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hms.scot

Manuscript Tune Index

by Aaron McGregor


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Key signature
Time signature
Bass
Source
KS (edited)
TS (edited)
Variations

Key note
Index 1 [starts with / is]
Index 2 [starts with / is]
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Index 1 & Index 2

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Manuscript: Cuming Manuscript

Title (source) Title (standardised) Source Key note Key signature KS (edited) Time signature TS (edited) Strains Variations Bass Index 1 Index 2 Index 1 (long) Index 2 (long)
Allan Water
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]
 Allan Water Cuming Manuscript 21, p. 25 F ♭ ♭ ₵ ₵ 4 yes no 1131 5221 1131H 5221
Bessie Bell & c
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]
 Bessie Bell Cuming Manuscript 23, p. 28 D ♯ ♯ 6/4 6/4 2 yes no 3564 3513 3564 351H3H
Black Eyed Susan
Index given as if 3/4.
Black Eyed Susan Cuming Manuscript 22, p. 27 B♭ ♭♭ ♭♭ 3/8 3/8 2 no no 331 243 331 243
[Bonnocks of Bear Meal]
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.
Bonnocks of Bear Meal Cuming Manuscript 48, p. 67 G ♯ ♯ 3/4 2 no no 113 226 113 226
[Bonny Jean of Aberdeen]
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]
 Bonny Jean of Aberdeen Cuming Manuscript 43, p. 62 G ♯ ♯ ₵ 4 yes no 1155 1132 115L5L 1132
[Corrente]
Primo part of Corelli Trio Sonata in D Major Op 2 no 1: iii. Corrente.
Corelli Op 2 no 1, iii. Corrente Cuming Manuscript 20, p. 24 D ♯♯ ♯♯ 3/4 3/4 2 no no 554 655 5H5H4H 6H5H5H
[Allegro]
Primo part of Corelli Trio Sonata in D Major, Op 2 no 1: ii Allegro. 2 bars in the second section have been omitted by accident and added at the end
Corelli op 2 no 1, ii. Allegro Cuming Manuscript 19, p. 23 D ♯♯ ♯♯ ₵ ₵ 2 no no 1350 6533 1H3H5H0 6H5H3H3H
[Corrente]
Primo part from: Corelli Trio Sonata in A Major, Op 4 no 3: Corrente.
Corelli op 4 no 3, Corrente Cuming Manuscript 15, p. 18 A ♯♯♯ ♯♯♯ 3/4 3/4 2 no no 553 224 553 224
[Sarabanda]
Primo part from: Corelli Trio Sonata in A Major, Op 4 no 3: Sarabanda. Contains extra written-out ornamentation of the type normally only found in embellished versions of the solo sonatas.
Corelli op 4 no 3, Sarabanda Cuming Manuscript 16, p. 20 A ♯♯♯ ♯♯♯ 3/2 3/2 2 no no 553 225 553 225L
[Corn Riggs]

- New Corn Rigs, Corn Riggs (from Newbattle Violin Manuscript 2 31, f. 14v) [1132; 7725]
- New Corn riggs, Corn Riggs (from Panmure Violin Manuscript 1 56, f. 27) [1332; 7221]
- Corn riggs, Corn Riggs (from Gairdyn Manuscript 31, f. 4) [1132; 7725]
- Corn Riggs or Sawney was tall, Corn Riggs (from Robert Kelsall Manuscript 647, f. 138v) [1112; 7775]
- Corn Riggs, Corn Riggs (from MacFarlane Manuscript 3 288, p. 274) [1342; 7775]
 Corn Riggs Cuming Manuscript 32, p. 45 C ₵ 7 yes no 1342 7725 1H3H4H2H 772H5
[Correlli Op 4 no 4 Corrente]
Primo part of the Corrente from Correlli’s Trio Sonata Op 4 no 4. Small amount of extra ornamentation
Corrente Cuming Manuscript 2, p. 2 D ♯♯ ♯♯ 3/4 2 no no 114 655 114 655
[Downie’s Rigadon]
Concordances (other): "Downie’s Rigadon", McGlashan Scots Measures, p. 23. Presumably composed by the Edinburgh dancing master John Downie (fl. 1718, d. 1771).

- Rigadoon, Downie's Rigadon (from MacFarlane Manuscript 3 84, p. 65) [1125; 4231]
 Downie’s Rigadon Cuming Manuscript 52, p. 71 F ♭ ♭ 6/8 6/8 2 no no 1125 4231 1H1H2H5 4231
[Flat Cap]
Excerpt only - cuts off after 2 bars. Concordances (other): "Flat-Capp, an Old Hornpipe", Marsden, Lancashire Hornpipes. "Flat Cap", Wright, Walsh Third Book of the Most Celebrated Jiggs.

- Horne Pipe, Flat Cap (from Thomson Manuscript 56, p. 39) [155; 742]
- A horn pyp, Flat Cap (from Sinkler Manuscript 48, f. 60) [155; 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]
 Flat Cap Cuming Manuscript 7, p. 10 D ♯ ♯ 3/2 3/2 1 no no 535 742 535 7b42
[Helen Hume's Scots Measure]
Concordances (other): "Lord of Cockpen’s Scotch-measure" Playford OST, p. 4.

- A Scotts misur, Helen Hume's Scots Measure (from Bowie Manuscript 27, f. 17v) [3111; 3332]
- Scotch measure, Helen Hume's Scots Measure (from Robert Kelsall Manuscript 274, f. 47v) [1111; 3332]
- Scotch Measure, Helen Hume's Scots Measure (from MacFarlane Manuscript 3 102, p. 76) [1111; 3332]
 Helen Hume's Scots Measure
Title (alternative): Lord of Cockpen's Scotch Measure		 Cuming Manuscript 34, p. 50 G ♯ ♯ ₵ 2 no no 3111 3332 31H11 3332
[Italian Minuet]
Concordances (other): "Italian Minuet" GB Mp MS. 130Hd4v.314; "Menuet", US-Bh C.3.V81 (vol 2), f. 15v; "Menuet de L'abbé", CH-BEI Ms-Mq-66, f. 11v.
Italian Minuet
Title (alternative): Menuet de L'abbé		 Cuming Manuscript 40, p. 59 G ♯ ♯ 3/4 2 no no 146 544 1H4H6H 544
[Jenny Come Tie My Cravat]
This seems to be a version of the English country dance and broadside ballad tune "Jenny Come Tie My Cravat". Concordances (other): Playford, Apollo's Banquet (5th ed); Oswald CPC6, p. 14.
Jenny Come Tie My Cravat
Title (alternative): Scotch Currant		 Cuming Manuscript 42, p. 61 D ♯♯ ♯♯ 6/4 6/4 2 no no 3524 3513 3524 3513H
John Come Kiss Me Now
Title in later hand. Long set of variations, very clearly related to the earlier version by Davis Mell, as published in Playford's The Division Violin (1684). Goes to 12/8 for strains 10-11, returning to [₵] for final strain.

- [John come kiss me now], John Come Kiss Me Now (from Clerk of Penicuik Papers 39, GD18/4538/5/13) [1132; 4443]
- Old Mackentosh’s march, Old Mackintosh's March (from Robert Kelsall Manuscript 53, f. 11v) [1132; 4443]
- Old Mackintosh's march, Old Mackintosh's March (from Robert Kelsall Manuscript 596, f. 123) [1132; 4443]
- John come kiss me now, John Come Kiss Me Now (from MacFarlane Manuscript 3 43, p. 26) [1112; 4643]
- John come kiss me now, John Come Kiss Me Now (from MacFarlane Manuscript 3 193, p. 164) [1132; 4443]
- King of Swedens March, The King of Sweden’s March (from James Knox Manuscript 71, f. 24v) [3313; 4444]
 John Come Kiss Me Now
Title (alternative): The King of Sweden’s March; The Buffins; Old Mackintosh's March		 Cuming Manuscript 31, p. 40 G ♯ ♯ ₵ 12 yes no 1112 4443 1112 4443
[John Hay's Bonnie Lassie]
2 strain tune + 2 variations. Strain 3 uses three-note chords. Later hand has written the title "Dumbarton Drums" in pencil, but this is actually the tune "John Hay's Bonnie Lassie".

- John Hay’s bonnie Lassie, John Hay’s Bonnie Lassie (from MacFarlane Manuscript 2 235, p. 278) [511; 112]
 John Hay's Bonnie Lassie Cuming Manuscript 35, p. 51 D ♯ ♯ 3/4 6 yes no 511 112 5L11 112
Mary Scott
Title written in later hand. Concordances (other): “Mary Scot”, Thumoth Scotch & Irish. “Mary Scot”, McGibbon Scots Tunes Vol II, p. 60. “Mary Scott”, Oswald CPC 1, p. 4.

- Mary Scot's the Flower of yearow, Mary Scott (from Gairdyn Manuscript 15, f. 2v) [113; 555]
- Mary Scott, Mary Scott (from Agnes Hume Manuscript 1, f. 1) [1555; 2111]
- Mary Scott, Mary Scott (from Agnes Hume Manuscript 4, f. 2) [1555; 2111]
- Mary Scot, Mary Scott (from Robert Kelsall Manuscript 290, f. 50v) [113; 556]
- Mary Scott, Mary Scott (from Robert Kelsall Manuscript 580, f. 118v) [113; 556]
- Mary Scott, Mary Scott (from MacFarlane Manuscript 3 238, p. 214) [113; 556]
 Mary Scott
Title (alternative): When the Cold Winter Nights Were Frozen; The Banks of Yaro; Sir John Fenwick’s the Flower Amang Them All		 Cuming Manuscript 8, p. 10 D ♯♯ ♯♯ 3/4 3/4 2 no no 113 553 113 553
[Minuet]
Minuet tune. No concordances on RISM or Gore.
Minuet Cuming Manuscript 5, p. 8 G ♯ ♯ 3/4 3/4 2 no no 131 555 131 55L5
Minueto
Nothing on RISM or Gore.

- Minuet, Minuet (from Robert Kelsall Manuscript 280, f. 48v) [111; 132]
 Minuet Cuming Manuscript 27, p. 32 A ♯♯♯ ♯♯♯ 3/4 3/4 2 no no 111 132 111L 132
Minuet
Nothing on RISM or Gore.
Minuet Cuming Manuscript 28, p. 33 D ♯♯ ♯♯ 3/4 3/4 2 no no 175 355 1H75 355
Minuet
Lots of overlap with "Minuett Vallentine", Cameron MS, p. 33.
Minuet Cuming Manuscript 37, p. 55 D ♯♯ ♯♯ 3/4 2 no no 122 335 1H2H2H 3H3H5H
[Minuet]
Looks like a minuet, possibly from an Italian sonata. Not in Corelli opp 2, 4, 5, 6. Nothing on RISM or Gore
Minuet Cuming Manuscript 39, p. 58 A ♯♯♯ ♯♯♯ 3/4 no no 551 351 551H 351
[Minuet]
Minuet tune. Nothing on Gore or RISM
Minuet Cuming Manuscript 44, p. 63 A ♯♯♯ ♯♯♯ 3/4 3/4 2 no no 542 551 542 5L5L1
[Minuet]

- Minuet, Minuet (from MacFarlane Manuscript 3 89, p. 68) [517; 115]
 Minuet Cuming Manuscript 47, p. 67 F ♭ ♭ 3/4 2 no no 517 115 51H7 1H1H5
[Minuet]
Minuet. Nothing on Gore or RISM
Minuet Cuming Manuscript 50, p. 69 G ♯ ♯ 3/4 2 no no 155 111 155L 111
[My Wife She Dang Me]
Long set of variations. 6/8 for last four strains.Concordances (other): "My Wife She Dang Me", Oswald CPC6, p. 4; McGibbon Scots Tunes III, p. 28.
My Wife She Dang Me Cuming Manuscript 29, p. 34 D ♯ ♯ ₵ ₵ 13 yes no 3572 3531 35b72 353H1H
O’er the muir to Maggie
Concordances (other): "O’er the moor to Maggy", Neal CST p. 12 (close concordance with st1-4).

- over the moor to magie, O'er the Moor to Maggie (from Bowie Manuscript 50, f. 32v) [5113; 2227]
- ore the muir to Maggie, O'er the Moor to Maggie (from Sinkler Manuscript 38, f. 62) [5122; 5155]
- Over ye muir to Maggie, O'er the Moor to Maggie (from Robert Kelsall Manuscript 247, f. 43) [5311; 2221]
- O'er the Muir to Maggie, O'er the Moor to Maggie (from McGibbon Manuscript 94, p. 60) [5122; 5155]
 O’er the Moor to Maggie Cuming Manuscript 26, p. 31 G ♯ ♯ ₵ ₵ 4 yes no 5122 5155 51H22H 51H55
Queensberry’s Scots measure
Concordances (other): Neal CST p. 16 "Scotch Measure".

- Queensbury’s Scotch measure, Queensberry’s Scots Measure (from Robert Kelsall Manuscript 235, f. 41) [1113; 5132]
- Scotch Measure, Queensberry’s Scots Measure (from MacFarlane Manuscript 3 106, p. 79) [1113; 5132]
 Queensberry’s Scots Measure Cuming Manuscript 25, p. 30 G ♯ ♯ ₵ ₵ 2 no no 1113 5132 1113 51H32
Steer Her Up and Had Her Gaun
2 strain tune + 1 variation. Title written in later hand.

- Hold her going, Steer Her Up and Had Her Gaun (from Guthrie Manuscript 25, p. 299) [1533; 2277]
- Steer her up, Steer Her Up and Had Her Gaun (from Gairdyn Manuscript 171, f. 22v) [None; None]
- Steer her up and had her gaing, Steer Her Up and Had Her Gaun (from MacFarlane Manuscript 2 216, p. 266) [1133; 1355]
 Steer Her Up and Had Her Gaun Cuming Manuscript 3, p. 4 D ♯ ♯ ₵ ₵ 4 yes no 1133 1355 1H1H3H3H 1H3H5H5
[The America]
Multiple sections: ₵ and [3/4], though looks more like a dance pair than a set of variations. Concordances (other): "America", GB Lbl Add. 29371.

- The America, The America (from MacFarlane Manuscript 3 109, p. 82) [1135; 6557]
 The America Cuming Manuscript 10, p. 12 D ♭ ♭ ₵ ₵ 4 no no 1135 6557 1H1b35 b655b7
[The Berks of Abergeldie]
Concordances (other): "The Berks of Abergelde", Playford OST p. 11. "The Berks of Abergeldie", Oswald CPC8 p. 16.
The Berks of Abergeldie Cuming Manuscript 36, p. 54 F ♭ ♭ ₵ 2 no no 1317 1772 131H7 1H772
[The Carle he came over the Croft]
Concordances (other): "The Carle he came o'er the Craft" Bremner Scots Reels1, p. 30

- The Carle he came o'er the Croft & c., The Carle He Came O'er the Croft (from MacFarlane Manuscript 2 11, p. 30) [1133; 7433]
 The Carle He Came O'er the Croft Cuming Manuscript 51, p. 70 G ♯ ♯ ₵ 2 no no 1115 3135 1115 3135
[The Collier's Daughter]
Concordances (other): "The Colliers Lass", Playford OST p. 5 ; "The Colliers Daughter", Oswald CPC5 p. 17.

- The Coaliers daughter, The Collier's Daughter (from Gairdyn Manuscript 35, f. 4) [3311; 1156]
- The Colleyrs daughter, The Collier's Daughter (from Leyden Lyra-viol and Violin Manuscript 12, f. 55v) [3311; 1155]
- Coalliers daughter, The Collier’s Daughter (from Sinkler Manuscript 10, f. 67v) [3311; 1155]
- The nine Pint Cogie, The Nine Pint Cogie (from MacFarlane Manuscript 3 58, p. 46) [3312; 1155]
 The Collier’s Daughter
Title (alternative): The Nine Pint Cogie; The Collier's Lass		 Cuming Manuscript 45, p. 64 G ₵ ₵ 2 no no 3311 1155 3311 115L5L
[The Louver]
Concordances (other): "The Louver", McGlashan Scots Measures p. 34.

- 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]
- Amiable Vanqueur:, Aimable Vainqueur (from McGibbon Manuscript 129, p. 73) [331; 112]
 The Louvre Cuming Manuscript 41, p. 60 G ♯ ♯ 3/4 2 no no 331 112 331 112
The maltman or Roger the Cavalier
In the Division Violin and other Playford collections. Though not notated, should be played in Scordatura, with G string tuned up a tone to A. Index given as if transposed.

- A Scots-measure, Scots Measure (from Gairdyn Manuscript 64, f. 9v) [None; None]
- Rodger, Roger de Coverley (from Robert Kelsall Manuscript 287, f. 49v) [615; 726]
- Roger de Coverley, Roger de Coverley (from Robert Kelsall Manuscript 645, f. 137) [615; 227]
- The Maltman, The Maltman Comes On Monday (from Drummond Castle Manuscript 1 11) [615; 727]
- The Maltman comes on monday. Dis, The Maltman Comes On Monday (from MacFarlane Manuscript 2 40, p. 76) [635; 727]
- The Maltman, The Maltman Comes On Monday (from James Knox Manuscript 67, f. 24) [615; 327]
 The Maltman Comes On Monday
Title (alternative): Roger the Cavalier		 Cuming Manuscript 24, p. 29 ♯♯ ♯♯ 9/4 9/4 3 yes no 615 627 6L15 6L27L
[The Merry Meeting]

- Mirry Meeting, The Merry Meeting (from Gairdyn Manuscript 280, f. 36) [None; None]
- The merry Meeting, The Merry Meeting (from Robert Kelsall Manuscript 183, f. 28v) [5331; 3175]
- Merry Meeting, The Merry Meeting (from MacFarlane Manuscript 2 211, p. 257) [5331; 3725]
 The Merry Meeting Cuming Manuscript 49, p. 68 D ♯♯ ♯♯ 6/8 6/8 2 no no 5331 3175 5331 3H1H75
Tweedside
Title in later hand. 2 strain tune + 2 variations.

- Down tweedsead, Down Tweed Side (from Gairdyn Manuscript 81, f. 13) [None; None]
- Tweed Side, Tweed Side (from Robert Kelsall Manuscript 246, f. 43) [156; 113]
- Tweed-side, Tweed Side (from Robert Kelsall Manuscript 494, f. 98) [356; 113]
- Tweed Side. MacLean., Tweed Side (from MacFarlane Manuscript 2 209, p. 252) [156; 113]
- Preludio to Tweedside by A. Monro, Preludio to Tweed Side (from McGibbon Manuscript 65, p. 42) [1122; 3321]
- Tweedside by Mr McLean, Tweed Side by McLean (from McGibbon Manuscript 83, p. 53) [156; 113]
- Tweed Syde, Tweed Side (from James Knox Manuscript 111, f. 30) [15L6L; 113]
- Tweedsyde, Tweed Side (from James Knox Manuscript 217, f. 56) [156; 113]
 Tweed Side Cuming Manuscript 33, p. 48 A ♯♯♯ ♯♯♯ 3/4 6 yes no 156 113 15L6L 113
[untitled]
Untitled Cuming Manuscript 1, p. 1 A ♯♯♯ ♯♯♯ ₵ ₵ 2 no no 1756 5532 1H756 5532
[untitled]
Looks like a Scots Measure, but nothing in Gore or RISM.
Untitled Cuming Manuscript 6, p. 9 D ♯♯ ♯♯ ₵ ₵ 2 no no 5113 5773 5H1H1H3H 5H773H
[untitled]
Looks like could be a misbarred 9/4 slip jig. Nothing in RISM or Gore.
Untitled Cuming Manuscript 9, p. 11 B♭ ♭♭ ♭♭ 6/4 6/4 2 no no 3153
Alt. index 1: 315 (Alt index given as if ts is 9/4)		 4231
Alt. index 2: 342 (Alt index given as if ts is 9/4)		 3L15L3L
Alt. index 1: 3L15L (Alt index given as if ts is 9/4)		 4L2L3L1
Alt. index 2: 3L4L2L (Alt index given as if ts is 9/4)
[untitled]
French style. Last four bars is a petite reprise, with divisions. Nothing on Gore or RISM.
Untitled Cuming Manuscript 11, p. 14 A ♯♯♯ ♯♯♯ ₵ ₵ 3 no no 3215 1132 3215L 1132
[untitled]
Possibly an English theatre tune. Nothing on Gore or RISM.
Untitled Cuming Manuscript 12, p. 15 A ♯♯♯ ♯♯♯ ₵ ₵ 2 no no 5552 7755 5552 7L7L5L5L
[untitled]
Possibly an English theatre tune. Nothing on Gore or RISM.
Untitled Cuming Manuscript 13, p. 16 D ♯♯ ♯♯ ₵ ₵ 2 no no 5154 6277 51H54 62H77
[untitled]
Short dance tune built on single motif, mostly moving in sequences.
Untitled Cuming Manuscript 14, p. 17 D ♯♯ ♯♯ 3/4 3/4 2 no no 155 312 1H55 3H1H2H
[untitled]
Strain 1 has some similarity with "Peggy was the prettiest lass in aw the Town’ from Playford OST p8, and "Role the Rumpie Sawny", from Daniel Wright, Aria da Camera, p. 48.
Untitled Cuming Manuscript 17, p. 21 D ♯♯ ♯♯ ₵ ₵ 2 no no 5555 5223 5H5H5H5H 5H2H2H3H
[untitled]
Possibly a Sarabande. Nothing on RISM.
Untitled Cuming Manuscript 18, p. 22 D ♯♯ ♯♯ 3/4 3/4 2 no no 111 772 1H11 772H
Walli's Humour
Concordances (other): "Walli’s humour in tapping the ale", Playford OST pp. 12-13. "She’s Sweetest When She is Neaked" Neal Scotch Tunes p. 3.

- Wifes of the Bow, Wives of the Bow (from Gairdyn Manuscript 375, f. 50v) [None; None]
- Honie wilt thou take it, Honey Wilt Thou Take It (from Thomson Manuscript 33, p. 24) [6665; 1113]
- Wives of the Bowe, Wives of the Bow (from McGibbon Manuscript 108, p. 65) [6666; 1113]
 Walli’s Humour in Tapping the Ale
Title (alternative): She’s Sweetest When She’s Naked; Honey Wilt Thou Take It		 Cuming Manuscript 38, p. 56 F ₵ 2 no no 6665 1113 6L6L6L5L 1113
Willie Winkie’s Testament
2 strain tune + 1 variation. Title written in later hand. Newbattle Violin MS 2 "Willie Winkie" is similar in strain 1. Concordances (other): Neal CST, p. 16 "Long Absence".

- Willie Winkie, Willie Winkie's Testament (from Newbattle Violin Manuscript 2 25, f. 11) [5131; 2266]
- Willie Winkie’s Testmt, Willie Winkie’s Testament (from MacFarlane Manuscript 3 60, p. 47) [5326; 5651]
- Willie Winkie, Willie Winkie's Testament (from Newbattle Violin Manuscript 2 25, f. 11) [5131; 2266]
- Willie Winkie’s Testmt, Willie Winkie’s Testament (from MacFarlane Manuscript 3 60, p. 47) [5326; 5651]
 Willie Winkie’s Testament
Title (alternative): Long Absence		 Cuming Manuscript 4, p. 6 F ♭ ♭ ₵ ₵ 4 yes no 5332 2266 5332 226L6
Wo’s my heart that we shou’d sunder
Title only

- [Woe's my heart that we should sunder], Woe’s My Heart That We Should Sunder (from Cuming Manuscript 46, p. 65) [3255; 6665]
- Wae’s my heart that we should sunder, Woe’s My Heart That We Should Sunder (from MacFarlane Manuscript 3 113, p. 84) [1114; 2221]
 Woe’s My Heart That We Should Sunder Cuming Manuscript 30, p. 39 no no
[Woe's my heart that we should sunder]
Concordances (other): "A ways my Heart that we mun sunder" Playford OST p. 14; "Woes my heart that we should sunder" Stuart, Musick p. 10; "Woes my heart that we shou’d sunder", Oswald CPC vol 3, p. 5; "Woes my heart, that we should sunder, / Mr Mclaughlans way, by Mr Beck", Balcarres p. 119.

- Wo’s my heart that we shou’d sunder, Woe’s My Heart That We Should Sunder (from Cuming Manuscript 30, p. 39) [None; None]
- Wae’s my heart that we should sunder, Woe’s My Heart That We Should Sunder (from MacFarlane Manuscript 3 113, p. 84) [1114; 2221]
 Woe’s My Heart That We Should Sunder Cuming Manuscript 46, p. 65 C ₵ 2 no no 3255 6665 3255 6665