Long set of variations on a 4 bar ground bass.

excerpt only (seems to be crossed out / smudged)

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

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.

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".

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]

- 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]

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

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]

English broadside / theatre tune, possibly written by Jeremiah Clarke. Concordances (other): D'Urfey Pills; Oswald CPC 2 p. 32.

- Come Sweet Lass, Come Sweet Lass (from MacFarlane Manuscript 3 137, p. 103) [1533; 5227]

- Empr March, Emperor's March (from Thomson Manuscript 2, p. 2) [1115; 1211]
- Emperours March, Emperor’s March (from Sinkler Manuscript 24, f. 64) [1115; 1211]

First five bars only, crossed out.

- Empr March, Emperor's March (from Thomson Manuscript 1, p. 1) [1115; 1211]
- Emperours March, Emperor’s March (from Sinkler Manuscript 24, f. 64) [1115; 1211]

technical exercise - quite like the ‘florishes’ above, though in a time signature

Concordances (other): "Flat-Capp, an Old Hornpipe", Marsden, Lancashire Hornpipes. "Flat Cap", Wright, Walsh Third Book of the Most Celebrated Jiggs.

- A horn pyp, Flat Cap (from Sinkler Manuscript 48, f. 60) [155; 742]
- [Flat Cap], Flat Cap (from Cuming Manuscript 7, p. 10) [535; 742]
- Punchanallors Hornpipe, Punchanallor's Hornpipe (from Robert Kelsall Manuscript 84, f. 15v) [155; 742]
- Hornpipe, Flat Cap (from Robert Kelsall Manuscript 273, f. 47v) [155; 742]

Prelude in C major, mostly in scalic figures.

Another short prelude.

Two treble parts given (2nd treble part on p. 7)

Concordances (other): "Minneway" Atkinson MS p. 28.

Another prelude, in the manner of the Thomas Dean pieces earlier in the MS. Scale in G Major, ending with a 4-note chord.

3/2 hornpipe. Variations: 2 strain tune, 1+1/2 variations.

- Geld him lasses _ Geld him, Geld Him Lasses (from Robert Kelsall Manuscript 259, f. 44v) [161; 357]
- Geld him lasses Geld him, Geld Him Lasses (from Robert Kelsall Manuscript 279, f. 48) [151; 357]
- Clerks Hornpipe, Clerk's Hornpipe (from Cameron Manuscript 258, p. 61) [151; 357]
- Geld him Lasses. D.Y., Geld Him Lasses (from MacFarlane Manuscript 2 142, p. 198) [151; 357]

- jingiling Gordy, Gingling Geordie (from Sinkler Manuscript 28, f. 63v) [1112; 1111]

Likely that key signature of one flat missing throughout.

- good night & god be with yow, Good Night and Joy Be With You (from Guthrie Manuscript 61, p. 310) [1655; 6666]
- Good Night, Good Night and Joy Be With You (from Sinkler Manuscript 30, f. 63) [1155; 6666]
- Good Night & c., Good Night and Joy Be With You (from McGibbon Manuscript 207, p. 102) [3166; 3331]

Begins with a 2 strain tune, but the remaining 3 strains are all formulaic variations on the ground bass.

- Green sleivs and pudding pys, Greensleeves (from Sinkler Manuscript 39, f. 62) [3347; 3175]
- Greensleeves, Greensleeves (from Robert Kelsall Manuscript 148, f. 24v) [3547; 1425]
- The Bass to Green Sleeves, Greensleeves (bass) (from Robert Kelsall Manuscript 428, f. 81) [3355; 6633]
- Green Sleeves, Greensleeves (from MacFarlane Manuscript 2 212, p. 258) [3347; 3175]

2nd half goes to E minor.

This is Nicolas Haym's song "Hast O Sun O quickly fly" from his opera Pyrrhus and Demetrius (1708). Last line of the tune is continued on previous page.

Otherwise known as "The Wives of the Bow", after a satirical Scottish broadside ballad of the late 17th century.

- Wifes of the Bow, Wives of the Bow (from Gairdyn Manuscript 375, f. 50v) [None; None]
- Walli's Humour, Walli’s Humour in Tapping the Ale (from Cuming Manuscript 38, p. 56) [6665; 1113]
- Wives of the Bowe, Wives of the Bow (from McGibbon Manuscript 108, p. 65) [6666; 1113]

- I Love my Love in secret, I Love My Love in Secret (from Guthrie Manuscript 39, p. 303) [3155; 6225]
- I Love my Love in secret, I Love My Love in Secret (from Guthrie Manuscript 52, p. 306) [3155; 5555]
- I Love my Love in secret, I Love My Love In Secret (from Bowie Manuscript 52, f. 33v) [3111; 6223]
- I Love my Love in Secret, I Love my Love in Secret (from Gairdyn Manuscript 4, f. 1v) [3215; 6226]
- I Love My Love In Secret , I Love My Love In Secret (from Agnes Hume Manuscript 16, f. 5v) [3111; 6226]
- I love my Love in Secret, I Love My Love in Secret (from MacFarlane Manuscript 2 155, p. 210) [3211; 6226]
- I love my Love in Secret by Mr McLean, I Love My Love In Secret (from McGibbon Manuscript 3, p. 2) [3211; 6226]
- I Love my Love in Secret, I Love my Love in Secret (from McGibbon Manuscript 156, p. 84) [3211; 6226]
- I love my love in secret, I Love My Love in Secret (from James Knox Manuscript 109, f. 29v) [3211; 6225]

Likely that key signature of one flat missing throughout.

- [I'll Make You Be Fain to Follow Me], I'll Make You Be Fain to Follow Me (from Sinkler Manuscript 49, f. 59v) [3572; 3533]
- [I'll Make You Be Fain to Follow Me], I'll Make You Be Fain to Follow Me (from Sinkler Manuscript 55, f. 58v) [3572; 3533]
- I’ll make thee be fain to follow me, I’ll Make You Be Fain To Follow Me (from MacFarlane Manuscript 3 14, p. 9) [3122; 3171]

Concordances (other): Playford OST; Thomson OC2, II.

- I’ve fixt my fancy on thee, I’ve Fixed My Fancy On Thee (from MacFarlane Manuscript 2 151, p. 207) [3235; 2666]
- I’ve fixt my fancy on thee, I’ve Fixed My Fancy On Thee (from MacFarlane Manuscript 3 134, p. 98) [3235; 2666]

- Jamaico, Jamaica (from Gairdyn Manuscript 119, f. 19) [; ]
- Jamaica, Jamaica (from James Knox Manuscript 147, f. 37v) [1113; 6361]

Another piece for treble and bass. Initials C.C. at end

Another piece for treble and bass. Initials C.C. at end

From John Alnnott's music for the play "Phaedra & Hyppolitus"

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)

Another song by John Eccles, used as a country dance tune.

- The gellie braes, The Jolly Breeze (from Leyden Lyra-viol and Violin Manuscript 24, f. 59v) [1513; 5554]
- Gollie Breez, Jolly Breeze (from Leyden Lyra-viol and Violin Manuscript 29, f. 61v) [1154; 2744]
- Joly bris, Jolly Breeze (from Sinkler Manuscript 40, f. 61v) [1134; 2244]
- Jolly Breeze, Jolly Breeze (from Robert Kelsall Manuscript 185, f. 29) [1154; 2744]

- Jumping John, Jumping John (from Gairdyn Manuscript 361, f. 49) [; ]
- jumping John or Jane plague, Jumping John (from Cameron Manuscript 192, p. 47) [3322; 3211]
- Jumping John , Jumping John (from MacFarlane Manuscript 3 19, p. 11) [3322; 3211]

Title written in later hand. Also appears later in MS in higher key (F instead of C), with original title "Killie Krankie".

- Gillecrankie, Killiecrankie (from Gairdyn Manuscript 181, f. 23) [; ]
- Killie Krankie, Killiecrankie (from Thomson Manuscript 58, p. 40) [1111; 1116]
- Gillecrankie, Killiecrankie (from MacFarlane Manuscript 2 159, p. 216) [5555; 2255]
- Killicrancky, Killiecrankie (from MacFarlane Manuscript 3 114, p. 85) [3344; 3435]

First title crossed out ("Ce=Bell"). The tune seems to have gone awry towards end of the 2nd strain. Also see earlier in MS (p. 20).

- Gillecrankie, Killiecrankie (from Gairdyn Manuscript 181, f. 23) [; ]
- Killie Krankie, Killiecrankie (from Thomson Manuscript 27, p. 20) [5555; 5555]
- Gillecrankie, Killiecrankie (from MacFarlane Manuscript 2 159, p. 216) [5555; 2255]
- Killicrancky, Killiecrankie (from MacFarlane Manuscript 3 114, p. 85) [3344; 3435]

Typically Scottish figuration in b. 6.

- You’ll ay be welcome back again, You’ll Aye Be Welcome Back Again (from Drummond Castle Manuscript 1 32) [1555; 1152]
- Lady Blank, Lady Blank (from MacFarlane Manuscript 2 167, p. 224) [1555; 1152]

Aria "Lusinga del mio core" from the opera Hydaspes by Mancini (1710).

- Lusinga del mio core, Lusinga del mio core (from Robert Kelsall Manuscript 212, f. 34v) [0066; 5124]

The words "end with the first strain" are written at the end.

From John Alnnott's music for the play "Phaedra & Hyppolitus"

Strain 1 only.

- Mall borrow March, Marlborough March (from Gairdyn Manuscript 95, f. 16v) [5353; 5551]

- Tibie fouller in the glen, Tibbie Fowler (from Bowie Manuscript 47, f. 29v) [1111; 2744]
- Owing at her, Owing At Her (from Sinkler Manuscript 36, f. 62v) [1112; 7742]
- Tibbie Fouller in the Glen, Tibbie Fowler (from George Skene Manuscript 14, f. 4) [1112; 7233]
- Tibbie fowler in the Glen, Tibbie Fowler (from Drummond Castle Manuscript 1 38) [5172; 3175]
- Tibbie Fowler. D.Y., Tibbie Fowler (from MacFarlane Manuscript 2 171, p. 226) [1172; 3175]

- A new minuit, A New Minuet (from Leyden Lyra-viol and Violin Manuscript 30, f. 62) [555; 315]

New hand starts here, more professional and consistent. This piece is in two staves, treble and bass. Initials C.C. at end

Another piece for treble and bass. Initials C.C. at end

Possibly part of suite of dances with four preceding tunes, but no second treble part here.

- [Minuet], Minuet (from Thomson Manuscript 91, p.69) [122; 321]

Copy of first 6 bars of previous tune, crossed out. New hand starts here - messier, more amateur.

- Minuet, Minuet (from Thomson Manuscript 90, p. 68) [122; 321]

Minuet tune

Minuet tune.

From John Alnnott's music for the play "Phaedra & Hyppolitus"

Possibly the key signature should only be one ♭. Concordances (other): "A Song" (begins "One Sunday after mass, Dormet and his lass") D'Urfey Pills (1700), 246. "Mac Ballor. A comical ditty, in imitation of the Irish stile", D'Urfey, Pills (1700), 280.

This is top part to the overture to John Alnott's music for the play "Phaedra & Hyppolitus" (1709).

Probably missing key signature of one ♭. "Pass by" is an Anglicised version of "Passepied", a form of quick minuet.

- Peggie in devotion bred From tender years, Peggie In Devotion (from Gairdyn Manuscript 403, f. 56) [; ]
- A Country Dance, Peggie in Devotion (from Robert Kelsall Manuscript 72, f. 13v) [1351; 5533]
- Peggie in Devotion, Peggie in Devotion (from MacFarlane Manuscript 3 213, p. 193) [1351; 5533]

Violin prelude in D minor (similar to Thomas Dean pieces in this MS). Simple arpeggios with chordal cadence at end.

Concordances (other): Bennet MS; The Complete tutor, to the violin […] by Mr. [Thomas] Dean (London, 1713).

Short scalic prelude in A Major, probably intended as introduction to next two pieces.

Prelude by Thomas Dean. Concordances (other): Bennet MS; The Complete tutor, to the violin […] by Mr. [Thomas] Dean (London, 1713).

- Prelude, Prelude in A Minor (from Robert Kelsall Manuscript 420, f. 80) [1231; 7252]

Concordances (other): Bennet MS; The Complete tutor, to the violin […] by Mr. [Thomas] Dean (London, 1713).

Concordances (other): Bennet MS; The Complete tutor, to the violin […] by Mr. [Thomas] Dean (London, 1713).

Concordances (other): Bennet MS; The Complete tutor, to the violin […] by Mr. [Thomas] Dean (London, 1713).

Concordances (other): Bennet MS; The Complete tutor, to the violin […] by Mr. [Thomas] Dean (London, 1713).

Concordances (other): Bennet MS; The Complete tutor, to the violin […] by Mr. [Thomas] Dean (London, 1713).

Looks like a March tune, rather than a prelude / technical exercise, though the title implies a didactic function. Some double-stopping in second strain.

Concordances (other): Bennet MS; The Complete tutor, to the violin […] by Mr. [Thomas] Dean (London, 1713).

Concordances (other): Bennet MS; The Complete tutor, to the violin […] by Mr. [Thomas] Dean (London, 1713).

Short scalic prelude in E Major, probably intended as introduction to following piece.

Concordances (other): Bennet MS; The Complete tutor, to the violin […] by Mr. [Thomas] Dean (London, 1713).

Concordances (other): Bennet MS; The Complete tutor, to the violin […] by Mr. [Thomas] Dean (London, 1713).

Concordances (other): Bennet MS; The Complete tutor, to the violin […] by Mr. [Thomas] Dean (London, 1713).

Prelude by Thomas Dean. Concordances (other): Bennet MS; The Complete tutor, to the violin […] by Mr. [Thomas] Dean (London, 1713).

- Prelude, Prelude in G Major (from Robert Kelsall Manuscript 422, f. 80v) [1353; 1563]

Prelude by Thomas Dean. Concordances (other): Bennet MS; The Complete tutor, to the violin […] by Mr. [Thomas] Dean (London, 1713).

- Prelude, Prelude in G Minor (from Robert Kelsall Manuscript 421, f. 80v) [1352; 3115]

Perfect fourths in double-stops given for final two notes in strain 1 - possibly alternative 1st/2nd time.

- Standley for Ever, Standley For Ever (from Robert Kelsall Manuscript 54, f. 11v) [5544; 3225]
- Richmond Ball, Richmond Ball (from MacFarlane Manuscript 3 289, p. 281) [5544; 3425]

Tune in A major , probably paired with Prelude (Thomson_116), and following piece.

- Saw ye my pegie, Saw Ye No My Peggie (from Gairdyn Manuscript 26, f. 3v) [665; 555]
- Saw ye not my Meggie. divisions 1720, Saw Ye No My Peggie (from Clerk of Penicuik Papers 21, GD18/4538/5/7) [663; 552]
- [Saw Ye No My Peggie], Saw Ye No My Peggie (from Sinkler Manuscript 54, f. 58v) [663; 253]
- Saw ye nae my Peggie, Saw Ye No My Peggie (from McGibbon Manuscript 107, p. 65) [665; 554]
- Saw ye my Peggy, Saw Ye No My Peggie (from James Knox Manuscript 172, f. 43v) [665; 555]

scale exercises, copied without barlines

At the end of strain 2 is written: "end with the first straine".

- Shores trumpet tune, Shore's Trumpet Tune (from Robert Kelsall Manuscript 86, f. 15v) [3352; 1132]

Presumably intended as pair with Prelude (Thomson_120). Italianate flourish at end.

Reel tune in phrases of 4+6 bars. According to Davidson Cook, this tune was one of three played by the pipers of Argyle’s Highlanders as they entered perth and Dundee in 1716. Concordances (other): Johnson’s Two Hundred Dances, III, 1744.

- Stay and take your Breeks w'ye , Stay and Take Your Breeks With You (from Gairdyn Manuscript 164, f. 22) [; ]

Also earlier in MS, p. 17. Concordances (other): “Mary Scot”, Thumoth Scotch & Irish. “Mary Scot”, McGibbon Scots Tunes Vol II, p. 60. “Mary Scott”, Oswald CPC 1, p. 4.

By the high pitch, looks more likely to be for recorder than violin. Concordances (other): “Aber Geldy”, Atkinson MS p. 111. “The Berks of Abergelde”, Playford OST, p. 11.

- Birks of Abergeldy, The Birks of Abergeldy (from Gairdyn Manuscript 8, f. 1v) [1135; 1H1H77]

Davidson Cook notes that this tune is believed to be the composition of Jeremiah Clark, sung in The Fond Husband of c. 1676, but it does not occur in any of the early editions. The first printed appearance of the air is in Playford's Dancing Master (1696 edition) as “The Bonny grey eye’d morn.”

- Bonny Gray head morn, The Bonny Gray Eyed Morn (from Gairdyn Manuscript 134, f. 19v) [None; None]
- The Gray Eyed Morning, The Bonny Gray Eyed Morn (from Leyden Lyra-viol and Violin Manuscript 13, f. 55v) [1132; 3555]
- Gray Morning, The Bonny Gray Eyed Morn (from Sinkler Manuscript 13, f. 67) [1132; 3555]
- The Bonny gray-Ey'd morning, The Bonny Gray Eyed Morn (from Robert Kelsall Manuscript 360, f. 115v) [1132; 3555]
- Bonny gray eyed Morning, The Bonny Gray Eyed Morn (from MacFarlane Manuscript 3 15, p. 10) [1112; 3555]

3/2 hornpipe version of the tune "Camstraddan's Rant".

- Camstronnan’s Rant, Camstraddan's Rant (from Drummond Castle Manuscript 1 19) [113; 264]
- Sword dance or Streun, Sword dance or Streun (from Cameron Manuscript 253, p. 60) [1131; 6411]
- Camstroddan’s Rant, Camstraddan’s Rant (from MacFarlane Manuscript 2 123, p. 186) [113; 264]

Davidson Cook notes that this is a tune by John Bennett, originally called "St Catharine" in a book of Harpsichord Lessons c. 1700. D'Urfey wrote a song to it "The Country Fair" beginning "In the pleasant month of May". Concordances (other): "The Country Fair", D'Urfey Songs Compleat (1719).

Concordant with MacFarlane 3, though rhythm values halved there.

- Drunken wives of Carlyle, The Drunken Wives of Carlisle (from Sinkler Manuscript 23, f. 64v) [1111; 7722]
- The drunken Wives of Carlyl, The Drunken Wives of Carlisle (from MacFarlane Manuscript 3 45, p. 34) [1172; 1115]

"Jock the Laird’s Brother" (in Balcarres, Leyden LV etc) is a different tune

Davidson Cook notes that this tune is also by John Eccles, from Rinaldo and Armida (c. 1700). Notation drifts into 3/4 in strain 2.

- Lasses of Edenburgh, The Lasses of Edinburgh (from Sinkler Manuscript 47, f. 60) [5366; 5362]

Concordances (other): "Dick a Dollis", Playford OST.

- Parson among the Pease, The Parson Among the Peas (from MacFarlane Manuscript 2 219, p. 268) [5653; 1172]

- The Balip, The Ballop (from Guthrie Manuscript 23, p. 299) [5551; 6611]
- heey ho the Balop, Hey Ho the Ballop (from Bowie Manuscript 53, f. 34v) [1135; 2246]

- The thri ships skings, Three Sheep Skins (from Panmure Violin Manuscript 1 70, f. 34v) [1355; 4352]
- Three sheep skins, Three Sheep Skins (from Robert Kelsall Manuscript 139, f. 23) [1133; 5533]
- Three Sheepskins, Three Sheep Skins (from MacFarlane Manuscript 2 33, p. 69) [1334; 4332]

Song from Pyrrhus and Demetrius by Allessandro Scarlatti and Nicola Francesco Haym, but based on an aria by Handel, "Hò un nun sò che nel cor", which appeared in both La Resurrezione (HWV 47) and Il Pastor Fido (HWV 8).

- Tis not your wealth my Dear, Tis Not Your Wealth My Dear (from Robert Kelsall Manuscript 634, f. 132) [0015; 2233]
- Tis not your Wealth my Dear, Tis Not Your Wealth My Dear (from MacFarlane Manuscript 3 59, p. 46) [0015; 2033]

This is actually by Jeremiah Clarke. Presumably the "Mr Shors" refers to one of the famous Shore family of trumpeters in London in the 17th / 18th century.

- Trumpet tune., Trumpet Tune by Jeremiah Clarke (from Robert Kelsall Manuscript 21, f. 6v) [1122; 3332]

French-style minuet tune New hand starts here - amateur, but quite clear and consistent.

Looks like a March.

Trumpet-style writing.

Looks like a March, with trumpet-style writing.

New hand starts here. Amateur, quite messy. This tune looks like a March, with trumpet-style writing.

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)

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)

Highly ornate Italianate flourishs. Only 6 bars long.

Possibly another movement of the Jenkins airs (see Thomson no 101). Single part only given. NB index given as if an octave higher.

Possibly a sonata movement.

Possibly a sonata movement.

Possibly a sonata movement, or possibly even intended as part of previous movement.

Excerpt of a tune (3 bars).

French-style air, probably intended to follow prelude (Thomson_113). Lots of ornamentation.

Another highly-ornamented piece, possibly intended as a suite with previous two numbers. Looks didactic in nature.

Jig, probably part of suite with previous two movements.

Jig, probably part of suite with previous three movements.

Violino Primo’ at top of page, but no 2nd violin part given.

Quite trumpet-like writing. Possibly part of an overture.

Looks like a technical exercise in D Minor. Corellian violin writing.

Possibly a sonata movement.

Another prelude, akin to the other "florish" pieces in the manuscript.

Another prelude, akin to the other "florish" pieces in the manuscript.

Probably a movement of an overture or possibly trio sonata. This is split across three pages: starts on p. 123, then goes to p. 122, then p. 125, with a da capo.

This tune reads across pages 124-5. Each stave continues onto the next page.

Two parts - treble and bass, in score format. Probably a sonata movement.

March tune.

Song by Henry Purcell from his music for Dioclesian (Z.627).

- What shall I doe to show, What Shall I Do to Show How Much I Love Her (from Gairdyn Manuscript 84, f. 14) [None; None]
- What Shall I do to Shew how Much I love her, What Shall I Do to Show How Much I Love Her (from Robert Kelsall Manuscript 436, f. 82v) [5742; 5311]
- What shall I do to show how much I love her?, What Shall I Do to Show How Much I Love Her (from MacFarlane Manuscript 2 249, p. 288) [312; 771]
- What shall I do to show how much I love her, What Shall I Do to Show How Much I Love Her (from McGibbon Manuscript 20, p. 15) [312; 771]

Concordances (other): “Mary Scot”, Thumoth Scotch & Irish. “Mary Scot”, McGibbon Scots Tunes Vol II, p. 60. “Mary Scott”, Oswald CPC 1, p. 4.

- 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]
- Wher will our Good man ly, Where Shall Our Good Man Lie (from Cameron Manuscript 191, p. 47) [1117; 5533]
- Ay as she piss’d she padled it, As She Piss’d She Paddled It (from MacFarlane Manuscript 2 12, p. 32) [1124; 3314]

According to Davidson Cook, the Words of this song are by Dryden and the music by John Eccles, taken from the play Love Triumphant of c. 1694. Words and tune appeared in the 1707 edition of Pills, and the 1719 edition (vol 3).

- Young I Am, Young I Am (from Leyden Lyra-viol and Violin Manuscript 5, f. 52) [1124; 3577]

Giga 12/8 movement