ume are tak e n
.
, .
from i t a nd al ong wit h th e m five oth e r songs not pre vi ously pub l i s h e d b y Ramsa y h a v e b e n
, , , e
a dde d to th e firs t v o l u me of 1 724 i n th e co ll e c t e d e d iti on 1 74 0 Th e nam e s of th e s o ngs a re To , .
L M M be gi n ni ng 0 Mary ! thy gra ce s a nd gl a nce s

. . .
”
Thi s i s n o m i n e a i n Hous e
Fi n t a Crum of th e e sh e faws To M ri s E comm e n ci n g Now P h oe b us a d v a nce s
.
“
on hi g h M y Da dy forb a d a nd my M i nn y forb ad S t e e r h e r u p a nd h a d h e r ga un
” “
, ,
C l out th e Ca l dron Th e M al t Ma n B onn y B e s s i e - Omn i a vi n ci t a m or Th e

”
aul d Wi fe b e y o nt t h e Fire I l l ne ve r l o v e th e e m ore The B l a ck B i rd Tak e y our

“ ’
Aul d C l oak ab ou t you ; a ud The Q ua drupl e Alli a nce ~

.
”
’
556 . DINNA THINK BONIE LASSIE I M GAUN TO LEAVE YO U .
In the Illus tratio ns Stenh o u s e says Hect o r Macneill E s q info rmed the , , ,
edit or that he wrote the wh o le of thi s s ong except the las t ver s e which th e ,
late Mr J ohn Hamilt on m us i cse ll e r in Edinburgh t o ok the li be rty to add

, ,
\
to it and to publish as a shee t song

,
It was on this account ( Mr Macnei ll .
added) that I did not incl ude this song in the c oll ecting my poetica l
w orks f or the uniform editio n in t wo v o lumes which h as been give n to ,
the public For a s imilar reason he o mitted an other song li kewise wri tten
.
,
’
by him beginnin g My l ove s in Germany Taking this s t o ry f or granted
, .
”
,
M acn e i ll s action was absurd ; he could have o mitted Hamilt o n s ver se the
’ ’
additio n to the song harmed n obo dy Burns and many other p o ets have .
dOn e the like to several songs and it is n o t alleged that Hamilt o n al t ered ,
or m angled any of M acn e il l fs ver s es If Stenh ouse had s aid that Cl un i e s ’

.
Reel ( taken from Cummi ng o f Granton s Reels and Strathspeys ) i s adapted ’
to the son g instead o f the s ong to it he would have been very much nearer ,
the mark The same tune i s fo und in Robert Bremner s Reels called
.
’
” ’
Carrick s Reel twenty year s before A Cumming s c o llectio n
’
, . . .
557 o GI N I
. WERE FAIRLY SHOT o HE R
’
.
Stenh o use in h i s Illustrations states This old so ng recei ved s ome ,

“
additio ns and correction s from the pe n of Mr J o hn Anders on engraver o f ,
music in Edinburgh who served his apprenticeship with Johnson the pub
,
li sh e r The ai r unde1 the tit le o f Fairlie Shot o f Her appears in Mrs

.
,
‘
_
,
’
Crocket s Manuscript Mu s ic Book so that the tune i s very old It 1 8 also

’
, .
pre s erved in Oswald s Caledoni an Pocket C o mpanio n and various othe r

’
,
’
”
collections We are lef t in entire ignorance as to the s e additions and
.
corrections The origi nal words of the song however were p robably
.
, ,
Irish as we suspect was also the m el o dy alth o ugh we a re able to trace i t

, ,
’
as far as Wal s h s Caledonian C o untry Dances book i ci rca 1 734 and i n , .
, ,
“
Aria di Camera .
558 . HEY MY KITTEN MY KITTEN .
In the Illustrations we are i nf ormed This humo ro us nurse ry song was ,

“
written about the beginn ing of last century by the celebrated D e an Swift .
The w ords are adapted to the old Scottish ai r cal led Whip h er be low the ,
Couri ng which is inserted in the Crock at Manuscript and was printed in

’ ‘ ’
, ,
’
the Dancing Master by Playfo rd under the name of Yel low Stockings , ,
’
i n 1 657 This tune has been a great fav o urite time o u t of m i nd in bo th

.
,
kingdoms Whether the tune appears in the Crocka t MS under any

. .
name whatever we are unable to say but it is certainly n o t f ou nd in any

, ,
befo re the Museum There i s h o wever a vers io n of the same melo dy

.
, ,
entitled Under her apr on in th e Macfarl an MS suppos ed to have been ,

”
.
written 1 74 0 .
563 . IN YON GAR D EN , &c
Stenh o use say s he was info rmed by Mr Anderso n the author of the ,
previo u s so ng that the w ord s and mu s ic of this were taken down fro m the
,
“
sin ging of Mr Charles J o hn s on father of Mr Jame s J ohns o n the publi sher , ,
o f the Mu s eum We are n o t aware that the air appeared in any col lectio n
.
’
prio r to the Museum It is c o ntained in John Hamilto n s Caledonian
.
Museum a few years later under the same title with fo ur bars of the mus ic
, ,
repe a ted for the two last lines of eac h verse .
564 . THE P OOR PEDLAR .
We consider that neither the w o rds nor the air of this song are worthy
o f n o t ice whatever their natio n ali ty
, The s ong contains a s train of double .
e n te n dr e and the melody i s of n o meri t

,
.
565 . YOU ASK ME C HARMING FAIR .
This very elegant s ong was wri tten by Wil liam Hami lt o n of B angour .
I t p ro bably had no air attached to it befo re the on e prin ted in the Museum .
Stenho use says The c o mp os er o f the charming mel o dy to which the

, ,
ver s e s are united has hithert o escaped the res earches o f the editor
, We .
”
think the adjective in this in s tance superfluous ; the composer was pro
bably the same who pro duced the air for No 551 . .
O KEN YE WHAT MEG 0

’
566 . THE MILL HAS GOTTEN
In the Mus eum we find following the title of the song Written fo r
, ,
“
this w ork by Robert Burns Whether the poet wrote this song or accord.
, ,
i ng to Stenh o use simply retouched it in 1 788 it seems strange that i t was

, ,
n o t published till nearly eight years af ter his death In a letter to Geo rge .
Th om son in 1 793 Burns s ay s Do you know a fine air called Jackie ,

“
Hume s Lament ? I have a so ng o f considerable merit to that ai r

’
The .
verses sent to Thom s on are entirely diff erent but we are no t sure that he ,
’ ”
published them Jackie Hume s Lament we have fai led to find i n any
.
“
collection of tunes issued prio r to the Museum .

567 . HOW SWEET IS THE SCENE .
This song is another fine e ff usion of Richard Gall It is wedded to an .
”
o ld Iri s h mel o dy called The Hum our s o f Glen which is frequently f ound ,
i n Sc o tti s h c o llectio ns and was published wi th varia tions by Niel Stewar t

,
in 1 772.
5 68 . S URE MY JEAN .
This is another song of which Richard Gall is the auth or Stenhouse .
says The w ords are adapted to a very pretty modern air which was com
, ,
m un i cate d by Mr Gall himself

”
I t is pr o bably an Iri s h tune . .
569 . HOW SWEET THE LONE VALE .
This song according to Stenhouse was written by Andrew Erskine

, , ,
brother o f Thomas the mu s ical Earl of Kelly Burns in a letter to Ge orge .

,
Th o mso n o f April 1 79 3 says Mr Erskine s s on gs are all pretty but h i s

, ,
“ ’
Lo ne Vale i s divine Burns h owever c o ndemn s Er s kine s reference to

.
, ,
’
the nightin gale in a Sco ttish s ong The air t o which the vers es are adapted .
i s called Lord B ra dal b an e s Mar ch or B oddi ch n am E rigis and was first

“ ’ ’ ”
,
published i n Daniel Dow s Ancient Scots Tunes ci rca 1 775 ’
, .
570 . J OCKE Y S TA EN THE PARTING KISS

’ ’
.
We find Written for this w o rk by Ro ber t Burns after the title of the
“
song in the Mu s eum The melo dy adapted to the w ord s i s an old tune
.
”
called B onny La ss ie tak a man
“
It is on e of the airs contain ed in .
M itchel l s Highland Fa ir a Sc o t s o pera 1 73 1 and it is also included in

’ “
, , ,
’ ”
Oswald s Caledo nian Pocket Companion b o ok xi p 1 8 Whether there , . . .
was an old song beari ng the name of the tune or the title was simply given ,
to a Sco ts measure we have not been able t o discover but Johnson has
, ,
spo iled the music .
’
571 . WHAT S THAT TO Y O U ?
—
This i s an Anglo Sc o ttish song written by D Urfe y so mewhat modified ’
,
by Alla n Ramsay wh o directed it to be sung to the tune of The Glancing

,
”
o f her apron The melody appears to be a modern Sc o ttish productio n of
.
a lively character probably a composition of Rober t Mackintosh and first

, ,
published in the Museum .

572 . LITTLE WAT YE W HA S COMING ’

.
In the Illu s tration s Stenhou s e s ays j This Ja cobite ballad was written ,
‘
ab ou t the time o f the Rebell ion in 1 71 5 Its old title was The Chevaliers .
Muster Roll 1 71 5 Th e author of course is an onymou s

-
,
. We a re un able
, , .
”
to s ay whether the s e statements are correct but we rather thin k it is to ,
James Hogg we are indebted for the title o f The Chevalier s Mus ter Roll ,
’
-
.
Stenhouse adds The old tune to which the word s are adapted wa s
,
“
’
fo rmerly called Fiddle Strin gs are dear La ddie fro m the first line of an ,
”
ancient though almo st n ow f o rgo tten song In recent collection s it go es .
under the n ame o f Tail T o ddle We have no t found the tune under
“
.
the appellati on Fiddle S t ring s are dear Lad die but in Wal s h s Cale
“
,
’
d on i a n C o untry Dances it bear s the n ame o f Fiddle Faddle In Margare t “ ”

.
S i nk l e r s Mu s ick B o ok 1 71 0 there i s another ver si on of the tune with o ut

’
, ,
name .
573 . O LEAVE NOVELS , &c .
This so ng was written by B urn s and intended in a humorous way to give ,
wh o le some advice to the ladi es o f Mauchline The tune to which th e words

_
.
are wedded is a spi ri ted on e of the Scots measure class S tenhouse call s it .
”
“
a favourite Sc o ts m e a s ure or dancing tune Burns so far as we kn o w .
, ,
did n o t d i rect the s ong to be sung to any air and we are not aware o f ,
this fav ourite Scot s meas ure having seen the li gh t b e fore its insertion in
-
the Museum It is an excellent example of a Sc o tti s h melo dy fall i n g

.
one tone to the key immediately below and ri sing again to th e ori gi n al ,
key which cann o t b e treated as a flat seventh in the major mo de I t

,
-
.
is also minus the sixth of the key through o ut n o A n ote occurring in the ,
tune .
574 . O LAY THY LOOF IN MINE LASS , .
This song is on e which Burn s wrote for the Museum The air to which .
’ ”
the words are adapted is called The Cordwainer s March which was “
,
played by the band that h e aded the procession of that ancient craft i e , . .
shoemakers on the o cca s ion o f their celebrating St Crispin s day the patron
,
’
saint o f the bro therhood This is another rem arkable tune which i n the
.
,
first strain begins in the min o r and ends in the maj o r key and i n the sec ond ,
strain commences in the major and finishes in the minor key The melody .
is included in Ai rd s Selection of Scotch English Irish and Foreign Airs

’
, , , ,
vol i 1 78 2
. . .
579
’
. O HEARD YE E ER OF A SILLY BLIND HARPER .
The words o f this song as well as the air seem to be of B o rder o rigin , , ,
and of a class which probably w i led away the long winter n i ghts at the
fireside of many a farmer The mel o dy posses ses little o r no merit b u t
'
.
,
s uit s well enough a ballad of twenty one verses -

.
58 0 . MY NANNIE O .
The w o rds of
thi s excellent song were written by Burn s and publi s hed ,
i n th e e d i ti on o f h i s P o ems 1 78 7 The p o et directed the song to be sung

’
.
,
t o the old mel o dy My Nanny 0 Johnson however had already pub

“
.
, ,
li sh e d that ai r to other verse s and he substituted a melody composed by ,

'
Thomas E b don o f D urham I t i s a fine air in the style o f a Scottish .

‘
,
quickstep or h o rnpipe b u t n ot in acc o rdance with the spirit o f the words

, , ,
it is o f a too lively description The song is now sung to the ancient .
melody .
58 1 . AS I LAY ON MY BED ON A NIGHT .
This fragment of an ancient balla d with i ts mel o dy was recovered by , ,

”
Burns and tran s mitted to J ohn s on for the Mu s eum — Illustrations We
, , .
’
suspect the statement to be o n e o f S te nh ou s e s inventio n s ; even the un
scrupul o us Allan Cunningham did not inser t it in his editio n o f B urn s s ’
Wo rks The melo dy we believe to be ancient though the song in Wedder

.
,
burne s Ane compendious B ooke of Godly and S pi ri tuall Son gs has not
’ “ ”
’
any tune pri nted to it a t any rate in D Lai ng s reprint of the work We
, . .
have evidence that We dde rb urne s songs were known in England i n the ’
reign of Eli z abe th as Joh n Dowland c o mpo s e d a melo dy f or Go from my

,
wi ndow goe His tune however is not that printed in the Museum n or
, .
”
, , ,
the more ancient set given in the Illustrations Stenh o use has o mitted .
to state the s o urce from which he o btained it and we have not discovered ,
a ny ear ly c o py of the tune .
58 2 . THE R AIN RINS D OWN E TC , .
It i s questi onable whether the words or th e air of this song have the
antiquity assigned to them No doubt the verses refer to a time when .
the populatio n through ignorance and superstition encouraged and fed by

, ,
the monks believed in such tales and without the least evidence made
, ,
them a pretex t for robbing and kill ing unfortunate and unoffending Jews ,
who were accused of murderin g Christian childr en According to Sten .
house the ballad i n the Museum is Scottish and was received by Bishop
, ,
Percy from Sc o tland and publis hed by him i n 1 765 We get n o account
, .
whatever o f the melody and we are do ubtful if i t ever appeared in any

,
c ollectio n prior to the Museum We consider it to be o f the m o ngrel .
species compounded fro m The Ma son s Anthem Merrily danced the

,
’
Quaker & c , .
58 3 CAULD IS THE E E NI N
’ ’
. BLAST .
This short song was written by Burns f or the Museum It is adapted .
to th e old Scotti s h a ir called Peggy Ram s ay which i n several bars ‘

,
’
resembles the tune o f O er B ogie Illustratio n s We fail to see th e lik e

’
,
’
-
.
ness which Stenh o use refers to , but had he said that the tune has a con
s i de ra b l e resemblance to the first strain of the reel called The Maso n “
Laddi e or The Mas o n s Apr on he w ould have been nearer the mark
,
” “ ’
, .
We have n ot found the air befo re the Muse um b ut in the Ro wal lan ,
Ma nuscript there i s one called Maggie Ramsay a versi o n of which ,
Chappell has give n i n h i s Po pular M us ic of the Olden Time as an

Engl ish tune See English Clai ms page 28
.
, .
58 4 . O TURN AWAY THOSE CRUEL EYES .
The auth or of thi s so ng is unkn o wn Stenh o use s ay s this s o ng i s .

,
“
’
adapted to an old air called Be Lo rdly Lass ie but he h as not given the ,
leas t evidence i n support o f his assertion We do n ot believe it to be .
Scottish ; its characteristics are those of an Iri s h tune .
’
58 5 . O MARY YE S BE CLAD IN SILK .
This is a new melody written to a s lightly altered version of the Siller

Cro wn No 240 It was c o mp o sed by a Miss Grace C orbett when o nly
,
”
. .
-
’
ele ven year s of age and firs t appeared in Urbani s Selectio n o f Sco t s So n g s
, ,
book ii page 3 4 1 794 from whence it was taken for the Museum
.
, , , .
58 6 . THERE WAS A BONIE LASS .
This s ong we are info rmed was written by Burn s Stenh o u s e say s
, , .
,
t h e word s are adapted to the tune o f a favo u rite s low m arch but ,
he mentions neither the name of the march nor the so urce from which it
is derived As a march tune it is a very feeble comp os ition and we hav e
.
,
no t found it elsewhere .
58 7.NO CHURCHMAN AM I .
This i s an o ther so ng fr o m the pen of Ro bert Burns The tune to which .
it has been adapted is called The La z y Mist but is so mewhat altered in ,

”
.
the second strain It is c o ntained in Oswald s Caledonian Pocket Com

.
’
panion book xii page 20 We are quite convinced that it is an Iris h

, .
, .
mel o dy .
58 8 THE HIGHLANDER S LAMENT ’

. .
In the Illu s trations we are told This song is a fragment of a larger ,

“
poem supp o sed to have been written by an anonymous ha nd after the

,
.
battle of Cu l loden in 1 74 6 The tune is s aid to be a Gae lic melody

, In . .
”
the Rev Pa trick M D on ald s Col lectio n o f Highland Vo cal Airs etc 1 78 4
.
‘ ’
,
.
, ,
i t is i n ser te d as an Irish ai r the only example he gives o f an Irish melody ,
in his work Gow in his Fourth Collection 1 8 00 on page 1 1 calls it

.
, , , ,
Cai rngoram Mountain a very old Gaelic air

’ ”
We may state that , .
the sets are nearly iden tical but J ohnson has copied from Gow -
,
.
’
58 9 . THERE S NEWS LASSES NEWS , , .
In the Museum we find Written f or this work by Robert Burn s ,

“
.
Stenhouse h o we ver states This humor o us song was retouched by Burn s

, , ,
’
fro m a very ancient one called I winna gang to my bed until I get a man .
I t is adapted to the l ively o l d o riginal air which may be c on s idered one of ,

’
the earliest specimens o f Sco ttish Reels It appears in Skene s MSS . .
,
ci rca 1 570
”
under the title of I winna gang to my Bed til l I sud die
,
.
Stenhouse draws erroneous conclusions both a s to the age and c o ntents

o f the Skene MSS The tune called I will not goe to my bed til l I suld
.
di e is entirely di ff erent fro m that in the Museum It was published in a

”
.
,
small collection o f Reels by Aird and is found on page 5 o f the first ,

’
number The first strain is nearly There s nae luck about the House
. .
59 0 . HARD IS THE FATE OF HIM WHO LOVES .
This beautiful song is from the pen of James Thomson the auth o r of ,
The Season s We su s pect it had no air previous to its appeari ng i n

.
”
the Museum The mel o dy is an excellent o n e ; really Scotti s h in

.
character but seemingly m o dern

, Its c o mposer who is unknown has .
, ,
”
been somewhat indebted to the tune o f The Spinning Wheel See “
.
Return Ha me ward No 553 ,

”
. .
ar ticle h as made a diligent s earch f or this productio n ( Campbell s sheet ) ’

,
but has met with n o c opy to decide the que s tio n between M e ssrs Go w and
”
Campbell Stenhouse h o wever tries to s upp ort Go w fro m whom he
.
, , ,
doubtle ss obtained much fals e info rmation but we have in our p o s sess ion a ,
c opy of the s heet Stenhouse c o uld n o t find and it entirely corr ob orates ,
’ ’
Campbell s claim We add the fo ll owing extract fr om Ge o rge Thomso n s
.
Select C o llectio n o f Original Sc o tti sh Airs 1 8 1 8 vol v.page 21 5 Thi s , , .

, ,
melody made i ts firs t appearance in Gow s C ol lection of Strath s pey s ’
and Reel s so me twenty years ago and has since been published by dif ,
e re n t pers o n s both with and with o ut verse s

,
Mr Gow tells the E di t or that .
he go t it fro m Mr Dalrymple of Orange fie ld who had it from a gentleman ,
fr o m on e of the Wes tern Isles as a very old Highland production and as , ,
s uch the Edit o r sent it t o Beethoven But h o w uncertain i s the hist ory .
’
of mel o dies ! It has very lately been published in Albyn s Anthol ogy as a
c o mp o sitio n o f the Edit o r of that C o llection This s t o ry to Th omso n is .
”
n o thing more than an attempt to c over the fraud c ommitted by Nathaniel

Go w The air is n o w wel l kn o wn as Gl oo my Winter s n ow awa from “ ’
.
, ,
Ta nn ah i ll s beautiful so ng to which i t has been m os t happily adapted

’
.
,
59 5 . NAE LUCK ABOUT THE HO USE WHEN OUR GOOD ,
VVI FE S AWA
’
.
This s ong c o ntains some hum o ur but it is of a vulgar de s cription The , .
tu n e to which it i s adapted bears n o relation to that which h as gud e ma n

in i ts title instead o f goodwife It i s a m o dern melo dy n ot fo und in any
.
,
w o rk earlier than the Mu s eum Stenh ouse s ays J ohnson inserted this .
,
s prightly m o dern tune f or the sake o f variety

”
.
59 6 LI V D
’
. ANCE TWA LO VERS IN YON D ALE .
This old ballad was printed in Herd s Col lection 1 776 entitled Wil lie ’
, ,
and Annet The tune united to the s ong i n the Museum is taken from
.
S i b b al d s V o ca l Maga z ine and it i s s aid was furnished f or that w ork by a

’
, , ,
lady in Orkney In Ri ts on s Sc o tish S o ngs 1 794 the w o rds are printed ;

.
’
, ,
but he gives no tune .
59 7 . O M ALLY ’
S MEEK M ALLY ,
’
S SWEET .
Burn s wr o te thi s song for the Museum He is also said to have given .
J ohns o n the air to which it is j oined Stenhouse remarks it is evidentl y .

,
“
borrowed from the fine ol d Lowland melody of Andro and his Cutty ‘
’
Gun . On c omparing the two tunes we can not endo rs e h i s opinion ;
though the rhythm is so mewhat similar The tune was published pro .
bably ab o ut fifteen year s before the sixth volume of the Mu s eum with the ,
’
s trange title Of Devil fiy o er the water wi her in No 2 of J Ai rd s Reel s ’
,
”
. .
’
.
59 8 . TELL ME J ESS Y TELL ME WHY

, ,
.
Thi s song is fr o m the pen of John Hamilt o n the mu si cse ll e r whom we ,
have already mentioned in our n o te to song No 59 2 The modern air h as . .
evi dently been indebted to Corn Riggs which it resembles very much “
,
”
.
Its composer is unknown .
599 . I CARE NA FOR YOUR EEN SAE BLUE .
Hamilton is al so the w riter of this excellent song which is wedded ,
to a pretty melody We are not aware of its appearance i n any earlier

.
coll ection but it was probably published by Hamilt on in sheet form The
,
.
composer of the air is unknown Stenhouse says Jo hnson received per .
mis sion fro m Mr Hamilton to include this and th e p revi ous song i n the
Museum .
BE
’ ’
600 . GO OD NIGHT AND J OY , WI YOU A .
This song with which J ohnson concludes th e Museum was w ritten by

, ,
Robert Burn s The tune Stenhouse says has time out of mi nd been
.
, ,
played at the breaking up o f convivial parties i n Scotland It has .

”
been e mployed by many c ompiler s and publishers as the last tune of their
collectio ns The antiquity of the air is undoubted It is included i n the
. .
Skene Manuscript under the title of G oo d night and Go d b e with

,
“
,
”
you and we c onsider its nationality proved by its appearance under
,
the same title in Henry Pla yford s Original Scotch Tunes ( Full of the ’
Highlan d Humours ) for the Violin ; Being the first of this kind ye t
printed etc 1 70 0 Thi s work was publis hed in London by the son o f
,
”
.
,
.
J ohn Playford .
CHRONOLOGICAL LIST OF “
HIGHLAND LADDIES .
”
Th e first tune called Highland Ladie is from the Leyden MS 1 69 2 . .
It is not referred to in any of our n o tes b u t a versio n of it ( the earliest in ,

’
print ) appears in Henry Play ford s Original Scotch Tunes 1 70 0 entitled , ,
’ ”
The Lord o f Cockpe n s Scotch Measure and it occurs again in Margaret ,
S i nkl e r s MS book 1 71 0 as Helen Home s Sco ts Measure

’ ’ ”
.
, , .
New Hilland Ladie is fo und in the B lai ki e M S 1 69 2 It appears as .

, .
’ ”
Cockle Shells in Pl ay ford s Dancing Master 1 70 1 and as High “
, ,
“
land Ladie in Margaret S i n k le r s MS 1 71 0 These are different versions ’

. .
of th e same melody The tune called The Lass of Livingston No 1 7

.
“
, .
Q
Tm: Bu cx HI GHLAND LA Dmn
T m
: Ne w me m o Lacuna
;
in the Scots Mu s ical Museum which has been copied from

“
,
“
The
Musick for the Scots Songs in the Tea Table Miscel lany circa
-
, 1 726 ,
is merely another versio n of S i nkl e r s Highland Ladie 1 71 0

’ “
, .
C H A P TE R V I I .
EARLY SC OTTISH MUSICIANS AND ENGRAVERS .
WILLIAM THOMSON .
W E do n o t possess much knowle dge of our early musicians and what we ,
do know is mostly gathered fr o m their works According to William .
Tytler of Woodhouselee Wil liam Th omson was the son of Daniel Thomson
, ,
on e of the Ki ng s Trumpet s
’
a Herald Trumpeter ) Willi am was bo rn .
towards the end of the seventeenth century and when a b oy t o ok part as , ,
a singer at a concer t called The Fea s t of St Cecilia in 1 69 5 Tytler

, ,
”
.
says Wil liam Thomson was early distingui shed f or the sweetne s s o f his
,
“
voice and the agreeable manner in which he sung a Scots song

,
He .
settled in Lond on and we are t o ld that he received frequent r oyal com

,
m ands to sing Scots songs at Court on which occasions he was much ,
taken n o tice of .
From B urn e y s History of Music we find that In February 1 722

’
, ,
there was a benefit c o ncert for Mr Th omso n the first editor of a collection ,
of Scots tunes in England To this col lecti on f or which there was a very
.
,
large subscription may be ascribed the subsequent favour of these national

,
melodies south of the Tweed After this concert at the desire of sever al
.
,
persons of quality was performed a Scottish Son g

, Burney is wrong .
in callin g Thomson the firs t editor in England of a c o llection of Scots

tunes ; had he mentioned Scots s ongs however we could not have objected, ,
to his statement In 1 725 Thomson published his Orpheus Cal e doni u s

.
,
“
,
or a c o llection of the best Scotch Songs set t o Mu s ick a fo lio volume ,

”
containing fifty songs dedicated to the Prince s s of Wales ( afterward s

,
Q ueen of Ge orge A sec o nd edi tion was published in 1 73 3 i n two ,
volumes 8 vo The first volum e containing the same fifty songs as the
.
,
folio revised and considerably altered was now dedicated to the Queen and
, , ,
the sec ond volume with fifty other songs was dedicated to Her Grace the
, ,
Duchess of Hamilton It was also largely patronised as is seen from the

.
,
M USICIANS AND ENGRAVERS . 24 5
number of s ubscribers Allan Ramsay in the preface to Th e Tea Table

.
,
-
”
Mis cell any second edition a ccuses Th om s o n as fo llows
,
Fro m this
,
Vo lume Mr Th omson ( wh o i s all owed by all to be a goo d Teacher and

, ,
Sin ger of Scot s s ongs ) culled his Orpheus Cale doni u s the Musick bo th for
, ,
the Voice and Flute and the Words of the S ongs finely en graven in a foli o
, ,
B ook f or the U se of Per son s of th e highes t Quality in Britain an d dedi ,
cate d to her R oyal Highne ss n ow her Maje s ty our m os t gracious Queen , .
This by the by I thought pr oper to intim ate an d do my s elf that Jus tice ,
which the Publisher neglected ; since he ought to have acquainted his

illustrious Li s t o f Subscribers that the mos t of the S ongs were mine the , ,
Musick abstracted ( C o pied fr om the edition of

.
”
It w i ll be seen
that Ramsay doe s not claim all the songs s everal of which do not appear ,
in the first volume of The Tea Table Mi s cellany The foll o wing is
“
-
.
”
Hawkin s s estimate of Th oms on : The edit or ( of the Orpheus ) was n o t a

’ “
musician bu t a tra d es m a n and the co llectio n is accordingly injudiciou s

, , ,
and very incorrect In the Introducti on to the Illustrations Stenh o use

.
”
say s I should think he ( Hawkins) mus t have been mis informed i n mak
,
”
ing such a statement ; but if Hawkins judged by the acco mpaniment s to
the melodies he was no doubt correct We have not been able to ascertain
, .
when Thomson died but a manuscript note fo und among the paper s of
,
Ge orge Chalmers sh ows that in March 1 753 he received fr om Rober t , ,
D od s l e y the Lo ndon bo okseller th e sum of £ 52 1 0s f or the copyright and

, , , .
plates o f the 1 73 3 edition of h i s Orpheus Cale doni us .

”
ADAM CRAIG .
Of his early his tory we have been unable to find any record In 1 69 5 .
,
h e was one of the pr o fes s ional musicians wh o to ok part in the performance

”
at a concer t called The Feast o f St Cecilia “
As a vio linis t he must .
have pos s es sed some ability f or he appears in the programme of the ,
concert as principal second vi olin ; and in a concerted piece f or a few

instruments the violin part was allo tted to him William Tytler in The .
,
Transactions of the Society of Antiquaries of Scotland 1 79 2 say , ,
Adam C raig was reckoned a good orche s tra player o n the violin and ,
teacher of music I remember him as the second vi olin to M Gi bb on in

.
‘
the Gentleman s Concert Craig is better known by h i s publication A

’
.
”
,
“
”
C oll ection of the Choicest Scots Tunes f or the Harp s ichord etc dated ,
.
,
1 73 0.
We possess however an undated copy of this work which we
, , ,
believe to be earlier I n the Catalogue o f Musick styled the complete

.
,
”
and curious col lection of the late Lord Colville one of the lots is Mr Adam ,
C raig s Works in one book folio M S Thi s sale took place on November
’
, , , .
,
26 1 728 and the announcement goe s to confirm our beli ef that Craig s
’
, ,
work was publi shed before 1 730 Stenhouse says Craig was a very .
old man when he publi shed his collection clearly an in ference fro m ,
his performance in 1 69 5 In the Introduction to the Illustratio ns it is

.
,
stated that according to Professor Mackie s MS Obituary Adam Craig

,
’
.
, ,
musician died in October 1 74 1

, We find however tha t the entry of .
, ,
C raig s burial in the Greyfr iars Records i s September 3 rd 1 74 1

’ ’
, .
JAMES OSWALD .
THE first n o tice of Oswald we have been able to discover is an advertise

ment of 1 2th August 1 734 announ cing A Collection of Mi nuets to be ,
“ ”
publi shed by subscription Composed by James Oswald Dancing Master ,

“
, .
”
Oswald born 1 71 1 was a Scotsman but th e place of h i s bir th we have

, , ,
been unable to asc e rtain At the date of the advertis ement he was .
,
twenty three years of age

- His b oo k of Minuets h o wever ( as we are .
,
informed by a subsequent advertis ement ) did n ot appear till January ,
1 73 6 ; by which time Oswald had removed from Dunf ermline to Edin burgh ,
where in c ompany with Mr Jones he taug h t danci ng at h i s l odgin gs in

, ,
Skin ner s Close and where his subscribers were to receive their c opies
’
,
.
David Laing in the additional il lustrations to Part IV of S te nh ou se s

,
’
Illustratio ns of the Lyric Poetry and Music of Sco tland page says ,
of Oswald He probably held the o ffice of Music Master of Dunferm li ne

,
and Precent o r which was advertised as vacant 1 2th January 1 73 6

’
, .
Through the kindness of Mr Fairley Sessi on Clerk of the Abbey Church ,

-
,
Dunfermli ne we recently examined the k i rk records of the parish for the

,
five years pr ecedi ng 1 73 6 The result of the s earch sh o wed tha t the .
offi ce of mu s ic master and precentor had been vacant during the whole of
tha t period on acco unt of con gregational oppositio n to the presentee of the
Marquis of Twe e ddale and that eventuall y Alexander Scott from Aberdeen
,
had been appointed thereto — 24 th June 1 73 6 There is no mention what , .
’
ever o f J ames Oswald s o Dr Laing s surmis e would appear to be ground
,
less .
In May 1 740 Oswald advertises that he is at the request of seve ral

, ,
“
ladies and gentlemen publishing by subscription before he sets out for ,
Italy a Col lection of Scots Tunes which will consist of above 50 Tunes
, , ,
”
many of which were never bef ore printed etc Subscriptions were to be , .
taken at his lodgin gs in Carrubb e r s Close Edinburgh ’

‘
.
,
Whether he ever did se t out for Italy i s unknown ; but at all eve nts
the work referred to was published before he lef t the Scottish capital In .
1 74 1 or 1 74 2 Oswald se ttled in London which he doubtless considered a ,
better field for his labours ; and there all his su bsequent works were pub
l i sh e d
’
He commenced busin ess as a Music seller i n St Ma rtin s Chu rch
.
-
yard probably not earli er than 1 747 as the followi ng advertisemen t would ,
s eem to i n dicate
GEORGE R .
George the Second by the Grace of God King of Great Bri tai n France
, , , ,
248 EAR LY SC O TTIS H MELODIES .
as can be seen by c o mparing the fac simile reproducti ons annexed which -
,
pro ve that Simp s on s publi ca tion was the earlier and that Oswald had
’
the two bo oks re engraved -

.
A belief was prevalent in Scotland about the beginning of last century ,
tha t David Riz z io was the composer of some of our o ldest and finest
melodies Whether this belief ori gin ated with Wm Th om son i n hi s
. .
Orpheus Cale doni us published I n 1 725 — o r was curr e nt earlier it would

,
’
-
, ,
be diffi cult to say The date is ab o ut 1 60 years after the murder of Ri z z io

.
,
and the idea probably aros e i n fas hionable quarters where exo tic are even ,
yet preferred to native productions In his edi tion of the O rpheus .
Ca l e doni us London 1 725 Th omson p refixed Ri z z io s name to the

,
”
, ,
’
”
fo ll o win g seven tune s vi z The Lass of Pati e s Mill Bessie Bell
, .
’
, ,
”
An thou wer t my
” ” ’
The Bush ab oon Traquai r The Bonny Boatman , ,
ain thin g Auld Rob Morris and Down the Burn Davie ; but i n
,
” “
,
” “
,
”
his sec ond edition he o mitted the name of Ri z z io I n Wa tts s .

’
Musical Miscellany Lo n do n 1 729 3 1 the tunes , P inkie House ,

-
, ,
“ ”
( V ol The Bonniest Lass i n al l the World and Lesley s Marc h

“ ’
.
,
( V ol are ascribed to Riz z io and in The Mus es D elight Liverpool ”

.
, , ,
1 754 , Tweedside appears as a composition of Ri z z io In t h e preface to .
Francis Peacock s Fifty Scotch Air s ’

the Itali an is all uded to as
“ ”
foll ows N0 species of Pastoral Music is more di stin guished by the

appla use and admi ration of all good Judges than the Songs of Davi d
Ri z z io We cannot i ndeed with certai nty di stingui sh hi s Composition s
.
from those of his I mi tat ors nor can we determi ne whether he form e d ,
the musical taste of the Scots or onl y adapted himself to th e n ational ,
taste established before his time : but if we be l ieve tradition it is to ,
him tha t the Scots are indebted f or many of their fi n est Ai r s and custom ,
has now affixed his name to thi s particular Mode of M usical Composition .
”
The second v o lume of Oswald s Curious Scots Tune s contai ns s i x ’
airs ascribed to David Ri z o vi z The Cock La i r d Th e B la ck E agle , ,

”
,
”
P eggy I m us t love Th e e
,
Th e L owla nds of Hola n d Wi lli a m s Ghost
,
”
,
” ’
Th e la st ti me I ca me o er th e m oor
’
an d and though this i s the only work
in which he uses the Itali an s name Oswald has been denounced as ’
,
u n scrup ulous a n oted imposter etc because he followed a common

,
” ”
,
.
,
tradition which passed u n challenged in every publication before that of

,
Clark wh o states in the preface to his Flores Musicas published i n

,
“
,
1 773 David Ri z z io is now gene ra lly fixed upon as the Composer of th e

bes t of those del icate songs ; but how so gross a fal sehood com e s to b e
so universal ly be li eved is n ot easy to determ i n e Oswald h as also be e n
, .
”
accuse d by G F Graham of palming off his own compositions as Riz z io s

. .
’
,
y e t not a single example i n suppor t of such an accusation has be e n

adduced ; and while he has been credited with tun es to whi ch he n eve r
made any clai m he has also been charged with having put his nam e to
,
others which we re evidently not his own composition .
I n i llus t ration of the first of these al legatio ns th e foll owi ng may be ,

I 0 N D O N P r m t cd f o rrf
o
.
ppo fl te th e 8 : 0 r o f th e R
o re
Do o Mo h
1 11
ng
S w ee t m
g A ll
ey
y al E xc
_ a e
f il i a l” ma
y 54 44 4
,
Th e D e li
gh tf lu r o c x xr C O M PA N I O N fo r ti e
mrma n
‘
F l u te c on n nta i i
'
g a C ecti o ll on
o f th e m o i! Ce e b ra t e d I ta l i a n l
a nd En gl i fh Tun e s c uri o ufl
y ada
pte d to h
t at
A
I n fl ru m e nt i n
f i x B o ok Pn e c o f e a ch
f
.
or
n e at
ly b o n l
d gi t a nd l e m r tl i n one V o l Pn e
u . . o d
J
lo 6
”
8 1x S O NA TA S i n 3 Pa rts fo rfGo
rman F ute a Yi o la i lh l a Th o ro ugh
1
l
B a rs f o r th e B a r fi
p co n l o r V i o l o ncell o co m
poN i i i a l
f ami i a r ge fitee l
Ta l l c b J /
y P ri ce 4 - 3
’
In Oswald s Caledonian P o cket C o mpanio n there are two air s to which
“
as terisks are added in the Index ; these are Swee t s the las s that loves me ,
’
,
’ ”
and Kitty s Scots Measure ; but Oswald never attached hi s name to
“
either I n Henry Play ford s Original Scots Tune s 1 70 0 they are named
.
’
, ,
respectively C oz en Cole s Del ight and Madam M cKe e ny s Scotch ’
,
” ’
Measure Our opinion i s that the two asterisks are simply an en graver s
.
”
,
’
error which has been overlooked It may be n o ted that the names of a
,
.
n umber of th e tunes in the collection have been o mitted in the Index and ,
that o ther s are not in alphabetical order .
We are unable to understand why George Farqu h ar Graham in his ,
S o ngs of Scotland has used s uch terms regardi ng Oswald in his notes to
” ”
the songs Tweedside Afton Water and Louden s bonnie w oo ds and
, , ,
’
brae s and how John Muir Wo od wh o edited later e d itions should have
,
”
, ,
retained these notes Neither can have critically examined the allegations
.
”
against O s wald In the n o te to Tweedside for example we find James
.
, ,
Oswald described as a very unscrupul o us man wh o ascribed several of our ,
Scottish melodies to Riz z io for the purp os e of enhancing the value of h i s ,
collection s of Scottish air s in the eyes of the public ; an d again in the note ”
,
”
to Aft o n Water it is said We thus see clearly en o ugh that no depend
, ,
”
ence can be placed on these men ( James O s wald and William Thomson ) .
Further we are told that the c o ntemp orane ous Edinburgh c ollections
, ,
Allan Ramsay s c i rca 1 726 Adam C raig s 1 73 0 and William M Gi bbon s

’ ’ ’
‘
, , , , ,
1 742 whil e they contain m os t if n ot all the airs already named make
, ,
no mention whatever of Ri z z io ; but in these collections there are only

three of th e s i x airs ascribed by Oswald to Ri z z i o vi z The Cock , .
,
Laird ,
Peggy I must l ove thee and The la s t time I came o er
”
, ,
“ ’
’
the mo or Again in the note to Louden s b o nnie woods and braes
.
, ,
”
we find Thomson whitewashed by Graham whil e he adds James Oswal d , , ,
a noted impost o r in his Seco nd Collectio n of Sc o ttish Airs also printed i n

,
’
London again r esumed the ridiculo us deception regardin g Riz z io etc

, ,
”
.
We beli eve neither of the s e gentlemen capable of intentional decep tion ,
and yet a similar attack might with equal justice be made upon them .
Both have erred in accepting S te n h ous e s s tatement anent the authorship ’
’
of Mi s s Admiral Gordon s Strathspey ( better known as Of a the ai rts ’
the wind can blaw and by adding their own suggestion of an earlier
origi n for the melody they have done what they could to rob Marshall of ,
his tune Still for this and other errors we would shrink from treating
.
, ,
them in the way in which they have branded Oswald .
The allegation that Oswald was gui lty of publishing his own composi
tions as those of othe r persons appears to have arisen from a wrong ,
interpretation o f the announcement which we are abo ut to quote At the .
end of a c opy of The Comic Tunes in Queen Mab as they are performed ,
a t the Theatre Roya l i n Drury Lane etc there has been fo u n d the following , .
,
notice of an edition of Oswald s works Some time before M r Oswal d s ’ ’
death he had fit ted for the press a correct edition of his works as well
,
-
,
MUSICIANS AND ENGRAVERS . 251
th o se that were known and acknowledged to be his as those that were ,
really such but had formerly been publi s hed under the names of o thers for
, ,
reas ons not difficult to gue s s There are many excellent comp os ers whose .
circumstances will not permit them to please themselve s by address ing ,
their comp os ition s to the heart instead of the ear only His fine taste his , .
,
elegant c ompositions his pathetic perfo rmance were well known and justly
, ,
admired In c ompliance with his own intention s a genuine edition of his

.
,
works is n ow presented to the public For s uch a publication no apology .
i s n ecessary That they are his is suffi cien t to j u s tify their appearance
.
and recommend them to all go o d judges and tr ue l overs of musick The .

”
notice bears no date and it i s uncertain what publication is here referred to

,
.
Our belief is that O s wald retired from busine s s some time before his
death and that having retired it was h i s de s ire to inform the public as to
, ,
s uch of his o wn c o mp os iti o n s as had been i s sued under variou s n oms d c
ab ve n o tice was intended t o refer n o t t o hi s Scot s Tunes or ”

l m T h
“
p u e . e o , ,
”
to the Caledo nian P o cket Companion but to his miscellaneous w orks ; and
“
,
we have further pro of of such an intention from the o ccurrence of the

same notice on the back of the titl e page of another publicati on vi z -
,
“
Si x D i ve rti m e n ti s or S o los For a German Flute or Vi oli n and Violoncell o, ,
Composed by James Oswald Op 2md First published with the Title of , . .
’
‘
Six Di ve rti m e n ti s o r S o lo s by D ottel Figlio Op 2n d London : Sold , ,
. .
by Wm Randall i n Catharine Street and by Straight and Skillern in St

. ,
Martin s Lane near the Strand

’
.
Besides the n om dc plu m e Dottel Figlio we find on some of the titles , ,

”
o f the Caledonian Pocket C o mpanion Six S o l o s for the German Flute , ,
by J R E s qr and Six S onatas for two German Flutes by S i gr Giuseppe

. .
,
”
,
“
, .
”
St Mar tini o f London — de s ignation s which we suspect he adopted I S the
, .
last of these n ot suggestive of the locality of his house or shop ?

As a Scottish comp o ser Oswald has been lightly spoken of T hi s may .
,
however be accounted for by h i s early settlement in London and by the

, ,
style of his comp o sitions bec oming more adapted to English tastes and
tendencies — from which circumstances his mu s ic lost much of the native
,
character and simplicity o f our o lder Scottish airs We have no desire to .
laud Oswald s a bilities or to over est i mate his comp o sitions but feel it our
’
, ,
duty to show that he has n ot received fair t reatment He has claim ed in .
”
all about forty tunes in his Caledonian P o cket Companion and other “
,
collections of Sco ts tunes and these have been wrongly compared with ,
melodies w ritten for song s though it is evident they were not intended ,
f or the voice as with scarcely an exception they have too large a compass
, , ,
for vocal purposes His collections were published for the German Flut e
.
and Violi n and this accounts for the wide rang e of n otes he made use of
, .
Among his compositions there are several excellent tunes for these i ns tru
ments Fiv e songs writte n by Robert Burns
. 0 were I on Parnassus , ,
” ”
Hill , I t is n a Jea n thy b onnie face
“
Bess and her Spinn i ng Wheel
, , ,
“
,
”
“
Anna thy charms my bosom fire and My Bonny Mary —have been ,
“ ”
,
252 EAR LY SCOTT I SH ME LO DI E S .
set to the fo ll o wing tunes of Oswald s vrz My love is lost to me The ’
,
”
,
“
’ ’
Maid s Complaint Sweet s the lass that loves me Bonny Mary and ,
”
,
’
The St o len Kiss from C o lin s Kis ses ( erroneously called The Secre t
,
“
Kiss i n the Caledonian P ocket His tun e Al loa House ”
is set to a s ong of the same name written by the Rev Dr Al exander .
Webster an Edinburgh minister If the poets ch o se the airs which from

,
‘
.
, ,
thei r exten s ive c o mpass we re b e y on d m o st voice s un suited to their verses

, , ,
surely the composer is not responsible One of the tunes ascribed to Oswald .
,
Sweet s the La s s that l oves m e is n ot his as we have already shown

’
,
”
, .
Oswald as a compiler has pre s erved for us i n h i s Collections a numbe r

, ,
of fine Scots tunes —both of an early date and of his own time — that m ight
, ,
o therwi s e have been lo st He is therefore entitled to our res pect and .

, ,
gratitude The La ds of Leith n ow known as She s fair and faus e

.
,
” ’
,
’
is one ; an o ther i s the jig witho ut name to which the words of My t o cher s
”
the jewel are sung This tune is e rro neously called The Highway to
.
“
Edinburgh by Ai rd apparently from the title o f the p receding tune in

”
,
the Caled onian Po cket Companion in which mis take he is fol lowed by ,
”
S tenhouse who asserts that the jig i s the Highway to Edi nburgh thro wn
,
‘
in tre ble time — a clear error as the two tunes bear not the slightest
,
”
resemblance to one another .
Oswald de di cated two of his C o llecti ons to Frederick Pri nce of Wales ,
and we think it probable that he taugh t music to the family of His Royal
Highnes s — for Geo rge III s oon after his accession to the throne conferre d
, .
, ,
on Oswald the title of Chamber Composer to His Majesty as announced ,
in the Ge n tle ma n s M aga z i n e for January 1 761 Oswald probably did n ot

’
.
co ntinue long i n busin ess after receiving t hi s appointment for we know ,
of only one o f his sub s equent publi cations that bear s on its title Chambe r ,
”
C o mposer to His Majesty Our s urmi s e is further str engthened by the .
fact that the XI and XII Books o f the Caledoni an Pocket Companion
. .
bear merely the imprint Printed for the Author and S o ld at the Musick , ,
Af ter a busy life and having relin qui shed business Oswald
”
Shops .
, ,
seems to have gone to reside in Knebworth Her ts and to have died there , ,
on the 2n d of January 1 769 in the fif ty ninth year of his age ,

-
.
WILLIAM M ‘
GI B B ON .
This musici an was born about the end of the Seven te en th C e n tury .
He was the s on of Mathew M Gi bb on who played the hautboy i n the Edin ‘
”
burgh concert called The Feast of S t Cecil ia 1 695 Ty tler says
“
, .
,
Wil liam was sen t at an early age to London and studi ed the Violin under ,
Corbet ( a distingu i shed master a nd composer) for man y yea rs Af ter his .
return to Edi n burgh he was appoi nted leader of the orchestra i n th e

,
Ge ntle man s Concert which positio n h e held f or a long time He was con
’
.
,
s i de re d an excelle n t pe rforme r and had great command over hi s in st rum e n t ,

some conjecture as t o their nature His death is n o ted i n the .
S cots M aga zi n e under date 20th January 1 764 : At Edinburgh Mr

,
“
, .
Richard Co oper engraver in that city & c The en try in the E di n bu rgh
, ,
”
.
Coura n t refers to him as a curiou s artist

”
From the Burgh Register of .
Edinburgh under date 28 th January 1 764 we find that a dis position is

, ,
rec orded by Richard C o oper in which he is styled engraver in Edin

,
burgh and fro m which it can be seen that he must have been possessed
,
”
of consi derable means and heritable pr operty s ituated in the Canonga te , ,
oppo site to the church thereof where he had hi s dwelling hou s e work s hop
”
,
-
, ,
and garden His eldes t s on Richard was an engraver in Londo n an d to

.
, , ,
him he left by s pecial beques t his pictures prints instrumen ts and all “
, , ,
materials relatin g properly to his occupati on and busine s s On the same .

”
date is rec o rded the wi ll wherein he de s cribe s him self Richard Cooper
Engraver in Can ongate C o oper is said to have been buried in the
.
Can ongate Churchyard but on this point i t seems hopeless to ge t ac curate

,
information His widow died at Re s talri g 23 rd September 1 775

.
, .
ALEXANDER B AILLIE .
We have very little informatio n of this engraver beyond that furnished

by himself He s tates that his firs t e s say at music engraving was the
.
small collectio n entitled Airs for the Flute with a Thorough Bass for the ,
Harpsichord which he dedicated t o the Right H o n orable the Lady Garlics

,
”
,
December 1 73 5 An o ther work bearing hi s name is a C o llection o f Old

.
Scots Tunes etc by Francis Barsanti published in 1 74 2 printed by Alex

,
.
, , ,
ander Baill ie and sold by Messr s Hamilt o n Kincaid We may assume

,
.
that he engrave d as well as printed thi s w ork D r Davi d Laing in hi s .

,
Appen di x to the Introduction o f S te nh ouse s Il l ustrations says there was ’
, ,
a s mall treatise on Thoro Ba s s by A B printed in 1 71 7 whether i t

’
, ,
should be ascribed to Alexander Baillie can o nly be conjectured As there .
is no music engraving in that w ork the conjecture is pr obably basele s s and ,
he himself s tates that hi s first essay was made eighteen year s later .
THOMAS PHINN .
The next who comes under our notice is Phi nnf He advertises i n
J anuary 1 752 Thomas Phi n n Engraver First Turnpike on the Right , ,
’
hand Top of Stair within the head of the uppermost Baxter s Close Lawn
, ,
market Edinburgh engraves all kinds of C opper Plates etc In 1 757 he

, , ,
”
.
engraved Thirty Scots S o ngs for Robert Bremner a c opy o f which work ,
is in the possession of Mr Frank Ki ds on Leed s bearing Ph i n n s name on , ,

’
the title page The ensuing advertisement shows that he had a par t ner in
-
.
1 764 The Vo cal Museum Wherein the grounds of Music the ,

MUSICIANS A ND ENGRAVERS . 255
intervals solom i z ati on pron oun ci ati on transpo sitio n etc are all distinctly
, , , , .
,
handled By Jo hn Girvin 1 s Phi nn Mitchelson and Stewart

. In . .
, .
”
January 1 767 an o t her advertisement appears as fo llows : Just publi shed ,
and Sold at the Sh op of Thomas Phi nn Engraver Luckenbooths A Map o f ,
Scotland Price 58 Al so ju s t now published and S o ld at the abo ve Shop

. .
,
the first three Number s of a Collection of Airs & c for the Violin or Ger
m an Flute with a Bass for the Violincello or Harpsichord t aken from the
,
best master s and publi s hed in Six Numbers each Number c on s is ts of 1 6 ,
’
“
pages Price I s etc etc Phi n n s death though we have failed to find
.
, .
, .
,
it recorded probably o ccurred before the fo llowing ann ouncement dated

, ,
April 1 769 : Music — This day was publi shed a Collecti on of Les s ons for
.
the Harpsich ord or Pian o Forte compo sed by Mr Te n ducci dedicated to , ,
Lady H ope to be had at Mrs Phi n s the Engraver and at Bremner s Sho p ’ ’
‘
.
, ,
’
Price five s hilling s We are inclined to think that Phi nn s music e n
.
”
graving business was very limited .
JAM ES READ .
We have an impres s ion that Read was the successor to Richard

'
Cooper at le ast he executed th e larges t amount o f music en graving

“
in Edinburgh between 1 756 and 1 772 Am ong the w o rks bearing his .
name are The Second Set of Bremner s Sc o t s S o ngs 1 757 ;

, A Curi o us ’
,
“
Collection o f Scot s Tunes 1 759 ; Twelve Scots Song s 1 760 The ,

” “ ”
,
“
Harp s ich ord or Spinnet Mis cellany 1 761 published by Robert Bremner , , .
He also executed f or Neil Stewart A Collection of the Newe s t and Best

Reels or C o untry Dances of which s i x number s were issued 1 761 2 , ,
-
.
Th ough with o ut any direct evidence we may ass ume that wi th one or , ,
two exceptions he engraved the whole of the music publis hed in Edinburgh
,
by R Bremner An examinatio n o f his w o rk sh o ws that Read was an

. .
excellent engraver but h ow l ong he was in busines s or what became o f

,
him we ha ve no information Hi s name d o es n ot appear in any o f the

,
.
editions of Peter William son s Edinburgh Directory the earlie s t publica ’
tion of its kind in Scotland .
WILLIAM EDWARD .
An engraver of this name probably an Englishman who had been in ,
the empl oyment of Richard C o oper ( wh o had re tired from business

so me years previous to his death ) engraved two works about 1 760 , .
One Six S o los for a Vi olin with a Bass for the Violoncello and Thorough
,
“
”
Bass for the Harpsich ord for Neil Stewart ob 4 to pp 3 5 the o ther a , , .
, .
°
C o llection of Scots Reel s or Country Dances and Minuets e tc oblong , .

,
4 to pp 45 for Robert Bremner

, .
, Edward had apparently left Edinburgh .
so on afterwards as we are unable to find any further informati o n about him

, .
256 EARLY SC OTTISH M ELODIES .
JAMES JOHNSON ENGRAVE R , .
James Johnson was born in 1 753 or early in the f ollowin g year We , .
have n o kn o wledge of h i s birthplace His father Charle s Johnson was a .

, ,
stay maker wh o in 1 773 re s ided opp osite the Meal market

-
, , ,
-
.
Though we have no definite info rmation as to how Johnson gai ned

experience in his craft we are of opinion from a c o mparison of hi s
, ,
early work that he was apprenticed to J ames Read It i s evident

, .
that J ohnson had begun business in 1 772 because the following works ,
A Collection of Favourite Scots Tunes with Variations for the Violi n ,
etc and A Collecti on of Scots S o ngs adapted for a Voice Harpsichord

.
, ,
f or Neil Stewar t M i ln s Square — bear J Johnson Sculpt on their titles

’ “
, , .
, . .
He had probably done so me work for Robert Bremner about the same date ,
as may be inferred from the lines en titled K i nghorn Verses in the Fife
di alect
To pl ay th e same t un e wi th out ce as e Th e Joh n s tons an d Jardi ne s of a ul d
Wou d tyre e v e n th e dowe st I tro w
’
We re sa i d to b e wonde rfu l owns
’
S o we h a v e cha ng d Os wal d s Bass But h e re i s a Joh n s ton sae b aul d,

’ ’
For Jo hn com c k i s s me n ow . He h as l ifte d a coupl e 0 ’ town s .
B re mne r s Musi c S hop

'
.
From th e many works on which his name is foun d it can be clearly ,
seen that Johnson had obtained mos t of the music engravi ng in Scotland
between 1 772 and 1 8 1 1 Peter Williamson s Edinburgh Directories
.
’
contain no entry of Johns on engraver before 1 775 In it he appears , ,

”
as Joh n ston e James Engraver Re och s Land C o wgate the addres s to
, , ,
’
, ,
which his father had removed the previou s year I n all the subsequent .
directorie s his name is invariably printed J ohnston instead of Johnson till ,
1 8 05 .
he is located in the Lucke n booths but we presum e this was

I n 1 78 2 ,
’
merely a work s hop which he held til l 1 790 or 9 1 for thr oughou t thi s
, ,
perio d he continued to live with his father at the foot of Old Fi s hm arke t
’
Close and in Bell s Wynd He published the firs t thre e volumes of the
.
Scot s Mu s ical Museum at the latter addres s and resided there when ,
Burns made his acquaintance .
In July 1 790 Johns o n advertised under the firm of J ames Johnso n

,
Co at a shop in the Lawn m ark e t at the head of Baxter s Close and there
’
.
, , ,
he carried on his busines s o f engraver a nd m usi cs e lle r till 1 8 1 1 i n which ,
year he died o f fever aged 57 year s His widow contin ued to carry on hi s
, .
business at 4 75 La wn m arke t under the design atio n of J ohnson An derso n

, ,
assuming as par tner John Anders on a fo rmer apprentice of Johnson who , ,

’
had begun e ngavi ng o n his own acc o unt in 1 8 09 at North Gray s Close , .
In 1 8 1 2 the firm tran s ferred their business to North Gray s C l ose

,
’
where it came to an e nd in 1 8 1 5— i n which year Anderson joined Ge orge

Walker th e ne w firm be i ng called Wal ker Anderson
,
.
Matthew Hardie s name is fir s t found in connecti o n with mu sic in the

’
lis t of sub s cribers to Niel Gow s Sec o nd Collection 1 78 8 After that ’
, .
it appears in P eter Williams on s Direct ory f or 1 79 0 9 2 as Matthew ’

-
“
Hardie Musical Instrument Maker Lawn m ark e t

,
In Williamson for .
1 79 4 9 6 he i s styled
-
Fiddle Maker and has changed hi s residence to
“
,
’
Carrub b e r s Close but apparently he did n ot remain lon g there for he is
, ,
entered in Ai tch i son s Direct ory f or 1 79 5 6 as Mus ical I n s trument

’
-
“
Maker head of Baxter s Clo se Lawn m ark e t

,
’
In 1 79 9 Har di e rem oved to
, .
”
o pp o site the F o untain Well n o rth s ide wher e he remained till 1 8 1 1 It ”

.
,
may be menti oned that in 1 8 0 0 the year of the dearth the fo llo wing , ,
appeal was made on his behalf in an advertisement dated 3 rd May .
Sub s cription C oncert and Ball For the Benefit of Matthew Hardie
and his Family Wh o have been h o n oured with the patronage of Her
Grace the Duchess of Buccleuch Right Hon Lady Charlotte Campbel l .
Hon Mrs Dundas of Arnist on Be s ide s several o ther Ladies and Gentle
.
men o i distincti on To be held in Bernard s Room This tle Street o n

.
’
Tuesday the 9 th May curt at eight o clock in the evening Leader of the ’
Band Mr Bird P ian o Fo rte Mr Clark

,
.
P LA N OF THE C ON C E R T .
ACT 1 . ACT II .
S on g Mr C o ok e
C rt t
.
P e l y e l s ce l e br
’
at e d on ce an e
M e s s B i rd , Be rn ard & c
. .
S on g Mrs Bram w e l l .
G l e e — Th e E r l Ki n g M rs Bram w e ll ,
M r S t e w art , a n d M r Co ok e .
Tickets ( Thre e S h illings each ) to be had at Mr Hardie back of Fo untain

”
Well at all the Mu s ic Sh op s and at the D oor o f the Rooms
, ,
.
The next year he i s again appealing f or funds on acc o unt of hi s n u merous

fam i ly in the following terms
,
Ball— Under the Patronage of the Right
Hon the Earl C ountess of Dalkeith and th e O fficers o f th e 4 th Regim ent
N B M Will be held on Tue s day the 24 th Feb 1 8 0 1 in Bernard s Room s
.
’
.
,
Thistle Street For the Benefit of Matthew Hardie Violin Maker To begin
at Eight o cl o ck Evening Since the c onclu s ion of the American War when
’
the S o uth Fencibles were dis charged in which c orp s M H had the hon our . .
of serving he has applied him s elf to making Violin s etc but on acc ount o f
,
.
his numer ous family has never been able to acquire a sufii ci e n t s tock to
,
carry on trade to advantage Theref ore the Right Ho n the Earl and ,
.
C ounte s s of Dalkeith with the O fficers of the Regiment commanded by

,
his Lord s hip have genero u s ly agreed to patronis e him His Lo rdship h as .
likewi s e permitted the Band o f the Regiment so much and ju s tly admired ,
to perfo rm s o me Favouri te Pieces before the Opening of the Ball Ticket s .
3 3 each to be had at M Hardie s h ou s e back of Fountain Well at all the

’
.
,
Music Shops and at the do or s of the Rooms .
Judging fro m the s e adverti s e m ents one is forced to the conclu s ion that ,
Matthe w Hard ie wa s a man o f n o fixed principle for so far as can be , ,

MUSICIANS A ND ENGRAVERS . 259
discovered his numer ou s family at the date o f the Ball in 1 8 01 consisted

,
o f his wife and t wo children Hardie was twice marr ied firs t to Juliet .
,
Bail lie but n o entry of this marriage can be fo und A son was born on
,
.
3 rd July 1 79 6 named William and another on 1 4 th January 1 8 0 1 named

, , ,
Charle s Will iam ; these were evidently the whole family at the date o f the
Ball His wife died September 1 7th 1 8 0 1 and his son Charle s April 26th
.
, , ,
1 8 02 .He c ontracted a s eco nd marriage on 29 th May 1 8 0 2 with Hannah

M Lare n
‘
A s on Th oma s wh o afterward s s ucceeded him in business was
.
, ,
born on 1 4th February 1 8 03 He had also two daughters named Hannah .

, ,
born 1 4 th September 1 8 04 and Henrietta Er skine born 7th February , ,
1 8 06 With the exception o f Th omas n o thing i s kn o wn of his family

.
,
.
Matthew Hardie was a really go o d arti fice r and he turned out a c on s ider ,
able number o f excellent vio lins and vio lo ncello s th ough at the beginnin g ,
of the century he was n o t able to pro cure the bes t of materials Hi s .
in s trument s were p owerful in t one and after several years u s e became ,

’
more mello w in quality s till retaining their p o wer Unfo rtunately he

, .
did n o t f oll o w temperanc e principles and when under the influence of ,
l iqu or his pro ductions were inferi o r A very good s t ory is related o f .
Hardie which the writer heard upwards of forty year s ago from the late
,
Mr W S . n a gentleman amateur wh o knew him well Previo us to

,
.
the vi s it of Ge orge IV in 1 8 22 a number of gentlemen started a pr op os al

.
,
to present Hi s Majesty wh o was a Violoncello player with an instrument

, ,
by Hardie which was to be made fr om ol d Vi ol di Gambas a n d they

, ,
started a sub s criptio n for the purp os e of paying the c os t Hardie evi dent ly ,
receiving the s ub s cripti on s pers onally Mr S 11 o n e day being at .

,
Hardie s hou s e s a w a letter delivered to Mrs Hardie wh o pass ed it t o her

’
, ,
hu s band On openin g it he found a guinea encl os ed which he put int o

.
’
hi s p ocket with th e remark ,
The d rappi n gus e again alluding evidently
, ,
to an o ther o f the sub s cription s The Vi ol oncell o it may be added wa s .

, ,
never c ompleted and the belly made from the Vio l di Gam ba s fell int o the
,
hands o f the writer s father and wa s fitted by him to an in s trument of

’
Hardie s make Hardie was l ocated at th e back of the F ountain Well

’
.
longer than at any f ormer or s ubs equent re s idence His name d oe s n o t .
appear in the Direct ory f or 1 8 1 1 1 2 but after that date he is found in -

,
Bailie Fyf e s Cl ose fro m which place he remo ved in 1 8 1 4 to 24 Lo w

’
,
Calt on where he remained till 1 8 22 and in that year he changes to No

, , .
1 0 Paul s Wo rk
’
Hi s name then disappears but in 1 8 24 25 the firm o f
.
,
-
Matthew Hardie 85 Son appears again at 1 5 Shakespear Square Whether .
Hardie actually re s ided there o r as the result o f his intempera te habits ,
was already in the Charity Workh ou s e i s uncertain — pro bably his name ,
was used with the sole intention o f tran s ferring the bu s ines s to his s on .
Matthew Hardie was a member o f th e Edinburgh Musical Fund but ,
apparently c o uld n o t keep up h i s payments and as a result o f n o t ,
clearing his arrear s hi s name was after several warnings struck o ff th e

, , ,
membership in April 1 8 25 ( arrears fro m 1 8 1 7 onward s ) .

The following entry is from the Greyfriars Burial Register : Matthew

Hardie Violin Maker died 3 0 th Augu s t 1 8 26 C W H ( Charity Workhouse )
buried in Greyfriars on 3 l s t
. His age ( 71 ) is n o t rec orded in the entry
”
.
No . 1 75 .
“
HOW LONG A ND D RE ARY .
— We present our readers with
an other melody for thi s so ng .
How LONG AND 0 1mm 15 TE E NIOHT .
oh ! he r dreams are ac rle . And. oh ! he r 1111

’
d wdo h eart is Gai t , h
T '
at 3 11 se n t ( me he: (l ea m .
N o 3 09 .C OCK UP Y OUR B E AV E R.
“
W e have n o ticed Ch appell s .
—
’
remarks ab out the w ord s of J ohnny C o ck thy Beaver but we o mitted “

,
”
t o state that the tune appear s in Ch o ice New S ongs Never before “
.
Printed Set to S e ve ral l New Tune s by the Be s t M a sters of Mu s ic

. .
Written by Th o D U rfre y Gent L ondo n Printed by J ohn P layfo rd for

.
’
,
.
,
Joseph Hindmarsh ( Bo ok s eller to Hi s R oyal Highness ) at the Black Bull

i n C ornhill entitled The H orse Race ; a Song made and sun g
, ,
“
t o the K i ng at Newmarket ; Set t o an excelle n t Sc o tch Tune called C o ck , _ ,
up thy Beaver in f our Strain s Chappell s ideas ab out evidence are

,
.
’
curio us and perplex i ng In his n ote to Li li b u rl e ro Pop Mu s ic App p .

,
. .
, .
78 6 he carefully di s tingui s he s between the term s c omp os ed and set “ ” ”

, ,
s hewing that the latter term s imply mean s the adap tati on of an existing
tune to a certain in s trument or s ong In the same w o rk p 51 1 he argues .

, .
,
that the tune She r o se and let me in is c om p os ed by Thos Farmer— h i s

,
-
,
.
s o le evidence being that in D U rf e

y s New C o llecti on the tune i s s e t by
’ ’
Thos Farmer S urely W Chappell is here hoist with his own petard
. . .
“
.
”
See She ro se and let me in page 3 5
“
'
.
,
M Y WI FE HAS TA E N THE GE E
’
41 0 . The o riginal mel o dy f or this song .
—
”
is not given I n The Sc o ts Musical Museum The tune contributed by
“
.
’
Mr Hunter o f Blackness to G ow s Fif th C ol lecti on is however an “ ”
, ,
indi fferent setting of the original air which we have found in a small ,
“
C o llection of Sco t s Tunes published i n numbers by J ame s Aird Glasgow ,
”
, ,
ci rca 1 78 8 Stenh ouse s ays the tune in the Museum was communica t ed
.
,
by Burn s but with o ut pro ducing the lea s t evidence in supp ort o f his
,
statement Burns wh o was well acquainted with Ai rd s publications was

.
,
’
not likely to furnish a tune totally distinc t from Ai rd s accepted and m os t ’
appro priate melody .

APPEND I X . 263
MY W : Gas
1 1 3 " AS TA EN r un
'
.
w1
'
h i m, bot to“ : to w n . a lk
a e It wa n t.
the waur ( or For le ns or

’
c cr h
t at l wam’ hm
e e, My Wi f e l ied '
u en
No 4 9 1 T HE RE WAS A W E E BI T WI FFI KI E
. .
“
W e find in the S cotsm a n .
-
,
o f Jan uary 22n d 1 8 3 1 the fo ll owing o bituary n o tice

,
At Aberdeen on
, ,
the 5th in s t Deac o n Alexander Wil so n t ail or in the 8 7th year o f his age
, , , .
Mr Wilso n was p oss e ss ed o f c on s iderable p o etic talent and was well kn o wn ,
as the auth o r of that p opular s ong The Kail Br o se of Auld Sco tland ; ,
‘ ’
but it i s n ot perhap s so generally kn own that be s ide s s everal pieces of , ,
inferio r n ote he was the auth or o f that truly o ri ginal and hum or ou s song
, ,
called The Wee W i fiki e

‘
Indeed when he heard th i s s ong a s cribed to
.
’
s uch men as Bishop Geddes the Rev J ohn Skinner and o ther s ranking '
, .
,
high in literary tale n t i t s eemed to gratify him n ot a little but he w o uld

, ,
’
only remark M o ny ane has go tten the wyte 0 that bit thing
,
‘
On the ’
.
writer o f the present notice asking him h ow s uch a ludicr ou s idea could
enter his brain as the subject of the song in que s ti on ? he s aid If there be ‘
any merit in clinking it t ogether it i s mine : but I have none whatever i n ,
framing the st o ry f or it was t old me by a loon fr o m the c ountry while

,
w orking beside me — A be rde en Jour n a l . .
Readers may form their own opinio n as to the statement here quoted .
It may n ot be generally kn own that there is an Englis h version of the

song identical in motive but entirely wanting in the pawky hum o ur o f the
Scottish verses We quote a sam ple .
By cam e a Pe d l e r He cut o ff pe t ti coa t s

her
Hi s n am e was S t ou t R ound b y th e k n e e s
He cu t off h e r pe tti coa t Whi ch made th e ol d w om an
S h ort roun d ab ou t . To s hiv e r a nd to fre e z e.
It matters n o t wh o composed or adapted the melody in the “ Museum

there cannot be any doubt of its Scottish nationality .
Q UE E N E LIZABE TH S VIRGI NAL B OOK

’
The Englis h manuscript which
.
-
g o es under the ab o ve title whatever i ts age may be was n ot written in

, ,
Eliz abeth s reign We qu o te the fo llo wing fro m Chappell s Po pular

’
.
’
Mu s ic of the Olden Time Dr Burney speak s of thi s manu s cript first

’
as going under the name of Queen Eliz abeth s Virginal B ook and af terwards ,
quotes it as if i t had really been s o I am s urprised that he s h o uld n o t

'
have dis c overed the err o r c onsidering that he had it l ong en o ugh in h i s
,
p os s e s sio n to extract o n e of the pieces and to gi ve a full de s criptio n of the

,
content s ( iii 8 6 at
.
,
It is now s o generally kn own by that name that ,
f or brevity s sake I have employed it thro ugh o ut the w o rk Neverthele s s

’
.
it can never have been the property o f Queen Eliz abeth It is written .
thro ugh o ut in one handwriting ; and in that writing are dates 1 603 1 605 , ,
and Chappell describe s the manu s crip t thus

_
It is a small si z ed -
f o li o vo lume in red morocc o binding of the time of James I elaborately .

,
tooled and ornamented with fle u rs de lis etc gilt edges and the pages , .
, ,
n umbered to 4 1 9 o f which 4 1 8 are written

, He say s al so The manu .
“
’
s c ript was purchas ed a t the sale of Dr Pepu s ch s co llection i n 1 762 by R .
Bremner the music publi s her at the price o f ten guinea s and by him given
, , ,
to Lo rd Fit z william
”
We cann ot believe that Bremner wh o o nly began
.
,
busi nes s in London in December 1 762 w ould pay ten guineas f or the MS , .
and give it away to a n o bleman No te that the date of the sale i s ten
.
’
y e ars s ubsequent to Dr Pepusch s death July 20 1 752 wi d e J D Brown s , , , . .
’
Bi ographical Dictionary o f Musician s 1 8 8 6 The hi s t o ry of the manu

, .
s cript before i t fell int o the hand s o f Pepusch appears to be obscure and ,
its age can only be conjectured from the dates in the transcriber s hand ’
writing which are found in it .

266 INDEX .
B onn yB si B ss y s H ggi
e s e e e
’
a e s
’
ai nt
y Da vi e
B o nn y B rucke t l a ss i e ( Th ) e ay re urns , t my bo so m bu n ( Th
r s e )
B o nn y Ch ri ty s e il ta k th e
’
w a rs
B o nn y E l f M u ay ar o rr il ’
D e s a wa wi th e E xci s e m a n ( h e ) ’
T
B o nn y gr y e y d mo n ( Th e )
e -
’
r
’ ’
D e uk s d an g o e r m y d a d d e ( Th e ) i
B o nn y Je n a D nn a i thi k b i l i I g
n on e a ss e
’
m a un to
B o nn y w thi n g ( Th ) ee e l e av e yo u 2 30
B ra e s f B ll n d n
o a e e D n l d nd F l o
o a a ra 1 44
B a ll o ch m y l e ( Th e ) D n l d C o up
’
B ra e s o o a er 1 67
B ra e s
'
o Balq hi u dd e r D o n ch t h e d o a 1 78
ra w , b wl
ra a d s o f G a a Wa e r
l t D w n th e b urn D v
o a 1e 81
B re a s tk t n o ( Th e ) D p o
ra pi e O l ’
ca 1 57
i l ’
L y
B r d a o t ( Th e ) ( u c C a m b e ) p l D ui m i n d ubh
r o 1 19
Br s iky goun la d ( Th e ) D k u f Alb ny ( Th )
e o a e
58
B ro o m bl b i
o om s o n e ( Th e ) D uk e f G o d n h s th o d ught e r o a re e a rs ( Th e ) 1 92
B ro o m o f C o w d e nk no ws ( Th e ) D um b t
’
3 5, 79 D um s
ar o n s r 1 13
’
B ruce s a d d re s s to h i s a rm y D m f i e V o l un t e s ( Th e )
u r s e r 2 27
h b
B us a o o n Tra ua r ( Th e ) q i D unc n D vi s o n a a 108
k
B us y e , B us y e k D un can G y ra 1 13
th
B u c e r B o y ( Th e ) D s ty M ill e
u r 41, 10 7
li w
B y th e d e ci o us a rm n e s s o f thy m ou th E a rl D ougl Lam e n t as s
’
1 68
’
w
Ca th e e e s to th e n o e sk w E s t noo k o F
a
’
1 51
C ld F i r
a er a E ppi A d i e a r 1 53
C m n i n R nt
a e ro a a E ppi e M N b ‘
a 1 67
C mpbe ll s
a co m i n ( Th e ) a re
’
E t i ck B n k s
r a 83
C pt i C k s d th e t
a a n oo
’
ea ,
c . E v n B nk sa a 21 4
C pt i
a L dyy ( Th )
a n s
’
a e E v n th a e 1 80
C ptiv e i b b d ( Th ) ( A G a lli c i )
a r an e a r E w i w i th e cr o k e d h o n ( Th )
e
’
o r e 1 56
C d i n t e tc ( Th )
ar
’
o
’
, . e Fa i lte na m i osg 1 45
C l n th e Ki n g c m
ar e a
’
o e Fa i r E liza ( a G a e li c a i r) 176
C l h th cra ft ( Th ) Fa i re s t o f th e F a i r ( Th e )
’
ar e m e ca e o er e e 67
C li n f th e gl e n ( Th e )
ar o Fa re w e ll y e fi e l d s e tc , . 235
n id e F ife an d a th e l an ds a b o ut it ’
C a rro s I 58 1 00
C a ul d f ty m o i ng ro s rn 1 35 F i n e fl o w e rs m th e v a ll e y 1 63
C ul d s th e ni n bl s t
a i e 27
’
e a , 2 37 F 1 nl ay s to n Ho us e 1 49
C aul d k il n A b e d e e n
a i r 1 13 F l o w e rs o f E d i n burgh ( Th e ) 63
C e se c
a , m y d e r f i e nd to e pl o e
e ase , a r ,
x r 141 F l o w e rs o f th e F o re s t ( Th e ) 77
Ch li h s m y d a li ng
ar e e
’
r 1 94 For a th t
a an a
’’
th t
a
’
1 55
C h y n d th e s l e ( The ) ( Th B k
e rr a a
“
e an s l k
Fo r a e o f G o d l 1 14
f H li c
o e on k b y
F o r th e s a e o s o m e o d
’
1 96
C h on i l e o f th h e rt h n e — G
r c i ngli g e a n t t t b
F o ur e e n h o f O c o e r 1 18
G e ordi e ) 20 4 fi
F ra e th e r e nds and and l I l ve o
“
( Ca r
C h ro n l gi l li t o f H ighl nd Lad d i s
o o ca s a e 24 1 i
ro n s d e
”
)
C l i nd
ar a 1 24 Ft e nn e tt H ll a
C l out th e c l d o n 65 Fy gar ub h e o e wi s t ’
’
a r r r r ra e
C o ck l i rd fu ca dgi e ( A )
a ,
’
108 G ab l un ie man ( Th e )
er z
C o ck up y u b e v e o 1 60r a r , 2 62 Gae to th e ky wi m e Jo h nny ’
C o ck s L un wa li e h oy n o s 261 G a ll a nt W a v e r ( The ) e
C o gi e o f l e nd a pi ckl e ai t m e l ( A )
a a a 22 7
“
Ga llash 1 e ls
C o li n Cl u t o 22 7 G a ll o w a y Tam
B nny L s i e ( Th e ) G a rd e ne r wi h i s pai d l e ( Th e )
’ ’
C o lli e i s o as 71
C o l on l G rd e ne r ( S aw ni e s pipe )
e a 1 27 G e ntl e s w a i n ( Th e )
C o m e f ll o w f ll o w m e
o , o 2 24 G e n tly bl a w , e tc .
C o m h e s to th e ny m ph th t I l o v e
e re
’
a G e t up a nd b a r the do or
( A ul d S i S i m n th e Ki ng
“
r o il
G d e ro y
C o m e k i s m co m e cl ap wi me
s e,
’
G ill M o i ce r
C o m e unde my pl i d y r a Gi n a b o d y m e e t a b o dy
C o m i n th ro th e Rye ( I s t se tt
’ ’
. Gi ngli ng G e ord i e
C o ope 0 cud dy ( The )
r
’
G l a ds m ui r
C o n Rigg
r s G l an ci ng of h e r apro n ( The )
C oul d au ght f s n g o o loo my D e ce m b e r
C o un t y l s ( A)
r as Go pl i tiv
a n e s o u nd s
C o un t y l s i
r as e Go to Be rwi ck Jo h nny
C raigi e b urn w oo d - 0 to th e e w - b ugh ts , M a ri o n
C ro m le t s lilt
’
oo d m orro w f i r m is t
, a re s s
C u m b c rna u ld H ouse - G o od n i ght , a nd JOY b e ’w i ’ yo u a

’ ’
C umno c Psa m s k l G o rdo n s ’

ha s th e gui di n o t ( Th e )
INDEX . 267
G n g w s th
re e ro e ras h es I nve rca ul d s e e
’
R l
G n l vsre e s ee e It i s na Je a n, th y - o n e face b i
G ud W ll c e a a e It wa s a fo r o ur ri gh tfu
’ ’
n ki g
G ud e e n to y o u ki m m er
’
b
I ve e e n c our n a t a a s s ti g l
H a d th e I e wyt sh e bad me I wi h s my o e e re i n a m re l v w i
Ha ll w o cv n
’
I , wh o a m s o re o p re ss e d w1 th p l ve
o
Ha ll w o Fa i r ( Th e re ’
s fouth of b w
ra o e L v ly l
a ss o f M o n o rgo n 108
Jo oki e i
’
5 , e tc .
) z oo Ja m e co’ m e t ry m e 1 35
H a m i l la I h e b i t l ss
o nn e s a in a
’
th e wa rl d ) 93 i
Ja m e o th e e n gl 1 87
Ha p m e th y p tti t y g w v
’
wi e co a 106 Je n n d a n th e e a e r 102
H a pp cl o w n 1 44 J nny N ttl 73
y e e es
H a rd I S th e fa t e o f hi m w h o l o v e s 2 38 Je nny w s f i a nd unk i nd ( S c t J nny
a a r 1 28
“
o s e
H a rd y nute or, th e b a ttl e o f La rg s Je nny B wb
’
1 52 s a 213ee
H a v e y o u a ny po t s o r pa ns ? 220 Ji g f Jo h y M cgill ( T
o h )nn 1 28 a e
H a w s o f C ro m d a l e ( Th e ) 210 J k y f u nd J nny f i n
oc o , a 1 80 e a
H e wh o pre s u m d to g ui d e th e s un ( Th e
’
J ck y i d t J ny
o sa o 76 ea
m a i d s co m pl a i n t ) J k y t n th e p ti n g ki s
’ ’ ’
oc e s a e 2 33 ar s
H e r a b s e n ce will n o t a lt e r m e Jo h A nd r n m y j
n e so 25 1 46 o ,
H e re a wa , t h e re a wa ’’
J hn
o m e ki
, m n w
co 2 7 1 59
ss e o ,
H e re s a h e a lth to m y t rue l o v e , e tc J hn H y s b n y l s i
’ ’
. o a o 79 n a s e
H e re s a h e a lth to t h e m th a t ’ s a wa J hn
’ ’
o B d e ny d
0 a 1 54 on
H e re s hi s h e a lth i n w a t e r Jo h n i e A m s t o n g
’
r r 1 72
H e re s to thy h e a lth m y b o n n i e l a ss Jo h n i e B l un t
’
, 1 76
L gg o an B urn 21 3 J hni C p
o e o e 1 37
He s de ar d e ar J h nn y M Gil l
’
to m e ,
‘
e tc 2 27 o 1 28
o r th e Gi p ie l d d i
.
H e y ca th ro
’ ’
1 83 J h ny F
o a a, 1 20 s a e
H e y , h o w Jo h n i e l a d, 1 73 Jo lly b gg ( Th ) e ar 1 47 e
H e y , Je n n y co m e d o w n to Jo ck 1 15 J yful W i d w
o o er
90
H e y m y kitt e n m y kitt e n 2 30 Jum pi n J h n o 10 5
H e y Tutti Tuiti 1 1 7 K th i n O gi e
a er e
48 1 1 4 ,
H ighl a nd B a l o w ( Th e ) 20 5 K ty s s w e
a
’
an r 1 17
H ighl a n d ch a ra ct e r ( Th e ) 1 29 K l ly b u n b
e r ra e s1 80
H ighl a n d La dd i e ( Th e ) 6 5, 20 4 Killi ki e cra n e 1 56
H ighl a n d L a dd i e s , ch ro n o l o gi ca l li s t of 2 4 1 Ki n d R bi n l ve s m e o o20 7
H igh l a nd L a m e n ta ti o n 1 19 Kitty Ty ll re 22 2
H ighl a nd l as s i e O ( Th e ) 99 L d d i li n m e
a e e e ar 1 31
H ighl a nd Q ue e n 60 L dy B thw ll l m n t
a o e 103
’
s a e
H ighl a n d s o n g 1 47 L d y M y A nn
a ar 1 79
H ighl a n d wi d o w s l a m e n t ( Th e )
’
214 L d y R nd l ph
a o m pl i n t
a E lo
’
s c a ar
H ighl a n d e r s l a m e n t ( Th e ) D ugl l m nt
’ ’
2 38 o as s 1 68 a e
H o o ly a n d F a i i ly 1 22 L s gi n y 1 m t ll m n w
a s, e 0 e
141
’
e , e e o
H o w l o n g a nd d re a ry I S th e n ight ( a L a ss o f E l f h n ( Th ) cc e e c 1 94 a e
Ga li ck a i r L ass o f Livi ng t o n ( Th ) 64
s e
w t
H o w s e e i s th e s ce ne 23 3 L ss f P ty M ill ( Th e
a o ea
’
65
s
w t
H o w s e e th e o ne a e l v l 2 33 L th t wi n i t d w n ( Th )
a ss a n 20 3 a s o e
Hu ghi
e G ra a m h 1 58 L s wi l um p o f l d
as a 1 16 an
bl
H um e B e ga r ( Th e ) g 1 93 L s i ll l o ne (A ) ( C um nock Ps l m ) 1 8 6
a s e a a
“
a s
”
I ca re n a fo r o ur e e n s a e ue y bl 24 1 L s t ti m I m e
a eth e M o ( Th e ) ca 64 o er
’
or
I d o co n e ss f
o u art s a e a r th fi 1 63 L y m i t ( Th )
az s 1 36
e
I ’
d re a m d la y , e tc I . 10 7 Le d h ugh s an d Y w
a er a 1 29 a rro
I h
h a d a orse , a nd h a d nae m a r I i 1 21 L eez i e Li nd s y a 1 96
’
I h ae a wi fe o m y a i n 1 71 L ith Wy nd
e 1 42
I l
lo e n a a a d d e b u t a n e i 1 47 L nn l v e to B l nty re o r Th e Wre n
e ox o 20 9 a
Il v o e m y Je a n ( M ss d m ra
’
ord o n s i A i lG Le s li e s M a ch ’
r
40
t th p y
S ra s e ) Le t m e i n thi s a e night 1 61
Il v vi l il
o e my j o a s a o r L wi s G d n
e or o 84
Il v l v
o e m y o e i n s e cre t Li m e i k L m e nt a ti o n
r c
’
s a 26 1
I l v
m ad e o e to K t a e L i n k i n L a dd i e ( T h e ) 1 39
l v ly
I anth y th e o e Littl wa t ye wha 5 comi ng
e 2 34
’
If ’
e erI w lldo e
’
w
ti s a o nd e r Li d a nce tw l o v e
v
’
i n yo n da l a2 40 rs e
I ll
’ ’
ay ca i n by t w
y ou o n Li c B illi
za a e 20 1
I ll
’ ’
fi ll w
m a k y o u b e a n to fo o m e L h E h sid
oc ro c 82 e
I ll n ve l v e th e e
’
e r ea Lo h bc a er 8 7 26 1 ,
I ll ne ve r love th e m e
’
e or L g n Wa t e r
o a
70
I m o e y un g to m a ry ye t
’ ’
r o r L g n Wa te r n d M ggie L ud
o a , a
49 a a er
I n B e chi n di d
r w b s t e d w e ll a a r L gg n B um
o a 213 x
I n yo u garde n e tc L gi c 0 B u h n
’
, . o c a
1 73
268 IN D E X .
L d B d l bi n e M h
or re a a s a rc l gi g
M y o d n i s o n th e co d ro und l g
Lo d G e g y
r r or L
M y o rd A b o y n ’ s Ay
re
Lo rd R n l d my n o a so
’
C l ti
M y lov d e e s a ( “ B e nn s de y i
L o d Th m
r d f i A n t o as a n a r n e l v f k
M y o e h a s o rs a e n m e
L ui wh t k I by th ?
o s, a re c ee l v l t
M y o e i s o s to m e
L v e i s th c u f m y m u i g
o e a se o o rn n l v l i
M y o e s h e ’ s b ut a ass e y e t
L v W 11 fi d o ut th way
o e 1 n e l v h wi
M y o e s oe nn s n o t h e r a a wy
L v ly D vi s M i s M ui
o e a e s r y p t h
M y M a r d e a r d e a r e d s a de ( a C pt i n a
L v ly l s s f I n v n s ( Th )
o e a o er e s e C k s d th t ) oo
’
ea , e c
Lov ly l ss o f M no g n
e a o r o M y m i nn i s y I m nn e a s a a
L ve ly N ncy
o a M y M ith e y gl w i n m
’
r s a o r
’
o er
’
e
Lo v ly Po lly S t e w t (Y e e w e l
e ar
’
r co m e M y N nni O a e
Ch li S t w t ar e e ar 20 5 M y N nn y O a
L vo dd s t
ers a
’
s b ud ( Th e ) re s o ro e -
141 M y P e ggy s f ’
a ce
L o w d w n n th b o m o i e r o 85 M y t o h r s th e Je w l c e
’
e
Lo wl n d s f H ll nd ( Th e )
a o o a 9 5, 9 8 M y w i fe h t n th g ae ae e ee
L ucky N n y ( D i nty D vi e ) a c a a 68 M y wif s w t n we e thi ng

e
’
a an o
Lucy C mpb l a e 1 49 N G o w l m nt ti o n f
. Ab c i ny
’
s a e a or er a r
M F re i ce d a n
.
91 N e l u k b o u t th h u s wh e n u g o d
a c a e o e , o r o
M Gre go r o f o ro s a m e n
‘ ’
R L t 1 18 wif wa e s a
’
M ‘ Ph e rs o n ’ s a re e f w ll 95 N n y s Gh o t
a c B ni e K t e o f E d i n
’
s o a
Ma ggi L
e a ud e r, a n d tr
o a n Wa e L g 49 b u gh r
gi
M a e ’ s To ch e r 1 36 N n y t th e g e n w o d g n
a c
’
s o r e -
o a e
i
M a d ae d t o th e m ill N lly s d e m
’
( Th e ) 20 8 e r a
g
i l
M a d i n B e d a m ( Th e ) 71 N i tl s d ll w l c m h m
i a
’
s e o e a e
i l
M a d o f S e m a ( Th e ) 99 N hu hm n m I
o c rc a a
M aid th t t
a e n d s th e g t )
oa s ( T h e 69 N d m i ni s f
o
N th n l s ( Th )
o m l a dd i e or e , e
i pl i t
M a d s co m a n ( Th e )
’
94 or er as e
lt
M a m a n ( Th e ) 1 95 N w b k nd b e
o an a ra
q i
M a r u s o f H un tly R lee 1 26 N o w w tli wi nd esC m ki ss w i m n
’
s o e
’
e ,
M a r o f a s e a r , o r th e W e e T
y C tl C y hi ng 1 98 co m l p wi m e ) e c a
’
Ma r y t l
’
Q ue e n o f S co s a m e n t 1 86 O I w s ki t y t n
as a s e s re e
y
M a r S co t 81 O y m y wif h d g m
a e s e an e
M y D re am
ar
’
s 69 O B thw ll b n ko e a
M y m rni n g
a o 2 29 0 n y
ca s e w cu hi n s e s o
Me yh rr I b n te th i n h kl ( B ddi h
ae ee e a ec e o c 0 c n y u l b
a l y o ung m n
o a or e a,
”
m b i gs o r L d B 0 h b c te nt
’ ’
n a d lb i ne s
r ,
or re a a c e ru on
m h) a rc O d m o th r wh t h ll I d
e ar e , a s a
M lll m ill
, ( Th ) , 0
’
e O de wh t n the m tt e b e
a r, a ca a r
M ill e ( Th ) r e 0 f e y e w e l m y u l d wif
ar e ,
a e
M i s A d m i l G o d n s S t th spe y O f d tw n ty Ta m
’
s ra r o ra n or a eTh an e e
M i s s H m ilt n s d e light
a o
’
M o ud i e w t or 1 72
M i s s M ui r O gi n I w e re f i ly sh o t h a r 0
’
er 230
M i s We i
s r 0 gi n m y l v e w e y n e d o e o er o r r s 23 9
M ora g 0 gi n y e w e e d d gud e man r ea , 1 87
M th
o l m e n t for th e d e th of h 50 11
ers
’
a a er O g d ule me tc
e a co s, e 226
( A ) ( F i n l ay s to n H o use ) O h f a illy bli nd h a rp

’
d ye e e
e ar r o s er
M o u d i e w o rt ( Th e ) 0 J n I l v th e
O
ea ,
o e e
M u cki n g o f G e o rd i e s by ar ( Th e ) O k n y wh t M g o th e m ill h s g o tt e n
’ ’
e e a e a
M ui rla n d W illi e 3 7, 1 77 O K n m u s n nd w
e W illi e re
’
o a a a,
i g i g o ce an O l d d i e I m a un l e th e e
’ ’
M us n o n th e ro ar n D rui m i o n a o
d ub h
’
fi O l y th y l f i n m i n e l s
a oo , a s
My ai n ki nd de ar y0 O l e v n ve l s e t
a e o , c
p on d a ie 0 M lly s m k M a lly s s w t
’ ’
My a r , e r a ee , ee
My b o ny M a y r 136 0 M y t urn wa ar a
My b y Ta m m y o 2 16 M y ye s b cl d i n s ilk
ar
’
e a
My c lli r l d d i e
o e a 1 74 M a y th y m o rn
My d a dd y l ft m e e tc e , 222 M i ni e
My d y if th u di e
e ar , o 83 O m ith e r d e a r Je nny d ang th e we av e r
My fa th h f ty go d hilli ng
er as or o s s 20 0 0 o n ce lov d I ’
My g dde ss w o m n ( Th B t h e B y
o a
“
e u c r o 1 59 0 s a w y e m y Fa er th
My H y w s a g ll a nt g y ( Highl nde r s
arr a a a a
’
O t
s e e r h e r u p a n d h a nd h e r a u n g
l m e nt )
a t ll
e b y
m e m y o nn , e tc
My h t s i n th e H ighl a nds ( Fa i lte na
e ar
’
t tI
ha
’
i
h a d n e e r b e e n m a rr e d
m i o sg) 0 t u n a w a y th ose crue l e y e s
r
M y Jo Jane t 0
’
w e e I n P n ss us hill ( M y l v e
r o ar a o
l y w n th e gai rs p i s l os t to m e )
’ ’
M y a d s go
’
re s u on t
270 INDEX .
Th o for s e e n e a rs v y Wh e n I g d to th m il l
ae e
h g
T o u a rt a n e a wa Whe n I thi nk o n m y l d a
Tb ro th ew oodl i ad d e Wh e n I up n thy b o so m l e
o an S co t s
h k l
_
Th y c e e I S 0 ’ th e ro s e 5 h ue
’
re c u s e
ibbi
T b
e D un a r (
“
h y
Jo nn M Gi ll
‘
Wh e n s h e ca m b e n s h e b o bb e d ’
,
Tibbi F wl e e o r Wh e n th e d a ys th e y a re l a n g
Tibbi I h e n th
e , d y I nv a se e e a er Wh e re b ra vi n g a n gry wi n t e r s s t o rm s ’
a ul d s R l (N l m t ti n f A b c i n y) 1 24
’ ’
c ee . Go w s a en a o or er a r e
Ti s n ae v e y l ng s i n y n e
’
r a s W h e H l n li s
er e e 1 10 e
T ith m n ( Th )
er or e W he e w d b n i e A nni ly
r a o1 64 e
To bl kbi d S t s Q u e n
a ac r co e Wh wi n d i ng Fo th d n th v l
e re r a or s e a e
T d u t n me C m b n ul d H u ”
o a n o u ) 106
er a
He re s
o se
T m o wh t a e ri h e s ?
e a r c
’
a Whil h p l e tc o e e ss , e 1 83 .
h e lth t m y t u l o v e t )
a o r e e, c. 1 1 5 W hi tl ( Th )
s e e 1 62
T o th e ro s e b ud 1 66 W hi tl n I ll m e t y u m y l d
s e a
’
92 co o o ,
a
To th e ’
e a e r s gi n w v
ye g o 92 W h i tl o s th e l v
e t
’
er 1 43 a e o
’
To dle n a m e h 1 51 W hit C k d e ( Th )
e oc a 15 e 0
Tra n e n m u r t i 91 W h y h ng th t l u d ( H a ll w E v n )
a s 10 5a c o o
’
T ul l o ch go rum 1 55 Wid w o e y w king ar e

1 95 a
f
,
Tu n e y
o u r fi dd le s , e tc . M a rq ul s o W ill y g a d m y K a ti e P
e o n 20 a rr 2
H un tly Re e l ”
) 1 26 W illi m d M g re t
a an 2 24 ar a
T urn i m s pi k e ( Th e ) C l o u t ,
th e ca d ro n l 65 W illi m G h t a
’
s os
1 75
’
w
T a s a t th e s n n m id d ay hi i g -
h o ur 2 20 W illi e B re w d pe ck o m ut ’
1 56 a
’
a
w
T e e d s de i 68 W lly wi w t nw g as a 10 5an o a
T ne wi ee w l
th e pl a id e n 67 W illy r r ’
n d W ill y s f i
s a e , a
22 1
’
a r
U p a nd a rn a , W
’
we illi 1 22 W ilt th u b m y d i P o e 20 5 ear e
U p i n th e m o rn n e a r i g ly 28, 1 0 6 W i n t e it i p t r s 1 25
as
i p
V a n urs u ( Th e ) it 1 67 W i n t e f Li f ( Th )
r o e
2 10 e
Wa e is my h e ar t 20 6 W ithi n m il o f E d i nbu gh
a e
71 r
W a e u e a r ( Th e )
f h t ’
1 40 W o e m y h e t th t w h u d s un de r
’
s ar 10 3 a e s o
’
Wa ly W ly , a 1 1 2, 1 99 Wo m n W k i n v d n e
a
’
s or
59 s e er o
W an to n e ss ve r m i fo r e a r 1 93 W m n s w o k will ne ve r b e d o ne
o a
’
r
59
W p t the wid w m y l d di e
a a o , a 10 1 W d n d m i e d a nd a
oo
’
a
53 6 2
a rr
’
,
W uki n g f th f ul d ( Th e )
a o e a 85 W e n s N s t ( Th e )
r
’
e 1 86
W uk rife M i n ni e ( A )
a 1 55 W n ( Th ) o L nn l v e to Bl nty re
re e r
20 9 e ox o a
W e y pund o to w Y e b n k s a n d b e s o b nn y D o n
’ ’
ar 1 71 a
55 ra o o
W d d i g d y ( Th ) Y e G d s w a s S t ph s pi ct u e bl s t
’
e n a e 10 7 o re on r e
W Thi n g ( Th ) o M y f Cs tl e C y
,
ee e , r ar o a ar 1 98 1 4 th f O t b o 1 18 c o er
We e , we e m an ( Th e ) 1 77 Y Je bit by n m
a co es 1 77 a e
W e e W illi e G ra y 2 19 Y e m us s n i n 0 l d y o ur id
e e 2 39 , en a
W e ll put th e s h e e p h e a d m th e pa t Y l l w b i d l d d i e ( Th )
’ ’
-
20 8 e o -
a r 100 a e
W e re n a m y h e a rt light I wa d di e , 100 Y e re
’
w l m Ch li S t w t
e co 20 5
e ar e e ar
W h a i s th a t a t m y b o w e r d o o r 167 Y u wil d m
o y m un t i o ss 1 66 o a ns
W ha w a d na b e i n l o v e e tc , . 226 Y uo k me h mi g f i
as c 232 ar n a r
W h ar E sk i ts s ilv e r s t re a m
’
21 6 Y o un g D m n ( H ighl n d l m e n t a ti n
a o 1 19
“
a a o
W h a t a il s th e l as s i e a t m e ? 225 Y u g H ighl nd r v ( Th e )
o n M g 10 7
a o er o ra
W h a t can a y o ung l a s s i e d o wi a n a ul d ’
Y un g J m i
o p id f a th e pl i e , r e o a
’
a n
man 1 62 C li n o f th gl ( Th e )
ar e en
Wh a t will I d o gi n m y ho ggi e di e ? 1 0 4 , 26 1 Y o un g J k y w th e b ly th e s t l d
oc e as a
W h a t s t h a t to y o u
’
2 33 Y un g l i d n d E d i nb u g h K t y ( Th )
o a r a r a e
Wh e n a b s e nt fro m th e Ny mph ( 0 Je a n ,
Y un g m n d m ( Th )
o a
’
s re a e
I l v th o e ee ) Y ung P hil n d r
o a e
W h n G uil d f
e o rd g o od o ur p il t s t d
o oo
M . Fri e ce d a n
E R R A T A .
P ag e li ne 2 f r
10, , o so n r ea d
“
ne he w p .
P a ge 1 1 li ne 4 f r
, , o so n re a d
“
n e ph e w .
Pa ge 1 0 3 l s t li n e f
,
a ,
or
“
Always re a d Aw y a s.
Pa ge 1 9 5 li ne 2 3 f o
, , r fo ll o wi ng rea d abo ve .
IN D E X . 271
INDE ! OF C O M PA R A T I V E AND
RE FE RE NCE TUNE S .
P a ge
Aul d La ng S y ne 66, 1 89 Lo v e ly N a nc y
i
.
Tli e l le r s D a ug l tce . Ove r kz ll s a n d b ig }; m ou n ta zn s .
Ove r tu re . Lo wl a n d s o f H o a n d ( Th e ) ll
S z r A le x a n der Don
’
. A l a ce 1 Ice my a l on , 1 m l ute to d o
:
A l
u d R o b M o rr s i
? ock tlze L a zr d s B r atne r
’ ’
. ld i s s A d m i r a l Gord on
a s S tr a thspey .
ttl
B a e o f Ha rd la w ( Th e ) Lo w L and o f H o l a nd
TIce B a ttle qf Ha r d L a w . M y l ove s h oe wi n n s n ot h e ra w ay
i
B o nn e D und e e 4 5. 9 1 M ui rl a n d W e illi
B on ny D u n dee . N o rth e r n L a ss .
A de w D u n d i e . A n ol d E ng l i s h A i r .
B ro o m o f Co wd e nk no ws ( Th e ) . Th e N or th e r n L a ss .
l
Ca de r F a r i L v h
M y o e s e s b ut a a ss e y e t
’
l i
By th e B or d e r s i de a s I d z dpa ss . P u t up th y D ag or 7 m m ?
l ’ ’
C a u d i s th e e e n n a s i bl t 2 8 , 2 37 My M ith
’ ’ ’
e r s a y gl o wri n o e r m e
P eggy R a ms ey . A h e a lth to B e tly g
M a gze R a msay
'
. A h ea lth to B e tti e .
Co rn Rigg s F ou rpe n ce h a lf pe n ny .
S a w n ey w a s ta ll . M y Pe
’
ggy f
s a ce , m y P e
’
s fo rm ggy
Du e o f k an Alb y
( Th e’ ) H a a Ch a i l li ch a i r m o d h e i dh .
M y L or d A bay u s My wif ’
e h a s a e n th e Ge e t
D unca n D a s o n vi 0 cl e a r M o e r th wh t h ll I
a s a do
S tre ck upon a S trog m
'
. 0 Ill i n i e
D us ty
M e r ( Th e )
’
ill Pe ggy I m os o e eet l v th
B i n ny s A S cotch T un e i n F a s h i on .
Lk G l
For a e o f o d Ye t M eggi e 1 m u s t love th e e .
H ighl L i v i
an d a d d e ( ar o us ) M ag i c 1 mos t l ove th e e .
l g y
H o w o n a nd d re a r I S th e n ight Th e D e e l a s s i s t {h e p/oi l i ng Wh igs
I l i
10 e na a a dd e b ut a ne
’
S h e ro s e a n d l e t m e i n
M y L od u z ng as on the col d a r ou n d Th e F a i r on e le t me i n .
I ll
’
ne e r o e v l v th
e e m o re S ic a wi
fe a s W e had illi
M om/r os e Ly n s .
h A
Jo n n d e rs o n m y Jo 2 5, 1 46 S i nc C o l 5 m y f e
e c 1a o
I a m ti re D u ke of N orf olk .
p ni h e L d i e ( Th e )
a s a
TIze S pa n i s h L a dy .
J h n m e ki m e no w ibbi e D un a r b
Tu n e — Jo nn M Gi ll 1 28 h y
‘
o co ss 2 7, 1 59 T .
K th e ine O gi e
a r Tb e y zg r
g of ? o/mny M a cg zll .
L a dy Ca t/za r me Og le , a n ew D a n ce .
U p 1 11 th e M o rn n i g 29 , 1 0 6
A S cotch Tu n e . S tzng o or Th e Oy le of B a r l y .
Ki nd R o bi
n lo oe s m e N a ri /ze r n Ca l e /z .
K m d R oom Cold a n d R a w .
L hl y
as ey s
’
( e s’ e s ) M a rc
’
L li
e n e ra h G l W e re H e e n ly s
h l 11 1
L e sh l e y 5 M a rc h 40 W d o gi n o u b e a n
i w th 1 95 w ki g
I n y a n u a ry la s t . W ’ s ra re , a nd W ’ s a r
illy 22 1 illy f i
A S cotclz Tu ne S we e t Wz I/y
'
. 222
’
L a dy B zn ny s L i l t W e 5 m y e a r a we sh ou d sund e r
’
h t th t
'
’
. o 103 .
L l v
e nno x o e to B la nte r 20 9 A w ay s my Izea r t t/za t w e m u n s u n der 10 4 .
L h
o c a b e r n o m o re W o ma n s o r i s ne e r d o ne
’
w k 59 v
K z ng y a me s M a rch to I re la n d
’
. Wom a n s work w zll n e ver be done
’
.
R e eve s M agot . W oo d a n M a rr e d a n a
’ ’ ’ ’
i 54 . 62
’
K i ng 7 a m e s 1 m a de love 1 0 Ka te .
L i ’
o g e o B uc an h ’
Ta k te n t to M e R zppe l ls Gu de m a n
'
B e wa re of th e R i p pl es .
I n th e a b v e I nd
o ex th e p pul titl
o ar e is a lways give n firs t .
3 0 1 11 3 0 11 0 11 : P RI NT E D av D A VI D D
M A C ON A L D , 42 H A N OVE R S T RE E T .

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E ar y S c o t t i sh M e o di e s

AND OTHE R C LA I M S , AND

J. R . GLE N , NORTH BA NK S TRE E T .

superﬂuous . Our in tention however is , , n ot to add to the number of these

admittance into o ur National Collections and , so given ri se to perplexities

as an authority it becomes a matter

inform ation . Another offender is the late William Chappell who , ,

as English Melodies a number of undoubtedly Scotti s h Tune s s imply

in London . These Lo ndon C o llections i ncluded also a quantity of the spur

places of entertainment and circulated in their pri nted form in Scotland

as well as England naturally gave ri s e to the errors and mi sunderstandings

already alluded to . In the following pages an e ffort h as been made to

furnishi ng appropriate evidence f or the statements which we shall bring

to the judgment of our readers .

We have to acknowledge our indebtedness for aid and information to

CHA PTE R III .

M ANU S CR I PTS AN D E A R LY P R I NTE D WOR K S

E A R LY S C OTTI S H M U S I C I ANS A ND E NORA V E RS

MANU S CRI PTS AND P RI NTE D WORKS

Th e Da t e s of th os e w ork s wit h i n B ack e t s h a v e b e e n de ﬁn it l y as ce rt a i ne d

t h s e with an A s t ri sk pre ﬁ d are i n our poss e ss i on

R ow a l la n M a nu s cri p t , ci rca 1 625 .

Stra loc h M a n u s cri p t , 1 627 29 -

Gut h rie M a nu s crip t .

Leyd en M a nus crip t .

Hum e ( Agnes ) M a nu s crip t .

a rga ret M a nu s cri p t

Wa ters t on M anu scrip t .

V ox B oreali s o r t h e No rt h ern D i s cove ri e Lond on 1 641 ”

Th e E nglis h D a ncing M a s ter 1 65 1 — Th e D a ncing M a s ter o r D ire ction s f o r , .

D a n cing Country D a n ce s w it h t h e Tu ne s to eac h D a nce e t c 1 65 2 1 665 , , .

A Booke Of Ne w Le ssons f o r the Gittern Conta ining m any Ne w a n d Plea s a nt

Playford London 1 652 , , .

M u s i ck s Hand ma id e p re s enting Ne w a nd Plea s a nt Les s ons f o r the Virgina l s

Jo h n Pla yford Lond on 1 663 a n d 1 678 , , .

M u s ick s D eli ght on the Cit h ren R es t o re d a n d R eﬁned t o a mo re E a s i e a nd

Plea s a nt M anner Of Pla ying t h a n formerly : e tc John Playford Lond on .

edition 1 673 Book I 1 676 B II 1 679 B III 1 68 1

C a ntu s S ongs a n d Fa ncies to s e v era l M usi cal l Pa rts B ot h Ap t f o r Vo ices a n d

Viol s e tc Jo h n Forbes Aberd een 1 68 2

Jiggs a nd s e v era l Ne w S co t c h Tu nes f or the Treble Vio lin To w hi ch i s

D a n cing S c h ool s Th e 5th E d ition w ith n e w Ad d ition s

* C lle cti n o f Origina l S co t c h Tu ne s

V iolin Being t h e Firs t o f t h is K ind yet Printed M o s t o f t h em being in

Wit a n d M irt h o r Pills t o Pu rge M ela n c h oly ; B eing a C ol lection of t h e bes t

( rep rint ) J Tons on Lon d on . .

M us ick f o r t h e S cots S ongs in t h e Te a Ta ble M is cella ny Alla n R a m s ay -

A C ollectio n of Origina l S co t ch Tu nes f or t h e V iolin Th e w h ole Plea s a nt a n d .

Com i ca ll being f u ll of t h e Highla nd H u m o u r Jo h n Y o ung L ond o n m d .

M omu s Tu rn d Fa bu lis t o r V u lca n s Wedd ing J Wa tt s Lond on 1 729

Ja s (it Joh n K na p t on Lon d o n 1 729

Cra ig E dinbu rgh m d

Th e C h a m ber M a id a B a lla d Op era J Wa tt s London 1 73 0 . .

Th e Lo v er s Op era By W R Ch e t wood J Wa tt s Lond on 1 730

Aria d i C amera being a C h oice Collection of S co t ch Iris h dz Wels h Airs f or t h e

V iolin a n d Germ a n Flu te By the follo w ing M a s ters M r Alex a n d er . .

E d w a rd s Of Ca rma rthen D a n Wright (it D a n Wrig h t J u n r Lond on . . . .

J Watt s, Lond on, 1 73 1

Flora , a n O p era Lond 1 73 2 . . .

W Thoms on 2 v ol s ( s e cond ed ition ) Author, Lond on , 1 73 3

Wal sh, London , n d . .

and E nglis h C o u ntry D a nces n ow in V ogu e , w ith Pro p er D ire ctio n s to ea c h

H a rp s ichord , V io lin, H ob oy , o r G erm a n Flute J Wa ls h , Lon d on, n d . . . .