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

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

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]

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.

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

With words.

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.

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

With words.

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

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.

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]

English broadside tune.

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

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

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]

Aria from Handel's Ottone (HWV 15).

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

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.

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]

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

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

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

Handel

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

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

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.

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

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

With words.

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

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

Hornpipe + variations.

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

- Brivio’s Solo Minuet, Brivio’s Solo Minuet (from MacFarlane Manuscript 2 70, p. 120) [153; 113]

- Buff Coat, Buff Coat (from MacFarlane Manuscript 2 149, p. 205) [1327; 6331]

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

With words.

Definitely missing a key signature and/or accidentals, comparing version in MacFarlane 3, most likely two sharps / D Major.

- Carnwaths Minuet, Carnwath's Minuet (from MacFarlane Manuscript 3 93, p. 71) [111; 335]

Song by Henry Purcell from "The Rival Sisters" (Z. 609). In two sections: ₵ and 3 [3/4].

With words.

With words.

- Charming Phillis, Charming Phillis (from Robert Kelsall Manuscript 291, f. 50v) [112; 355]

- Charming Phillis, Charming Phillis (from Robert Kelsall Manuscript 35, f. 9) [112; 355]

Aria "Che bel piacere" from the opera Dario by Ariosti (1725).

- Up in the Morning earlie, Up in the Morning Early (from George Skene Manuscript 39, f. 13v) [5357; 1515]
- Up in the morning Early, Up in the Morning Early (from Young-Bodleian 38, f. 42) [1357; 1515]
- Up in the morning early, Up in the Morning Early (from MacFarlane Manuscript 2 51, p. 100) [1374; 1315]

Possibly missing key signature

Aria from the opera Il Vespasian (1724) by Attilio Ariosti.

- Conforza ascosi, Con Forza Ascosa (from MacFarlane Manuscript 3 71, p. 56) [123; 211]

1st violin part from Corelli Trio Sonata in G Major op 4 no 10, iv. Tempo di Gavotta

- Gavott, Corelli Trio Sonata in G Major op 4 no 10, iv. Tempo di Gavotta (from Robert Kelsall Manuscript 561, f. 115v) [3232; 1717]

1st violin part from Corelli Trio Sonata in G Major op 4 no 10, iv. Tempo di Gavotta

- Gavotta Corellÿ, Corelli Trio Sonata in G Major op 4 no 10, iv. Tempo di Gavotta (from Robert Kelsall Manuscript 457, f. 86) [3232; 1717]

Corelli Violin Sonata in A Major op 5 no 9, i. Preludio

- Mr McGibbon's Graces on Corelli’s IXth Solo. Adagio I, Corelli Violin Sonata in A Major, Op 5 No 9 i. Adagio (with embellishments by McGibbon) (from McGibbon Manuscript 51, p. 33) [3325; 1275]
- Sonata IX [Preludio], Corelli Violin Sonata in A Major op 5 no 9, i. Preludio (from James Knox Manuscript 211, f. 54v) [3325; 1275]

Corelli Violin Sonata in A Major op 5 no 9, ii. Giga

- Giga Allegro, Corelli Violin Sonata in A Major op 5 no 9, ii. Giga (from James Knox Manuscript 212, f. 55) [3210; 6730]

Corelli Violin Sonata in A Major op 5 no 9, iii. Adagio. NB this movement in F♯ minor.

- Adagio, Corelli Violin Sonata in C Major op 5 no 3, iii. Adagio (from James Knox Manuscript 199, f. 52) [516; 711]
- Adagio, Corelli Violin Sonata in A Major op 5 no 9, iii. Adagio (from James Knox Manuscript 213, f. 55) [001; 555]

- [Tempo di Gavotta], Corelli Violin Sonata in A Major, Op 5 No 9 iv. Tempo di Gavotta (with embellishments by McGibbon) (from McGibbon Manuscript 53, p. 34) [5117; 7665]
- Tempo Di Gavotta Allegro, Corelli Violin Sonata in A Major op 5 no 9, iv. Tempo di Gavotta (from James Knox Manuscript 215, f. 55v) [5127; 1675]

Corelli Violin Sonata in F Major op 5 no 10, i. Preludio Adagio

- Mr McGibbon's Graces on Corelli's Xth Solo, Corelli Violin Sonata in F Major, Op 5 No 10 i. Preludio Adagio (with embellishments by McGibbon) (from McGibbon Manuscript 55, p. 36) [3511; 6540]

Corelli Violin Sonata in F Major op 5 no 10, ii. Allemanda Allegro

- Allegro, Corelli Violin Sonata in A Major op 5 no 6, ii. Allegro (from James Knox Manuscript 160, f. 40v) [1145; 1755]

Corelli Violin Sonata in F Major op 5 no 10, iii. Sarabanda Allegro

- [untitled], Corelli Violin Sonata in F Major, Op 5 No 10 iii. Sarabanda (with embellishments by McGibbon). (from McGibbon Manuscript 56, p. 36) [133; 725]

Corelli Violin Sonata in F Major op 5 no 10, iv. Gavotta

- Gavotta Allegro, Corelli Violin Sonata in F Major op 5 no 10, iv. Gavotta Allegro (from Robert Kelsall Manuscript 308, f. 55v) [1122; 3322]
- Mr McLeans Variations on the Gavott in Corelli's 10th Solo, Corelli Sonata in F Major Op 5 No 10 iv. Gavotta (variations by McLean) (from McGibbon Manuscript 82, p. 52) [1122; 3422]
- Mr McGibbon's Variations on the Gavot in Corelli's 10 Solo, Corelli Violin Sonata in F Major, Op 5 No 10, iv. Gavotta (with variations by McGibbon). (from McGibbon Manuscript 140, p. 79) [1522; 3322]
- [Corelli Sonata in F Major Op 5 no 10, IV: Gavotta], Corelli Violin Sonata in F Major op 5 no 10, iv. Gavotta (from James Knox Manuscript 90, f. 27) [1122; 3322]

Corelli Violin Sonata in F Major op 5 no 10, iv. Gavotta Allegro

- Gavotta, Corelli Violin Sonata in F Major op 5 no 10, iv. Gavotta (from Robert Kelsall Manuscript 639, f. 134) [1122; 3325]
- Mr McLeans Variations on the Gavott in Corelli's 10th Solo, Corelli Sonata in F Major Op 5 No 10 iv. Gavotta (variations by McLean) (from McGibbon Manuscript 82, p. 52) [1122; 3422]
- Mr McGibbon's Variations on the Gavot in Corelli's 10 Solo, Corelli Violin Sonata in F Major, Op 5 No 10, iv. Gavotta (with variations by McGibbon). (from McGibbon Manuscript 140, p. 79) [1522; 3322]
- [Corelli Sonata in F Major Op 5 no 10, IV: Gavotta], Corelli Violin Sonata in F Major op 5 no 10, iv. Gavotta (from James Knox Manuscript 90, f. 27) [1122; 3322]

Corelli Violin Sonata in F Major op 5 no 10, v. Giga Allegro

- Giga allegro in the Xth Sonata of Corelli, Corelli Violin Sonata in F Major, op 5 no 10, v. Giga (from Robert Kelsall Manuscript 643, f. 136v) [3571; 6535]

- Giga Allegro, Corelli Violin Sonata in F Major op 5 no 10, v. Giga Allegro (from Robert Kelsall Manuscript 309, f. 56) [3571; 6535]

2 strain tune + 2 variations.

- 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], Corn Riggs (from Cuming Manuscript 32, p. 45) [1342; 7725]
- Corn Riggs, Corn Riggs (from MacFarlane Manuscript 3 288, p. 274) [1342; 7775]

- [Giga], Corelli Violin Sonata in G minor op 5 no 5, v. Giga (from Cameron Manuscript 278, p. 67) [1111; 7655]
- Giga, Corelli Violin sonata in G minor Op 5 No 5, v. Giga (from McGibbon Manuscript 38, p. 27) [1111; 7655]
- Mr McGibbons Variations upon the Giga in Corelli's 5th Solo, Corelli Violin sonata in G minor Op 5 No 5 v. Giga (variation by McGibbon) (from McGibbon Manuscript 69, p. 44) [1713; 7653]
- [McGibbon's variations on Corelli's Giga op 5 no 5], Corelli Violin sonata in G minor Op 5 No 5 v. Giga (variation by McGibbon) (from McGibbon Manuscript 70, ) [1213; 7655]
- Variations on the Giga of Corelli's 5th Solo. By Mr McLean, Corelli Violin sonata in G minor Op 5 No 5. v Giga (variations by McLean) (from McGibbon Manuscript 135, p. 77) [1111; 7655]
- Allegro, Corelli Violin Sonata in G minor op 5 no 5 v. Giga (from James Knox Manuscript 153, f. 39) [1111; 7655]
- Variations on the Giga Allegro by Mr Johnston of Dublin, Corelli Violin Sonata in G minor op 5 no 5 v. Giga, with variations by Johnston (from James Knox Manuscript 155, f. 39v) [1211; 7753]

- March, March (from MacFarlane Manuscript 3 116, p. 86) [5171; 2222]

1 strain tune + 4 variations. Concordances: Bowie MS.

- Cutie Clather, Cuddie Clauder (from Bowie Manuscript 36, f. 21v) [3552; 3553]
- Cow'd I ha'e claw'd her, Cuddie Clauder (from McGibbon Manuscript 115, p. 69) [3552; 3553]

- Dainty Davy, Dainty Davy (from Robert Kelsall Manuscript 254, f. 44) [5532; 2711]
- Dainty Davie, Dainty Davy (from MacFarlane Manuscript 2 1, p. 1) [5532; 1711]
- Dainty Davie, Dainty Davy (from James Knox Manuscript 145, f. 37v) [5532; 2711]

2 strain tune + 1 variation.

- Dainty Davy, Dainty Davy (from Robert Kelsall Manuscript 182, f. 28v) [5532; 1711]
- Dainty Davie, Dainty Davy (from MacFarlane Manuscript 2 1, p. 1) [5532; 1711]
- Dainty Davie, Dainty Davy (from James Knox Manuscript 145, f. 37v) [5532; 2711]

- New donnald Cupper, Donald Coupar (from Newbattle Violin Manuscript 2 32, f. 15) [1111; 2222]
- Donald Couper, Donald Coupar (from Newbattle Violin Manuscript 2 42, f. 19v) [None; None]
- Donald Couper, Donald Coupar (from Gairdyn Manuscript 6, f. 1v) [1245; 3356]
- Daniel Coupper, Daniel Coupar (from Cameron Manuscript 254, p. 61) [5116; 6225]
- Donald Cooper. D.Y., Donald Coupar (from MacFarlane Manuscript 2 116, p. 176) [6162; 6531]

With words. Three movement cantata of Aria, Recit Aria. Words by Henry Carey, possibly the music is by Abiell Whichello. This isn't the cantata to the same words by Daniel Purcell.

- fy on the warrs, De'il Take the Wars (from Gairdyn Manuscript 138, f. 19v) [None; None]
- Foull take the warss, De'il Take the Wars (from Leyden Lyra-viol and Violin Manuscript 14, f. 56) [1122; 1553]

With words.

Aria "Deh Fuggi in Traditore" from Handel's opera Radamisto (HWV 12).

Concordances (other): "Hampton Court, a new Song. To a pretty new Tune, made by a Person of Quality", D'Urfey, Songs Compleat (1719), vol 1, 298. Words begin "Where Divine Gloriana, her Palace late rear'd".

Could be Playford, but difficult to fit one ground to the divisions - lots of harmonic shifting

Aria "Dove sei? amato bene! vieni" from Handel's opera Rodelinda (HWV 19).

Presumably named for the famous clergyman Dr Henry Sacheverell (1674-1724)

- Dr: Sacheveril's minuet, Dr Sacheverell's Minuet (from Robert Kelsall Manuscript 257, f. 44v) [331; 516]

Presumably named for the famous clergyman Dr Henry Sacheverell (1674-1724)

- Dr: Sachevelier’s minuet, Dr Sacheverell's Minuet (from Robert Kelsall Manuscript 50, f. 11) [331; 515]

Untitled duet for two trebles. Second treble on f. 72

Untitled duet for two trebles. Second treble on f. 74.

Too many beats in the second bar.

One of three copies of this set in the manuscript.

- Allin a roon, Eileen a Roon (from Robert Kelsall Manuscript 521, f. 108) [567; 123]
- Allin A Roon, Eileen A Roon (from Robert Kelsall Manuscript 359, f. 115) [567; 113]
- Robin Adair, Robin Adair (from McGibbon Manuscript 185, p. 92) [561; 231]
- Robin Adair, Robin Adair (from James Knox Manuscript 142, f. 36) [567; 113]

One of three copies of this set in the manuscript.

- Allin a roon, Eileen a Roon (from Robert Kelsall Manuscript 521, f. 108) [567; 123]
- Allin A Roon, Eileen A Roon (from Robert Kelsall Manuscript 558, f. 114v) [567; 113]
- Robin Adair, Robin Adair (from McGibbon Manuscript 185, p. 92) [561; 231]
- Robin Adair, Robin Adair (from James Knox Manuscript 142, f. 36) [567; 113]

- Allin A Roon, Eileen A Roon (from Robert Kelsall Manuscript 558, f. 114v) [567; 113]
- Allin A Roon, Eileen A Roon (from Robert Kelsall Manuscript 359, f. 115) [567; 113]
- Robin Adair, Robin Adair (from McGibbon Manuscript 185, p. 92) [561; 231]
- Robin Adair, Robin Adair (from James Knox Manuscript 142, f. 36) [567; 113]

Aria "Empia Stella nemica e rubella" from the opera Hydaspes by Mancini (1710).

Possibly "Enticeing Love. A Song" by William Gorton (fl 1711). RISM A/I G 3028.

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

- Excuse me, Excuse Me (from Cameron Manuscript 207, p. 50) [3375; 7427]
- Excuse me, Excuse me (from MacFarlane Manuscript 3 225, p. 201) [1175; 7427]

Untitled piece for two trebles. Second treble on f. 70.

- First troop of Guards, First Troop of Guards (from MacFarlane Manuscript 2 240, p. 282) [3335; 3335]

2 strain tune + 1 variation. 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]
- [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]

Untitled duet for two trebles. Second treble on f. 74.

- French Horn Tune, French Horn Tune (from Robert Kelsall Manuscript 570, f. 117) [3131; 3425]

- [French Horn Tune], French Horn Tune (from Robert Kelsall Manuscript 391, f. 73v) [3131; 3425]

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

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

With words. Henry Purcell, "From Rosy Bow'rs" from Don Quixote (Z. 578)

Wrong key signature - perhaps started off with intention of notating in G minor.

- Fy gar rubher, Fy Gar Rub Her O'er Wi Strae (from Gairdyn Manuscript 32, f. 4) [3215; 4321]
- Fy gar rub her oer wt straw, Fy Gar Rub Her O'er With Strae (from Robert Kelsall Manuscript 276, f. 47v) [3315; 4421]
- Fy gar rub her o'er wi Strae, Fy Gar Rub Her O'er Wi Strae (from MacFarlane Manuscript 3 290, p. 282) [3315; 4321]

- Fy gar rubher, Fy Gar Rub Her O'er Wi Strae (from Gairdyn Manuscript 32, f. 4) [3215; 4321]
- Fye gar rub her ore with straw, Fy Gar Rub Her O'er With Strae (from Robert Kelsall Manuscript 94, f. 16v) [3315; 4321]
- Fy gar rub her o'er wi Strae, Fy Gar Rub Her O'er Wi Strae (from MacFarlane Manuscript 3 290, p. 282) [3315; 4321]

1 strain tune + 6 variations.

- Geld him Lasses, Geld Him Lasses (from Thomson Manuscript 10, p. 8) [131; 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]

1 strain tune + 6 variations. Also see earlier in the manuscript.

- Geld him Lasses, Geld Him Lasses (from Thomson Manuscript 10, p. 8) [131; 357]
- Geld him lasses _ Geld him, Geld Him Lasses (from Robert Kelsall Manuscript 259, f. 44v) [161; 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]

- D.o in another key, Geminiani's Minuet (from Robert Kelsall Manuscript 366, f. 68) [117; 117]
- Signr. Geminiani’s Minuet, Geminiani's Minuet (from James Knox Manuscript 139, f. 35v) [117; 117]

Incipit of previous piece in alt key, 3 bars only.

- Geminiani's Favourite minuet, Geminiani's Minuet (from Robert Kelsall Manuscript 365, f. 68) [117; 117]
- Signr. Geminiani’s Minuet, Geminiani's Minuet (from James Knox Manuscript 139, f. 35v) [117; 117]

Aria from Henry Purcell's "Don Quixote" (Z. 578). Goes into triple time (3) at b. 19.

Aria from Haym's opera Pyrrhus and Demetrius (1709).

tune continues onto bottom of f. 78.

Setting for two trebles. Second treble on f. 75.

March by John Grano (c. 1692-1748), famous trumpeter associated with Handel. Setting for two trebles. Second treble on f. 71

- Grano's March, Grano's March (from Robert Kelsall Manuscript 616, f. 128) [3322; 1115]

March by John Grano (c. 1692-1748), famous trumpeter associated with Handel.

- Granoes March Primo, Grano's March (from Robert Kelsall Manuscript 382, f. 70v) [3322; 1115]

- Green slives, Greensleeves (from Thomson Manuscript 26, p. 18) [3347; 3175]
- Green sleivs and pudding pys, Greensleeves (from Sinkler Manuscript 39, f. 62) [3347; 3175]
- 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]

presumably intended as accompaniment to greensleeves, but written out in treble clef.

- Green slives, Greensleeves (from Thomson Manuscript 26, p. 18) [3347; 3175]
- 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]
- Green Sleeves, Greensleeves (from MacFarlane Manuscript 2 212, p. 258) [3347; 3175]

Trumpet part from the first movement of Handel's Water Music, Suite II in D Major (HWV 349). Transposed down to C Major here.

Not actually in "another key" - this is an incipit for 2nd trumpet part.

- Happy Clown, Happy Clown (from Cameron Manuscript 266, p. 63) [1355; 7531]
- Happy Clown, Happy Clown (from MacFarlane Manuscript 2 158, p. 215) [1355; 7531]

With words. Henry Purcell, "Hark the Ech'ing Air" from The Fairy Queen (Z. 629)

Da Capo Aria.

- A Scotts misur, Helen Hume's Scots Measure (from Bowie Manuscript 27, f. 17v) [3111; 3332]
- [Helen Hume's Scots Measure], Helen Hume's Scots Measure (from Cuming Manuscript 34, p. 50) [3111; 3332]
- Scotch Measure, Helen Hume's Scots Measure (from MacFarlane Manuscript 3 102, p. 76) [1111; 3332]

- Hey to the Camp, Hey to the Camp (from MacFarlane Manuscript 2 91, p. 140) [1262; 3632]
- Hey to the Camp, Hey to the Camp (from MacFarlane Manuscript 3 140, p. 106) [111; 216]

- hyland Lady, Highland Laddie (from Bowie Manuscript 11, f. 8v) [1133; 5155]
- Highland Laddie, Highland Laddie (from Drummond Castle Manuscript 1 29, ) [5333; 6262]

Not the classic Highland Laddie tune - 12/8 jig with Scotch snap rhythms.

Pipe style variations over a binary A-G ground. 2 strain tune. First variation is only on A part, followed by a 4 variations following 2 strain pattern. In the opening theme, the A part seems to have been incorrectly notated, with only 6 instead of 8 bars. According to Pete Stewart, this is a reel made from several similar pibroch tunes, such as "The Sound of the Waves Beneath the Castle of Duntroon". This version is closely concordant with Walsh, except that Kelsall has corrected the spelling of "Highland", corrected the key signature, added double barlines, slurs and ornaments. Additionally, strains 7-8 have been put in reverse order, with the penultimate strain extended from 5 to 6 bars. Kelsall's final strain is missing from Walsh, and is really a varied reprise of the opening strain. It is likely that Kelsall had an alternative source, and that Walsh is a more corrupt source. Concordances (other): "The Hilland Solo", Walsh, Third Book of the Most Celebrated Jiggs etc., 24.

Reel tune, though quite strathspey-like feel. Birls are probably incorrectly notated as q+s+s, rather than s+s+q.

No double barlines, but certainly looks like a variation set of four irregular phrases, with lengths 8+6+6+12(8+4)

Hornpipe + variations.

1 strain tune + 7 variations.

Song by William Croft. RISM A/I C 4529. Multiple sections: 3/4; C; 3/4.

Song by John Eccles, 1710. RISM A/I E 326; EE 326. Multiple sections: 3/4; ₵ backwards; 3/4; ₵ backwards.

- No Charms above her, No Charms Above Her (from MacFarlane Manuscript 2 114, p. 169) [5226; 6267]
- No Charms above her, No Charms Above Her (from McGibbon Manuscript 25, p. 19) [5226; 6752]

With words. "I'll Sail Upon the Dogstar" by Henry Purcell, from his music for A Fool's Preferment (Z. 571)

Song by Henry Purcell from "The Fairy Queen" (Z. 629)

- Since Loves a sweet pasion, If Love's a Sweet Passion (from Gairdyn Manuscript 67, f. 10) [None; None]
- If loves a sweat pasion, If Love's a Sweet Passion (from Leyden Lyra-viol and Violin Manuscript 17, f. 56v) [535; 554]
- Loves a sweet passion, If Love's a Sweet Passion (from Sinkler Manuscript 20, f. 65) [4431; 4555]

With words. Purcell's "If Musick Be the Food of Love" (Z. 379c).

Aria "Il Mormorio Del Rio" from the opera Numitore by Giovanni Porta (1720).

Song by John Ernst Galliard, from the opera Calypso and Telemachus (1712).

3 bar phrases

- Jigg, Inner Temple Jig (from Panmure Violin Manuscript 1 40, f. 18v) [535; 116]

Hornpipe + variations.

- Jack on the Green, Jack on the Green (from Young-Bodleian 36, f. 40) [712; 523]
- Blackmoor's Hornpipe, Blackmoor's Hornpipe (from McGibbon Manuscript 110, p. 66) [722; 713]
- Jack on the Green, Jack on the Green (from McGibbon Manuscript 125, p. 71) [212; 523]

Looks like a jig with some errors in notation.

- Drucken Meg Young, Drunken Meg Young (from Gairdyn Manuscript 308, f. 43v) [None; None]
- Drunken Meg Young, Drunken Meg Young (from Young-Bodleian 20, f. 24) [3524; 3531]

Time signature is smudged - looks like could be 3/4; clearly 6/4 jig feel. Very clearly violin range

3-bar phrases.

3 bar phrases.

Untitled duet for two trebles. Second treble on f. 73

Untitled duet for two trebles. Second treble on f. 73

Untitled duet for two trebles. Second treble on f. 73

With words

Continued on bottom of f. 111

1 strain tune + 8 variations. Closely concordant with version in Playford's Division Violin (1684)

- New market or Jockey Cock thy Bever, Johnny Cock Thy Beaver (from Robert Kelsall Manuscript 433, f. 82) [5324; 5313]
- Johny cock up your Beaver, Johnny Cock Thy Beaver (from MacFarlane Manuscript 3 55, p. 42) [5324; 5313]
- Johnny cock up your Beaver, Johnny Cock Thy Beaver (from McGibbon Manuscript 191, p. 94) [5324; 5313]

Long set of variations. 1 strain tune + 8 variations. Another similar set earlier in the manuscript.

- Jockey cock the beaver. Horse to new market, Johnny Cock Thy Beaver (from Robert Kelsall Manuscript 292, f. 51) [5324; 5313]
- Johny cock up your Beaver, Johnny Cock Thy Beaver (from MacFarlane Manuscript 3 55, p. 42) [5324; 5313]
- Johnny cock up your Beaver, Johnny Cock Thy Beaver (from McGibbon Manuscript 191, p. 94) [5324; 5313]

- 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]
- The Jolly Briese, Jolly Breeze (from Thomson Manuscript 30, p. 22) [1155; 1744]
- Joly bris, Jolly Breeze (from Sinkler Manuscript 40, f. 61v) [1134; 2244]

Long variation set. 2 strain tune + 6 & 1/2 variations. At strain 11 turns into 12/8 giga. Final strain is variation on strain 1 only. Likely that ks is incorrect - normally in A minor. Probably should be key signature of ♯.

- Kathren Oggie, Katherine Oggie (from Panmure Violin Manuscript 1 73, f. 36) [5117; 2111]
- Ketron Ogie, Katherine Oggie (from Guthrie Manuscript 27, p. 299) [5111; 2111]
- Catharin Logie, Katherine Oggie (from Bowie Manuscript 30, f. 19v) [5111; 3217]
- Cathrin Ogie, Katherine Oggie (from Gairdyn Manuscript 396, f. 54v) [; ]
- Catherne Logie, Katherine Oggie (from Leyden Lyra-viol and Violin Manuscript 20, f. 58) [3325; 4443]
- Katherine Ogie, Katherine Oggie (from Robert Kelsall Manuscript 310, f. 56) [5117; 2112]
- Katharine Ogie. Disb., Katherine Oggie (from MacFarlane Manuscript 2 29, p. 58) [5111; 3211]
- Katharine Ogie, Katherine Oggie (from James Knox Manuscript 144, f. 37) [5111; 3217]

- Kathren Oggie, Katherine Oggie (from Panmure Violin Manuscript 1 73, f. 36) [5117; 2111]
- Ketron Ogie, Katherine Oggie (from Guthrie Manuscript 27, p. 299) [5111; 2111]
- Catharin Logie, Katherine Oggie (from Bowie Manuscript 30, f. 19v) [5111; 3217]
- Cathrin Ogie, Katherine Oggie (from Gairdyn Manuscript 396, f. 54v) [; ]
- Catherne Logie, Katherine Oggie (from Leyden Lyra-viol and Violin Manuscript 20, f. 58) [3325; 4443]
- Katherine Ogie, Katherine Oggie (from Robert Kelsall Manuscript 303, f. 54v) [5111; 3217]
- Katharine Ogie. Disb., Katherine Oggie (from MacFarlane Manuscript 2 29, p. 58) [5111; 3211]
- Katharine Ogie, Katherine Oggie (from James Knox Manuscript 144, f. 37) [5111; 3217]

- Trump: Minuet, Trumpet Minuet (from Gairdyn Manuscript 9, f. 2) [111; 333]
- Menwett 59 king of frances, King of France (from Cameron Manuscript 59, p. 11) [111; 333]

Hornpipe + variations.

Aria "La gelosia di regno" from the opera Hydaspes by Mancini (1710).

“1st strain 4: ye 2d twice over”

- Lancashire Hornpipe, Lancashire Hornpipe (from Robert Kelsall Manuscript 515, f. 107) [432; 254]

Looks more a like a continuation of variations from the previous tune

- Lancashire Hornpipe, Lancashire Hornpipe (from Robert Kelsall Manuscript 514, f. 107) [432; 253]

- Minuit, Lane’s Trumpet Minuet (from Leyden Lyra-viol and Violin Manuscript 39, f. 65v) [355; 131]

1 strain tune + 4 variations. Strain 3 probably missing b. 3.

- Jack Laton, Jack Latin (from Gairdyn Manuscript 379, f. 52) [1553; 5353]
- Latin's Jigg, Latin's Jig (from Robert Kelsall Manuscript 582, f. 119) [1335; 5331]
- Jack Leighton, Jack Leighton (from Drummond Castle Manuscript 1 2) [1553; 5353]

1 strain tune + 4 variations. See set earlier in this manuscript.

- Jack Laton, Jack Latin (from Gairdyn Manuscript 379, f. 52) [1553; 5353]
- Latin's Jigg Johnson, Latin's Jig (from Robert Kelsall Manuscript 510, f. 106) [1331; 5331]
- Jack Leighton, Jack Leighton (from Drummond Castle Manuscript 1 2) [1553; 5353]

Quite a lot of ornaments

- A Minuet Le Printems rappelle, Le Printemps Rappelle (from Robert Kelsall Manuscript 121, f. 21) [113; 551]

- minuet, Le Printemps Rappelle (from Robert Kelsall Manuscript 68, f. 13) [113; 551]

Uses a few three-note chords.

- Leith Wynd Disb., Leith Wynd (from MacFarlane Manuscript 2 8, p. 18) [5322; 5555]

Very good example of late 17th / early 18thC division. Simple division patterns, with new idea on each variation.

- The Earl of marr’s March, The Earl of Marr’s March (from Robert Kelsall Manuscript 190, f. 29v) [1115; 1542]
- Leslie's March, Leslie's March (from McGibbon Manuscript 127, p. 72) [1115; 1542]

3-bar phrases

English country dance and ballad tune.

- Le apell, Le Apell (from Cameron Manuscript 194, p. 47) [5555; 1111]
- Cullys and Bullys, Cullies and Bullies (from MacFarlane Manuscript 3 57, p. 45) [5555; 1111]

- My Lord Cranston Minuet May 1735, Lord Cranston's Minuet (from Gairdyn Manuscript 377, f. 51) [None; None]
- Lord Cranston, Lord Cranston's Minuet (from MacFarlane Manuscript 2 72, p. 122) [133; 112]

- Lothario, Lotharia (from James Knox Manuscript 56, f. 21v) [551; 211]

Time signature of 6/4 missing from strain 3.

Song by John Eccles from Thomas Dilke's play "The City Lady", first performed in 1697. Concordances (other): "Love is an empty airy name", GB-Lbl Add. 22099. In two sections: 3/4 & ₵ [backwards].

1 strain theme + 2 variations

- Lumps of Puddings, Lumps of Puddings (from Gairdyn Manuscript 39, f. 4v) [3151; -]
- Sweet pudding, Sweet Pudding (from Sinkler Manuscript 27, f. 63v) [3151; 2747]
- Lumps of Pudding, Lumps of Pudding (from McGibbon Manuscript 61, p. 40) [1151; 2747]

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

- [Lusinga del mio core], Lusinga del mio core (from Thomson Manuscript 139, p. 126) [0066; 5124]

Aria "Lusinghe più care" from Handel's Alessandro (HWV 21).

Hornpipe + variations

Entire set very clearly based on Adam Craig, including all variations. The final strain strays most from Craig, keeping the same overall shape, but with differences in figuration. There is also an additional two bars at the end with the text "Ending varied".

- Maggie Lauder. Disb., Maggie Lauder (from MacFarlane Manuscript 2 45, p. 90) [1111; 2272]
- Maggie Lauder, Maggie Lauder (from MacFarlane Manuscript 3 73, p. 58) [1531; 2472]
- Miss Lauder, Maggie Lauder (from McGibbon Manuscript 76, p. 48) [1531; 2472]

Lots of confusion over bar lengths. Looks like first beat should be upbeat, and is actually in 2/4 throughout.

5 bar phrase lengths in A part (and variations on this strain). 2 strain tune + 2 variations.

- [March], March (from Cameron Manuscript 282, p. 69) [1571; 5643]

March from Handel's Riccardo Primo (HWV 23).

Second line has been added in above the first.

This is a march from Handel's opera Floridante, HWV 14 (1721), Act 1 scene 2.

- March, March from Floridante (from MacFarlane Manuscript 3 30, p. 17) [1155; 3311]

March from Handel's Giulio Cesare, Act 3 Scene 10 (HWV 17, 42b).

Possibly mislabelled. March on previous page (Kelsall 425) is the March from Handel's Riccardo Primo (HWV 23).

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 Scott, Mary Scott (from Cuming Manuscript 8, p. 10) [113; 553]
- 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]

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 Scott, Mary Scott (from Cuming Manuscript 8, p. 10) [113; 553]
- Mary Scot, Mary Scott (from Robert Kelsall Manuscript 290, f. 50v) [113; 556]
- Mary Scott, Mary Scott (from MacFarlane Manuscript 3 238, p. 214) [113; 556]

Could be missing a key signature of one flat. The tune is more modal without, though still makes melodic sense.

- March, McKnight's March (from MacFarlane Manuscript 3 91, p. 70) [5553; 1512]

3 bar phrases

G sharp clearly missing from key signature

2nd strain has uneven phrase structure - 4 + 4 + 6 + 4

Possibly missing key signature of one sharp.

Probably missing key signature of one flat

Definitely wrong key signature given - 2 sharps instead of 1

Clearly missing key signature and all accidentals - works in standard E minor, with key signature of one sharp, and D sharp accidentals added.

Seems like a later style than the rest of the MS - ie classical era minuet style. Presumably added to the MS at a later date.

- Minueto, Minuet (from Cuming Manuscript 27, p. 32) [111; 132]

Continued onto bottom of f. 79.