incipit

Listed in Reel index f. 36v.

With words. Continued on f. 100. Two movements: Recit, Aria.

Similar to "Major Erskine's Minuet", Knox 31.

Variations: 20 divisions on a ground bass Comments: Taken from Playford’s The Division Violin.

Long set of variations on a 4 bar ground bass.

- A health to all Honest men, A Health to All Honest Men (from Cameron Manuscript 267, p. 63) [3111; 5255]

- A song Tune, A Health to All Honest Men (from Robert Kelsall Manuscript 142, f. 23v) [3111; 5255]

English broadside tune. Seems to be a variation on the passamezzo antico - possible chord sequence: g F | g F | Bflat F | B flat | B flat | F | g F | g F |

Hornpipe + variations. Some harmonic shifts in the variations, and some rhythmic shifting from compound to simple time

Looks quite like Purcell

Hornpipe + variations

- Lady Susan Montgomery’s Hornpipe, Lady Susan Montgomery’s Hornpipe (from Drummond Castle Manuscript 1 17) [155; 722]
- Jock and Tam, Jock and Tam (from MacFarlane Manuscript 2 163, p. 220) [155; 722]

- The Rake’s Rant, The Rake’s Rant (from Drummond Castle Manuscript 2 39) [1126; 1115]
- A Kiss for a ha’penny, A Kiss For a Ha’penny (from MacFarlane Manuscript 2 176, p. 230) [1126; 1115]

- The Rake’s Rant, The Rake’s Rant (from Drummond Castle Manuscript 2 39) [1126; 1115]
- A kiss for a Half Pennie, A Kiss For a Ha’penny (from Young-Bodleian 18, f. 22) [1526; 1515]

Incipit

- A Lass and a Lump o’ Land, A Lass and a Lump of Land (from MacFarlane Manuscript 3 11, p. 8) [1772; 1744]

- Lump of Land, A Lass and a Lump of Land (from Gairdyn Manuscript 28, f. 3v) [1772; 1753]

1 strain tune + 4 variations.

- The yellow hair'd Ladie, The Yellow Haired Laddie (from Gairdyn Manuscript 36, f. 4) [356; 113]
- Yellow Haird Ladie, The Yellow Haired Laddie (from MMC 491 9, p. 53) [356; 113]
- The Yellow Haird Laddie, The Yellow Haired Laddie (from MMC 491 11, p. 56) [156; 111]

See longer set earlier in this manuscript.

Duet for two trebles (flutes?). Arrangement of a march from Handel's opera Scipione (HWV 20).

Looks like an incorrect ks of ♯♯. C♯ always corrected to C♮. 2 strain tune + 1 variation. Variation is division into quavers.

Composer: Robert Smith. Concordances (other): Apollo's Banquet [I] 237.

- Minuit, Minuet (from Thomson Manuscript 4, p. 3) [555; 315]

Although there is a new ks (♭) and clef, looks like next (untitled) tune is actually strains 3-4, with da capo given at end.

1 strain tune + 3 variations. Concordances (other): "Jock's Lodge", Bremner Scots Reels 1; "Cut and Dry", Stewart Reels.

- Loch Sloy, Loch Sloy (from MacFarlane Manuscript 2 173, p. 228) [3135; 2472]

- A Ranting Highlandman, A Ranting Highland Man (from MacFarlane Manuscript 2 125, p. 187) [1535; 2777]

Reel tune.

- A Rantin Highland Man, A Ranting Highland Man (from Drummond Castle Manuscript 1 35) [1531; 4777]

Only 2 strains, but second strain is very much like a division on the first.

Incipit only. Rhythms and key from McGibbon. Concordances (other): “A Rock & a wi pickel Tow”, McGibbon vol 2, p. 55. “ “A Rock and a wi Pickle Tow”, Oswald CPC I, p. 8.

- A Rock and a wee pickle Tow, A Rock and a Wee Pickle Tow (from MacFarlane Manuscript 3 230, p. 206) [612; 335]

2 strain tune + 2 variations. Last is a 6/8 jig.

- A Rock & a wee pickle tow, A Rock and a Wee Pickle Tow (from Gairdyn Manuscript 18, f. 3) [612; 335]

3 full strains, approx rhythms

- Welcome to your foot again, Welcome to Your Foot Again (from Drummond Castle Manuscript 2 44) [1512; 1515]
- Shàill an theil do Raotan agad, Shàill An Theil Do Raotan Agad (from MacFarlane Manuscript 2 181, p. 231) [1512; 1515]
- You’re wellcome to your foot again, Welcome to Your Foot Again; Shàill An Theil Do Raotan Agad (from James Knox Manuscript 80, f. 25v) [1512; 1516]
- Stay & take your Breeches with you, Stay and Take Your Breeches With You (from James Knox Manuscript 88, f. 26) [1512; 1516]

With words.

Possibly a unique source of more music by David Foulis. Quite a nicely constructed minuet tune in 4 sections. Very violinistic writing. Moves to G minor for strains 3-4, attempts to modulate to Bflat, and chromatic back to G minor.

With words. Multiple sections: ₵; 3/4

With words. Multiple sections: ₵; 3 [3/4]; ₵ [backwards]; 6/4

Setting for two trebles. Second treble on f. 70.

With words. Multiple sections: 3/2; 6/4

With words.

excerpt only (seems to be crossed out / smudged)

- The Spanhim, The Spanhim (from Cameron Manuscript 204, p. 50) [5451; 4242]

full tune, some rhythms approx

Incomplete copy of the following piece.

- A theatre dance, A Theatre Dance (from Newbattle Violin Manuscript 2 14, f. 5) [1613; 5421]

- [A theatre dance], A Theatre Dance (from Newbattle Violin Manuscript 2 13, f. 4v) [1613; 5421]

Like Hume 11, incorrect key signature of two sharps.

First violin part for a song from the pasticcio opera Thomyris (1707), with music by Bononcini and others.

2 strain tune + 1 variation.

- A Wife of my own, A Wife of My Own (from MacFarlane Manuscript 2 28, p. 57) [135; 134]

2 strain tune + 3 variations

- A wife of my own, A Wife of My Own (from Drummond Castle Manuscript 1 13) [135; 134]

With words.

With words. Multiple sections: ₵; 3 [3/4]. 3 bars rest at opening - index given from b. 4.

This is an example of a written out ornamentation. A simple air appears in the top stave, with a written-out embellishment in the second. The tune itself is similar to the Minuet from Purcell's music to "The Virtuous Wife" (Z.611). Also possible that this was part of a sonata with the following three movements.

Adagio movement - probably 1st part of a sonata. Strange bowing markings.

Duet for two trebles. Second treble on f. 74. Change of ts to 12/8 in b. 2.

First violin part for a song from the pasticcio opera Thomyris (1707), with music by Bononcini and others.

The "Aimable Vainqueur" was a French dance by Lois-Guillaume Pécour, set to an air of the same name from André Campra's Tragedy Hésione. The choreography was first published by Feuillet in 1701 and it became famous London entr'acte dance of early 18th century. Musically, the tune here follows the rough shape of the original, but with more embellishment and more in keeping with mid-18th century style.

- [The Louver], The Louvre (from Cuming Manuscript 41, p. 60) [331; 112]
- The Louvre, The Louvre (from Robert Kelsall Manuscript 576, f. 118) [331; 112]
- The Louver, The Louvre (from Robert Kelsall Manuscript 603, f. 125) [331; 112]

Composer: [Robert Smith]. Concordances (other): GB-Och Mus. 1183 ff. 18-21.

Composer: [Davis Mell].

Possibly the signature of Jafery Banes[ter] written in thin writing at bottom of page.

"Air", no. 8 from Christopher Simpson's 3-part ayres.

Air, no. 4 from Christopher Simpson's 3-part ayres.

Air, no. 10 from Christopher Simpson's 3-part ayres.

Air, no. 12 from Christopher Simpson's 3-part ayres.

Air, no. 15 from Christopher Simpson's 3-part ayres.

Air, no. 18 from Christopher Simpson's 3-part ayres..

Air, no. 21 from Christopher Simpson's 3-part ayres..

Air, no. 6 from Christopher Simpson's 3-part ayres.

last section given on bottom of f. 65v.

Four-strain piece, rather than any sense of variations.

- Air, Air (from Robert Kelsall Manuscript 597, f. 123v) [3127; 1105]

Also earlier in the MS.

- Air, Air (from Robert Kelsall Manuscript 532, f. 110) [3127; 1105]

Duet for two treble instruments (flutes) in B Minor. At end of tune is written "Three of Mr Davies".

Duet for two trebles (flutes). "By Davies" written at end. "Air 17" suggests it has been copied from a printed collection.

Duet for two treble instruments (flutes?) by Mr Davies. At end of Air 10 (f. 19) is written "Three of Mr Davies". Three sections with a da capo. Sections 2-3 are in minor.

Duet for two treble instruments (flutes?) At end of Air 10 (f. 19) is written "Three of Mr Davies"

Composer: [Louis] Grabu

Composed by either Jafery or John Banister

Composed by either Jafery or John Banister

Composer: [Louis] Grabu

Composer: [Louis] Grabu.

Composed by either Jafery or John Banister

Multiple sections in [₵] & 3 [3/4].

- Branle simple, Branle Simple (from Panmure Ensemble Part Books 50, f. 39) [1133; 5567]

Composer: [Robert] Smith. Concordances (other): GB-Och Mus. 1183 ff. 18-21.

- Ayre Mr: Robart Smith, Air by Robert Smith (from Panmure Violin Manuscript 2 6, f. 4) [5532; 7755]

- Mr Smiths Ayre, Air by Robert Smith (from Newbattle Violin Manuscript 1 58, f. 49v) [5532; 7755]

Incipt only (3 bars long)

This is from "Love for Love" by Gottfried Finger. Concordances (other): "M.r Fingers Musick in Love for Love" (1695).

The last part of a movement (marked "Slow") from John Alnnott's music for the play "Phaedra & Hyppolitus".

Aire, from John Jenkin's Newberry Airs, no. 20.

For two treble parts (2nd treble reversed on p. 65, table-top format). Possible that these five dances are from John Barrett's music for the comedy "The Fine Ladys Aires" (1708)

Minuet tune. Concordances (other): [untitled], GB-Lbl Add. 47446, f. 4 (c. 1722)

- Airy and gay, Airy and Gay (from McGibbon Manuscript 5, p. 3) [536; 531]

Minuet tune. Concordances (other): [untitled], GB-Lbl Add. 47446, f. 4 (c. 1722)

- [Airy and Gay], Airy and Gay (from Thomson Manuscript 96, p. 72) [536; 531]

English broadside tune.

Incipit only (4 bars)

With words. Cantata of Recit, Aria, Recit, Aria.

An aria from Galliard's opera Calypso and Telemachus (1712).

Incipit only. Looks like variation rather than tune (see Gairdyn no. 90, f. 15v for tune). Only roughly matches the La Folia harmonic outline.

- [La Folia], La Folia (from Gairdyn Manuscript 91, f. 15v) [111; 777]
- All Joy to great Caesar, All Joy to Great Caesar (from Robert Kelsall Manuscript 196, f. 30v) [111; 777]
- Joy to great Cesar, All Joy to Great Caesar (from MacFarlane Manuscript 3 195, p. 168) [111; 777]

8 Set of variations on La Folia theme. Jigg written on beginning of strain.

- Haille great Sir, All Joy to Great Caesar (from Gairdyn Manuscript 19, f. 3) [112; 177]
- [La Folia], La Folia (from Gairdyn Manuscript 91, f. 15v) [111; 777]
- Joy to great Cesar, All Joy to Great Caesar (from MacFarlane Manuscript 3 195, p. 168) [111; 777]

Variation sonata by William McGibbon, modelled on Corelli’s "La Folia", Op 5 no 12. Sections are "Slow" 3/4; "Fast" 3/4; 3/4 (triplets); "Slow" 12/8; "Fast" ₵; "Slow" 3/4 (double stops); (triplets); (semi-quavers).

- Haille great Sir, All Joy to Great Caesar (from Gairdyn Manuscript 19, f. 3) [112; 177]
- [La Folia], La Folia (from Gairdyn Manuscript 91, f. 15v) [111; 777]
- All Joy to great Caesar, All Joy to Great Caesar (from Robert Kelsall Manuscript 196, f. 30v) [111; 777]

Aria from Handel's Ottone (HWV 15).

2 strain tune + 1 variation.

- Allan water, Allan Water (from Gairdyn Manuscript 340, f. 46v) [None; None]
- Allin Water, Allan Water (from Thomson Manuscript 50, p. 35) [1331; 5221]
- Allan watter, Allan Water (from Sinkler Manuscript 11, f. 67) [1131; 5221]
- Allan Water, Allan Water (from Cuming Manuscript 21, p. 25) [1131; 5221]
- Allan Water. D.Y., Allan Water (from MacFarlane Manuscript 2 103, p. 146) [1131; 5521]

incipit

- Alen Watter, Allan Water (from Bowie Manuscript 12, f. 9v) [1131; 5221]
- Allin Water, Allan Water (from Thomson Manuscript 50, p. 35) [1331; 5221]
- Allan watter, Allan Water (from Sinkler Manuscript 11, f. 67) [1131; 5221]
- Allan Water, Allan Water (from Cuming Manuscript 21, p. 25) [1131; 5221]
- Allan Water. D.Y., Allan Water (from MacFarlane Manuscript 2 103, p. 146) [1131; 5521]

- Alen Watter, Allan Water (from Bowie Manuscript 12, f. 9v) [1131; 5221]
- Allan water, Allan Water (from Gairdyn Manuscript 340, f. 46v) [None; None]
- Allan watter, Allan Water (from Sinkler Manuscript 11, f. 67) [1131; 5221]
- Allan Water, Allan Water (from Cuming Manuscript 21, p. 25) [1131; 5221]
- Allan Water. D.Y., Allan Water (from MacFarlane Manuscript 2 103, p. 146) [1131; 5521]

Written out repeat / variation on 2nd strain (no double barline beforehand).

- Alen Watter, Allan Water (from Bowie Manuscript 12, f. 9v) [1131; 5221]
- Allan water, Allan Water (from Gairdyn Manuscript 340, f. 46v) [None; None]
- Allin Water, Allan Water (from Thomson Manuscript 50, p. 35) [1331; 5221]
- Allan Water, Allan Water (from Cuming Manuscript 21, p. 25) [1131; 5221]
- Allan Water. D.Y., Allan Water (from MacFarlane Manuscript 2 103, p. 146) [1131; 5521]

Variations: 2 strain tune + 1 variation.

- Alen Watter, Allan Water (from Bowie Manuscript 12, f. 9v) [1131; 5221]
- Allan water, Allan Water (from Gairdyn Manuscript 340, f. 46v) [None; None]
- Allin Water, Allan Water (from Thomson Manuscript 50, p. 35) [1331; 5221]
- Allan watter, Allan Water (from Sinkler Manuscript 11, f. 67) [1131; 5221]
- Allan Water. D.Y., Allan Water (from MacFarlane Manuscript 2 103, p. 146) [1131; 5521]

Variation set by D[avid] Y[oung]. 2 strain tune + 1 variation.

- Alen Watter, Allan Water (from Bowie Manuscript 12, f. 9v) [1131; 5221]
- Allan water, Allan Water (from Gairdyn Manuscript 340, f. 46v) [None; None]
- Allin Water, Allan Water (from Thomson Manuscript 50, p. 35) [1331; 5221]
- Allan watter, Allan Water (from Sinkler Manuscript 11, f. 67) [1131; 5221]
- Allan Water, Allan Water (from Cuming Manuscript 21, p. 25) [1131; 5221]

Duet for two trebles. Second treble on f. 74.

Opening of the overture to Handel's opera Lotario (HWV 26)

Long variation set. Marked "Slow". 2 strain tune + 6 variations.

Almain, no. 2 from Christopher Simpson's 3-part ayres.

Almain, no. 16 from Christopher Simpson's 3-part ayres.

Almain, no. 19 from Christopher Simpson's 3-part ayres.

By Jafery or John Banester.

- Allman Mr Banster, Almain by Banister (from Panmure Violin Manuscript 1 23, f. 10v) [1076; 5424]

Composed by either Jafery or John Banister.

- Allman Bannester, Almain by Banister (from Newbattle Violin Manuscript 1 2, f. 2v) [1076; 5424]

By [Jafery or John] Banister.

- Ayr Mr: B., Almain by Banister (2) (from Panmure Violin Manuscript 2 8, f. 6v) [3211; 1116]

Composer: [John or Jafery] Banister.

- Allmaine B:, Almain by Banister (2) (from Newbattle Violin Manuscript 1 30, f. 30v) [3211; 1116]

Comments: multiple sections Multi: ₵ & 3 [6/4]. Presumably composed by Jean-Baptiste Lully.

- Ardkinglas’s Reel, Ardkinglas’s Reel (from Drummond Castle Manuscript 2 29) [5127; 5143]

Quite a strange tune. Unusual cadence onto D at end of strain 1, then a feel of Lydian mode on D for much of the second strain, before a more straight-forward final perfect cadence in A. Possibly continental bagpipe music.

Concordances (other): Straloch lute-book, 18; Balcarres lute book, 167, 228. 240.

- wert you but my oun thing, An Thou Were My Ain Thing (from Gairdyn Manuscript 97, f. 17v) [None; None]
- Gin thou was my Ain thing, An Thou Were My Ain Thing (from Robert Kelsall Manuscript 594, f. 122v) [5513; 2265]
- An thou were my own thing, An Thou Were My Ain Thing (from MacFarlane Manuscript 2 17, p. 42) [5513; 2265]

full tune, but misbarred

- If thou wert my own thing, An Thou Were My Ain Thing (from Guthrie Manuscript 49, p. 306) [5613; 2611]
- Gin thou was my Ain thing, An Thou Were My Ain Thing (from Robert Kelsall Manuscript 594, f. 122v) [5513; 2265]
- An thou were my own thing, An Thou Were My Ain Thing (from MacFarlane Manuscript 2 17, p. 42) [5513; 2265]

2 strain tune + 1 variation.

- If thou wert my own thing, An Thou Were My Ain Thing (from Guthrie Manuscript 49, p. 306) [5613; 2611]
- wert you but my oun thing, An Thou Were My Ain Thing (from Gairdyn Manuscript 97, f. 17v) [None; None]
- An thou were my own thing, An Thou Were My Ain Thing (from MacFarlane Manuscript 2 17, p. 42) [5513; 2265]

2 strain tune + 1 variation

- If thou wert my own thing, An Thou Were My Ain Thing (from Guthrie Manuscript 49, p. 306) [5613; 2611]
- wert you but my oun thing, An Thou Were My Ain Thing (from Gairdyn Manuscript 97, f. 17v) [None; None]
- Gin thou was my Ain thing, An Thou Were My Ain Thing (from Robert Kelsall Manuscript 594, f. 122v) [5513; 2265]

Incipit

Misbarred as 6/4, should be 9/4.

- If the kirk would let me be, If the Kirk Would Let Me Be (from Guthrie Manuscript 41, p. 304) [156; 226]

- Andrew Kerr, Andrew Kerr (from MacFarlane Manuscript 2 225, p. 272) [355; 467]

- Andrew Kerr, Andrew Kerr (from Robert Kelsall Manuscript 599, f. 123v) [355; 367]

2 strain tune + 1 variation

Full tune - this is actually by Handel.

- Royal Archers, Archer's March (from MacFarlane Manuscript 2 238, p. 281) [1111; 3333]

- Archers March, Archer's March (from Gairdyn Manuscript 47, f. 6) [1112; 3331]

Different tune to the other "Archer's March" in MacFarlane 2 and Gairdyn.

- An Caora cròm, An Caora Cròm (from MacFarlane Manuscript 2 199, p. 239) [5127; 5143]

2 strain tune + 1 variation. Pàl mòr (MacFarlane 3) is a dotted strathspey-like version of this tune.

- Pàl mòr, Pàl Mòr (from MacFarlane Manuscript 3 1, p. 1) [1113; 1153]

- Menwett no: 8, Aria di Castruccio (from Cameron Manuscript 8, p. 2) [132; 123]

- Aria di Castruccio, Aria di Castruccio (from Robert Kelsall Manuscript 451, f. 85) [132; 123]

- March, March (from MacFarlane Manuscript 3 272, p. 254) [5555; 5311]

Handel

Aria "Armateui di Vezzi" from the opera Antioci by Gasparini.

Reel tune. At end is written "End with 2d part."

- Arthur’s Seat, Arthur’s Seat (from Young-Bodleian 16, f. 20) [1563; 4362]
- Arthur’s Seat, Arthur’s Seat (from MacFarlane Manuscript 2 89, p. 138) [1563; 4362]

2 strain tune + 1 variation

- Arthur’s Seat, Arthur’s Seat (from MacFarlane Manuscript 2 89, p. 138) [1563; 4362]
- Arthur's Seat, Arthur's Seat (from McGibbon Manuscript 197, p. 96) [1563; 4362]

2 strain tune + 1 variation

- Arthur’s Seat, Arthur’s Seat (from Young-Bodleian 16, f. 20) [1563; 4362]
- Arthur's Seat, Arthur's Seat (from McGibbon Manuscript 197, p. 96) [1563; 4362]

2 strain tune + 1 variation.

full piece, approximate rhythms. includes variation.

- pege I most Love the, Peggy I Must Love Thee (from Bowie Manuscript 24, f. 16v) [6111; 2266]
- Pegy I mosst love thee Capt: Campbell his marsh, Peggy I Must Love Thee (from Bowie Manuscript 48, f. 30v) [6111; 2266]
- Magie I most love thee, Peggy I Must Love Thee (from Sinkler Manuscript 32, f. 63) [6111; 2266]
- Peggie I must love thee, Peggy I Must Love Thee (from MacFarlane Manuscript 2 18, p. 44) [5111; 2266]

With words. Multiple sections: ₵; 3 [3/4].

Marked "Slow". 2 strain tune + 2 variations.

- wher will oure Good man ly, Where Shall Our Good Man Lie (from Bowie Manuscript 43, f. 25v) [1124; 3314]
- Where shall our Goodman Lay, Where Shall Our Good Man Lie (from Gairdyn Manuscript 63, f. 9v) [None; None]
- Where shall our Good-man Lye in the Cold nights in Winter, Where Shall Our Good Man Lie (from Thomson Manuscript 44, p. 32) [5615; 3312]
- Wher will our Good man ly, Where Shall Our Good Man Lie (from Cameron Manuscript 191, p. 47) [1117; 5533]

Alternative title given above tune: "Ore Thomson had a Durk".

2 strain tune + 3 variations. Lots of Italianate embellishment.

- Chami Ma Whatle, Chami Ma Chattle (from Gairdyn Manuscript 345, f. 47) [None; None]
- Ane Irish tune, Chami Ma Chattle (from Sinkler Manuscript 12, f. 67) [5126; 5321]
- Past one a clock, Past One o'clock (from Robert Kelsall Manuscript 572, f. 117v) [6126; 6321]
- The Cold Frosty Morning, The Cold Frosty Morning (from McGibbon Manuscript 145, p. 81) [511; 111]

2 strain tune + 1 variation.

- Athol Braes D.Y., Athole Braes (from MacFarlane Manuscript 2 187, p. 234) [3235; 3122]

Variation set by D[avid] Y[oung]. 2 strain tune + 2 variations.

- Athol Braes, Athole Braes (from Drummond Castle Manuscript 1 4) [3236; 3122]

Incipit

- Auld Rob Morris, Auld Rob Morris (from MacFarlane Manuscript 3 171, p. 134) [115; 611]

2 strain tune + variation.

- Rob Morice, Auld Rob Moriss (from Gairdyn Manuscript 309, f. 43v) [None; None]

Concordances (other): "The Genius,.Written in 1717, on Occasion of the Duke of Marlborough's Apoplexy. By Mr Welsted. Set by Mr. J. Sheeles", The Musical Miscellany (London: John Watts, 1730), 17.

A single part from a duet for two viols by John Jenkins. NB index given an octave higher than written.

Phrase lengths: 4+6 bars.

- A’Body loo’s me, A’ Body Loo's Me (from Young-Bodleian 6, f. 10) [1162; 1133]
- A’ body loo’s me, A’ Body Loo's Me (from MacFarlane Manuscript 2 180, p. 231) [1161; 1133]

- Every body loves me, A’ Body Loo's Me (from Drummond Castle Manuscript 2 22) [1152; 1133]
- A’ body loo’s me, A’ Body Loo's Me (from MacFarlane Manuscript 2 180, p. 231) [1161; 1133]

- Every body loves me, A’ Body Loo's Me (from Drummond Castle Manuscript 2 22) [1152; 1133]
- A’Body loo’s me, A’ Body Loo's Me (from Young-Bodleian 6, f. 10) [1162; 1133]

Incipit

Variation set by D[avid] Y[oung]. 2 strain tune + 3 variations.

- Minuet by Handell, Minuet by Handel (from Robert Kelsall Manuscript 397, f. 76) [115; 315]

- N’Inghean òg Choll dhuinn, N’Inghean Òg Choll Dhuinn (from MacFarlane Manuscript 3 293, p. 288) [1651; 1613]

- Menwett 11, Minuet 11 (from Cameron Manuscript 11, p. 3) [135; 175]

- the Baggpipe tune, Bagpipe Tune (from Panmure Violin Manuscript 1 28, f. 12v) [152; 727]
- For the Love of Jean, For the Love of Jean (from MacFarlane Manuscript 2 41, p. 82) [152; 727]

- Baggpipe tune, Bagpipe Tune (from Newbattle Violin Manuscript 1 32, f. 31v) [152; 727]
- For the Love of Jean, For the Love of Jean (from MacFarlane Manuscript 2 41, p. 82) [152; 727]

Full tune plus actual rhythms

Composed by either Jafery or John Banister

Composed by either Jafery or John Banister

Variation sonata by Charles McLean. Multiple metres: C; [minuet] 3/4; [jig] 6/8.

This tune is normally notated as a jig. The version here is a combination of triplets and dotted rhythms. 2 strain tune + 1 variation. Probably composed by John Riddell of Ayr - the variations also overlap with his printed version. Concordances (other): "Bargenny's Bowling Green", John Riddell, Colletion of Scots Reels, Minuets & c. (1782), 46; Bremner Scots Reels 1, 39.

Same tune as that in McGibbon MS, but note values halved here.

- Barley Cakes, Barley Cakes (from McGibbon Manuscript 175, p. 90) [1122; 3551]

D.C. at end. Same tune as that in MacFarlane Vol 2, but note values doubled here.

- Barley Cakes, Barley Cakes (from MacFarlane Manuscript 2 248, p. 287) [1235; 5226]

- She gote money by it, She Got Money By It (from Agnes Hume Manuscript 8, f. 3) [3322; 3351]

There are lots of "Bass Minuet" tunes, but this one is not concordant with any of the following: Bochhi’s Bass Minuet (MacFarlane MS); Oswald’s Bass Minuet (Brown MS, Gillispie); Bass Minuet (Bennet MS); Bass Minuet (Hundriwood MS).

- [Bass Minuet], Bass Minuet (from Sinkler Manuscript 16, f. 66v) [113; 335]

- Bass Minuit, Bass Minuet (from Thomson Manuscript 43, p. 31) [113; 335]

- Baxter’s Rant, Baxter’s Rant (from MacFarlane Manuscript 2 189, p. 235) [5542; 1535]

- Baxter’s Rant, Baxter’s Rant (from Drummond Castle Manuscript 2 27, ) [5542; 1135]

- Beau Maxwel, Beau Maxwell Minuet (from MacFarlane Manuscript 2 68, p. 120) [513; 511]

Minuet

- Menwett 89, Beau Maxwell Minuet (from Cameron Manuscript 89, p. 17) [513; 511]

- Bana Stratagem, Beaux Stratagem (from Cameron Manuscript 255, p. 61) [1551; 7711]

- Beaux Stratagem, Beaux Stratagem (from Robert Kelsall Manuscript 112, f. 20) [1551; 7711]

- Because I was a bonny lad, Because I was a Bonny Lad (from James Knox Manuscript 61, f. 23) [3165; 4522]

Reel tune. Title also given on index f. 36v

- Because I was a bonny Lad, Because I Was a Bonny Lad (from Drummond Castle Manuscript 1 34, ) [3165; 3522]

- [The Drummer], The Drummer (from Gairdyn Manuscript 42, f. 4v) [1355; 7724]
- [The Drummer], The Drummer (from Gairdyn Manuscript 45, f. 5v) [1355; 7724]
- [The Drummer], The Drummer (from Gairdyn Manuscript 51, f. 6v) [1355; 7724]
- The Drummer, The Drummer (from Gairdyn Manuscript 411, f. 58) [None; None]
- The Drummer, The Drummer (from Young-Bodleian 5, f. 9) [5455; 7724]
- The Drummer, The Drummer (from McGibbon Manuscript 151, p. 82) [1355; 7724]
- The Drummer, The Drummer (from McGibbon Manuscript 193, p. 95) [1355; 7724]

Instrumental version of Lully’s “Sommes-nous pas trop hereux / Belle Iris que vous ensemble”, from Ballet de L’Impatience. Concordances (other): “Belle hereuse, with the 9th lowed halfe a note, mr Beck’s way”, Balcarres, p. 19. “Belle hereuse, by, Mr lesslie”, Balcarres p. 82. “La Buckingham”, Playford Apollo's Banquet, no 206.

- Balliris, Belle Heureuse (from Panmure Ensemble Part Books 58, f. 41v) [3155; 7773]

Instrumental version of Lully’s “Sommes-nous pas trop hereux / Belle Iris que vous ensemble”, from Ballet de L’Impatience. Concordances (other): “Belle hereuse, with the 9th lowed halfe a note, mr Beck’s way”, Balcarres, p. 19. “Belle hereuse, by, Mr lesslie”, Balcarres p. 82. “La Buckingham”, Playford Apollo's Banquet, no 206.

- Belle Rese, Belle Heureuse (from Panmure Violin Manuscript 1 15, f. 6v) [3255; 7773]

Full setting, with exact rhythms. 2 strain tune + 2 variations.

- Banick Johnie, Berwick Johnny (from Leyden Lyra-viol and Violin Manuscript 40, f. 66v) [516; 424]
- Berwick Johny, Berwick Johnny (from Sinkler Manuscript 45, f. 60v) [516; 424]
- Go to Berwick Johny, Berwick Johnny (from McGibbon Manuscript 105, p. 64) [515; 424]

Long variation set, but no double barlines

- Berrick Johne, Berwick Johnny (from Gairdyn Manuscript 283, f. 36v) [None; None]
- Berwick Johny, Berwick Johnny (from Sinkler Manuscript 45, f. 60v) [516; 424]
- Go to Berwick Johny, Berwick Johnny (from McGibbon Manuscript 105, p. 64) [515; 424]

1 strain tune + 6 variations.

- Berrick Johne, Berwick Johnny (from Gairdyn Manuscript 283, f. 36v) [None; None]
- Banick Johnie, Berwick Johnny (from Leyden Lyra-viol and Violin Manuscript 40, f. 66v) [516; 424]
- Go to Berwick Johny, Berwick Johnny (from McGibbon Manuscript 105, p. 64) [515; 424]

1 strain tune + 6 variations.No double barlines, but there are clearly 7 separate strains.

- Berrick Johne, Berwick Johnny (from Gairdyn Manuscript 283, f. 36v) [None; None]
- Banick Johnie, Berwick Johnny (from Leyden Lyra-viol and Violin Manuscript 40, f. 66v) [516; 424]
- Berwick Johny, Berwick Johnny (from Sinkler Manuscript 45, f. 60v) [516; 424]

With words.

Playford OST; Balcarres; Cuming

- Bessie Bell & c, Bessie Bell (from Cuming Manuscript 23, p. 28) [3564; 3513]
- Bessie Bell, Bessie Bell (from MacFarlane Manuscript 3 158, p. 122) [3564; 3513]
- Bessie Bell, Bessie Bell (from James Knox Manuscript 130, f. 34) [3564; 3534]

Strain 2 has a written out varied repeat.

- Bessie bell, Bessie Bell (from Guthrie Manuscript 32, p. 300) [3564; 3513]
- Bessie Bell, Bessie Bell (from MacFarlane Manuscript 3 158, p. 122) [3564; 3513]
- Bessie Bell, Bessie Bell (from James Knox Manuscript 130, f. 34) [3564; 3534]

2 strain tune + 1 variation.

- Bessie bell, Bessie Bell (from Guthrie Manuscript 32, p. 300) [3564; 3513]
- Bessie Bell & c, Bessie Bell (from Cuming Manuscript 23, p. 28) [3564; 3513]
- Bessie Bell, Bessie Bell (from James Knox Manuscript 130, f. 34) [3564; 3534]

- Bessie bell, Bessie Bell (from Guthrie Manuscript 32, p. 300) [3564; 3513]
- Bessie Bell & c, Bessie Bell (from Cuming Manuscript 23, p. 28) [3564; 3513]
- Bessie Bell, Bessie Bell (from MacFarlane Manuscript 3 158, p. 122) [3564; 3513]

Incipit

- Baes Hages, Bessie’s Haggis (from Bowie Manuscript 19, f. 13) [1334; 6423]
- Bessies Hagis, Bessie's Haggis (from Gairdyn Manuscript 337, f. 46) [; ]
- Bessie’s haggies, Bessie's Haggis (from James Knox Manuscript 202, f. 52v) [1315; 6422]

Full tune, but misbarred, missing ks

full tune, some rhythms approx

- Baes Hages, Bessie’s Haggis (from Bowie Manuscript 19, f. 13) [1334; 6423]
- Bessie's Haggis, Bessie's Haggis (from Gairdyn Manuscript 290, f. 40) [; ]
- Bessie’s haggies, Bessie's Haggis (from James Knox Manuscript 202, f. 52v) [1315; 6422]

- Baes Hages, Bessie’s Haggis (from Bowie Manuscript 19, f. 13) [1334; 6423]
- Bessie's Haggis, Bessie's Haggis (from Gairdyn Manuscript 290, f. 40) [; ]
- Bessies Hagis, Bessie's Haggis (from Gairdyn Manuscript 337, f. 46) [; ]

Possibly missing B♭s in ks, though tune makes sense without.

- Bessie's Haggis, Bessie's Haggis (from Gairdyn Manuscript 290, f. 40) [; ]
- Bessies Hagis, Bessie's Haggis (from Gairdyn Manuscript 337, f. 46) [; ]
- Bessie’s haggies, Bessie's Haggis (from James Knox Manuscript 202, f. 52v) [1315; 6422]

Aria "Bianca Man" from the opera Hydaspes by Mancini (1710).

Concordances (other): Walsh Complete Country Dancing Master Vol 4 (1740).

Hornpipe + variations.

Index given as if 3/4.

Page cut off, but doesn’t look much like "Black Jock" tune of 18th century. Index2 not possible (part of page cut off).

incipit

Full tune, plus beginning of variation, but rhythms approx

- Black Jock, Black Jock (from Gairdyn Manuscript 387, f. 53v) [; ]
- Black Joack. McLean., Black Jock (from MacFarlane Manuscript 2 207, p. 246) [5122; 3522]
- Black Jock The Irish Sett, Black Jock (from McGibbon Manuscript 60, p. 38) [6122; 3322]
- Black Jock by Mr McLean, Black Jock by McLean (from McGibbon Manuscript 130, p. 74) [5122; 3522]

Incipit

- A country dance, Black Jock (from Gairdyn Manuscript 86, f. 14v) [None; None]
- Black Joack. McLean., Black Jock (from MacFarlane Manuscript 2 207, p. 246) [5122; 3522]
- Black Jock The Irish Sett, Black Jock (from McGibbon Manuscript 60, p. 38) [6122; 3322]
- Black Jock by Mr McLean, Black Jock by McLean (from McGibbon Manuscript 130, p. 74) [5122; 3522]

Variation set by Charles McLean. 2 strain tune + 8 variations

- A country dance, Black Jock (from Gairdyn Manuscript 86, f. 14v) [None; None]
- Black Jock, Black Jock (from Gairdyn Manuscript 387, f. 53v) [; ]
- Black Jock The Irish Sett, Black Jock (from McGibbon Manuscript 60, p. 38) [6122; 3322]
- Black Jock by Mr McLean, Black Jock by McLean (from McGibbon Manuscript 130, p. 74) [5122; 3522]

Long set of variations. 2 strain tune + 9 variations.

- A country dance, Black Jock (from Gairdyn Manuscript 86, f. 14v) [None; None]
- Black Jock, Black Jock (from Gairdyn Manuscript 387, f. 53v) [; ]
- Black Joack. McLean., Black Jock (from MacFarlane Manuscript 2 207, p. 246) [5122; 3522]
- Black Jock by Mr McLean, Black Jock by McLean (from McGibbon Manuscript 130, p. 74) [5122; 3522]

Long variation set by Charles McLean. 2 strain tune + 8 variations. Lots of extended violin techniques.

- A country dance, Black Jock (from Gairdyn Manuscript 86, f. 14v) [None; None]
- Black Jock, Black Jock (from Gairdyn Manuscript 387, f. 53v) [; ]
- Black Joack. McLean., Black Jock (from MacFarlane Manuscript 2 207, p. 246) [5122; 3522]
- Black Jock The Irish Sett, Black Jock (from McGibbon Manuscript 60, p. 38) [6122; 3322]

2 strain tune + 1 variation. Looks like there might be some notational errors in strain 1.

- Jack a Green, Jack on the Green (from Robert Kelsall Manuscript 34, f. 9) [722; 723]
- Jack on the Green, Jack on the Green (from Young-Bodleian 36, f. 40) [712; 523]
- Jack on the Green, Jack on the Green (from McGibbon Manuscript 125, p. 71) [212; 523]

Dated "Oct 67". Page damaged / missing, including opening bars, key signature, and time signature. Looks like a minuet + variations. Could be Knox's own composition.

In pencil: The Vicar of Bray

Full 2 strain tune, but approximate rhythms

- Blink o’er the burn Sweet Bettie, Blink O’er the Burn Sweet Betty (from MacFarlane Manuscript 3 240, p. 216) [333; 553]
- Blink o’er the burn Sweet Betty, Blink O’er the Burn Sweet Betty (from James Knox Manuscript 113, f. 30) [333; 552]

2 strain tune + 1 variation.

- Blink over the burn sweet Beatie, Blink O'er the Burn Sweet Betty (from Gairdyn Manuscript 62, f. 9) [333; 552]
- Blink o’er the burn Sweet Betty, Blink O’er the Burn Sweet Betty (from James Knox Manuscript 113, f. 30) [333; 552]

- Blink over the burn sweet Beatie, Blink O'er the Burn Sweet Betty (from Gairdyn Manuscript 62, f. 9) [333; 552]
- Blink o’er the burn Sweet Bettie, Blink O’er the Burn Sweet Betty (from MacFarlane Manuscript 3 240, p. 216) [333; 553]

- Blew bonnets, Blue Bonnets (from James Knox Manuscript 177, f. 45) [1225; 1664]

- Blew Bonnets, Blue Bonnets (from MacFarlane Manuscript 2 105, p. 148) [1225; 1664]

incipit

Long variation set. 1 strain tune + 7 variations.

- Fettercairn Reel, Fettercairn Reel (from Drummond Castle Manuscript 2 13) [5151; 5575]

Minuet by Lorenzo Bocchi.

Three-bar phrases. Possibly composed by, or named for, the French / Scottish dancing master William Baddham (Bodham, Batham), fl 1695-1720, who worked variously in Edinburgh and Glasgow, and held a concert series at his home in Edinburgh in 1699-1700.

Setting by David Young.

No double barlines, but each strain has a written out repeat (ie in structure of 4+4+8+8 bars). Concordances (other): "Bonox of beare meal cakes of croudie", Sinkler f. 30v; "Banoks of Bear Meal", Oswald CPC3 p. 6; McGibbon Scots Tunes II.

- bone Cirste, Bonny Christy (from Bowie Manuscript 4, f. 3v) [5251; 3111]
- B Kirstie, Bonny Christy (from Gairdyn Manuscript 206, f. 24v) [None; None]
- Bonny Christie, Bonny Christy (from MacFarlane Manuscript 3 286, p. 270) [5251; 3214]

1 strain (16 bar) tune + 1 variation. Setting for violin and bass, with bass reversed in table-top format. Different bass over variation. Of the two versions in Balcarres, the first is much straighter, less chromatic, and the second is almost identical to the Bowie version (bass is pretty similar though not exact copy) and is attributed to John McLachland. Concordances (other): “Bonnie Christian, david grieves way, with the 9th string lowered,” Balcarres p. 76 no 116.

- bonnie Christan, Bonny Christy (from Guthrie Manuscript 58, p. 309) [5531; 6651]
- B Kirstie, Bonny Christy (from Gairdyn Manuscript 206, f. 24v) [None; None]
- Bonny Christie, Bonny Christy (from MacFarlane Manuscript 3 286, p. 270) [5251; 3214]

ie Bonny Christy. Incipit

- bonnie Christan, Bonny Christy (from Guthrie Manuscript 58, p. 309) [5531; 6651]
- bone Cirste, Bonny Christy (from Bowie Manuscript 4, f. 3v) [5251; 3111]
- Bonny Christie, Bonny Christy (from MacFarlane Manuscript 3 286, p. 270) [5251; 3214]

Variation sonata (by Alexander Munro): theme & variation ₵; [Corrente] 3/4; [jig] 6/8.

- bonnie Christan, Bonny Christy (from Guthrie Manuscript 58, p. 309) [5531; 6651]
- bone Cirste, Bonny Christy (from Bowie Manuscript 4, f. 3v) [5251; 3111]
- B Kirstie, Bonny Christy (from Gairdyn Manuscript 206, f. 24v) [None; None]

full setting, more exact rhythms, lots of ornaments. More like George Skene

- Bonny Dundee, Bonny Dundee (from MacFarlane Manuscript 3 138, p. 104) [511; 117]

Variation set by James Oswald. 2 strain tune + 1 variation.

- Bonny Dundie , Bonny Dundee (from Gairdyn Manuscript 273, f. 35) [; ]

1 strain tune + variation. Concordances (other): “Bonie Jean”, Robert Edward Commonplace Book f. 49v. This is very similiar, but later tune “Bonnie Jean of Aberdeen” is not.

Full tune, with exact rhythms.

- [Bonny Jean of Aberdeen], Bonny Jean of Aberdeen (from Cuming Manuscript 43, p. 62) [1155; 1132]
- Bonny Jean, Bonny Jean of Aberdeen (from MacFarlane Manuscript 3 260, p. 234) [1155; 1112]

2 strain tune + 1 variation. Concordances (other): "Booney Jeen", Neal CST p. 3 [including variation].

- Bony Jean of Aberdeen, Bonny Jean of Aberdeen (from Gairdyn Manuscript 313, f. 44) [1155; 1132]
- Bonny Jean, Bonny Jean of Aberdeen (from MacFarlane Manuscript 3 260, p. 234) [1155; 1112]

Variation sonata (by Alexander Munro): theme & variations C; [sarabanda] 3/4; [corrente] 3/4; [gavotta] ₵; [jig] 12/8.

- Bony Jean of Aberdeen, Bonny Jean of Aberdeen (from Gairdyn Manuscript 313, f. 44) [1155; 1132]
- [Bonny Jean of Aberdeen], Bonny Jean of Aberdeen (from Cuming Manuscript 43, p. 62) [1155; 1132]

- Bonny Kate of Edr., Bonny Kate of Edinburgh (from James Knox Manuscript 116, f. 31v) [5551; 2266]

- Bonny Kate of Edinborough brow, Bonny Kate of Edinburgh (from Robert Kelsall Manuscript 125, f. 21v) [5551; 3366]

- Wright’s Rant, Wright’s Rant (from MacFarlane Manuscript 2 228, p. 274) [3535; 4646]

B♭ missing in ks.

"J M" initials written below 2nd line. Looks like this tune and the following two are part of a suite by John McLachland.

- Borrie ffountaine Blowe, Bourée Fountainbleau (from Panmure Violin Manuscript 1 26, f. 12) [5511; 3343]

- Boree ffountainBleau, Bourée Fountainbleau (from Newbattle Violin Manuscript 2 19, f. 8) [1133; 4321]

Concordances (other): “Bore Angletar”, Apollo’s Banquet, II, no 11.

- bourie Royale, Bourée Royale (from Panmure Ensemble Part Books 57, f. 41) [7511; 3316]