Listed in Reel index f. 36v.

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

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.

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"

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

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.

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

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]

- 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]

- 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) [; ]

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.

- 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 MacFarlane Manuscript 2 105, p. 148) [1225; 1664]

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

Reel tune

Knox seems to struggle with spelling this title. After the main title the tune is respelt as "Caperfeie", and then index of reels on f. 37v as "Caperfeiy". Concordances (other): "Caber Feigh" McLean collection, pp. 16-17.

- Caper fei, Caber Feidh (from Drummond Castle Manuscript 2 16) [1115; 1531]
- Caberfei, Caber Feidh (from Young-Bodleian 12, f. 16) [1115; 1531]
- Caber-fei. D.Y., Caber Feidh (from MacFarlane Manuscript 2 113, p. 162) [1115; 1531]
- Caberfei, Caber Feidh (from McGibbon Manuscript 84, p. 54) [1115; 1531]

"Jamaica 1764" written at top right hand side. Page partially damaged / missing, but seems to be exact copy of Burk Thumoth. Concordance (other): "Chiling O’ guiry" Burk Thumoth ’12 Scotch & 12 Irish Airs’ c.1748 pp. 32-33.

Treble and Bass. Taken from James Oswald’s Colin’s Kisses. In two sections: Moderato C; Spirito 3/4.

Treble and Bass. Taken from James Oswald’s Colin’s Kisses.

Treble and Bass. Taken from James Oswald’s Colin’s Kisses.

Treble only. Taken from James Oswald’s Colin’s Kisses.

Violin 1 part of the first of Giovanni Hasse's Six Concertos for Violins, French Horns or Oboes etc., Op 4. This might be from another existing arrangement, given that bars rest are filled in, and there are sections of double stopping not in the original violin part. NB Hasse did publish a keyboard arrangement, but this version doesn't match up with that either.

Violin 1 part of the first of the second movement of Giovanni Hasse's first of his Six Concertos for Violins, French Horns or Oboes etc., Op 4. Like the first movement, there are extras added in not from the original - filling in rests, double stopping etc.

- Solo 5th. Adagio, Corelli Violin sonata in G minor op 5 no 5, i. Adagio (from McGibbon Manuscript 34, p. 25) [1070; 5060]
- Mr McGibbon's Graces to the two Adagios of Corelli's 5th Solo, Corelli Violin sonata in G minor Op 5 No 5. i. Adagio (embellished by McGibbon) (from McGibbon Manuscript 133, p. 76) [1070; 5060]

- Vivace, Corelli Violin Sonata in G minor op 5 no 5, ii. Vivace - Adagio (from McGibbon Manuscript 35, p. 25) [013; 255]

- Adagio, Corelli Violin sonata in G minor op 5 no 5, iii. Adagio (from McGibbon Manuscript 36, p. 26) [000; 733]
- Adagio 2, Corelli Violin sonata in G minor Op 5 No 5. iii. Adagio (embellished by McGibbon) (from McGibbon Manuscript 134, p. 76) [000; 733]

- Vivace, Corelli Violin Sonata op 5 no 5, iv. Vivace (from McGibbon Manuscript 37, p. 26) [535; 777]

- Giga di Corelli, Correli Violin Sonata in G Minor Op 5 no 5, v. Giga (from Robert Kelsall Manuscript 406, f. 78) [1111; 7655]
- [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]
- 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]

Otherwise unknown source of a set of variations on Corelli’s Giga from Sonata in G minor op 5 no 5. These look very closely related to three other variation sets attributed to McGibbon, though here they are attributed to Mr Johnston of Dublin.

- Giga di Corelli, Correli Violin Sonata in G Minor Op 5 no 5, v. Giga (from Robert Kelsall Manuscript 406, f. 78) [1111; 7655]
- [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]

Ornaments from Estienne Roger’s Amsterdam edition of Corelli’s op 5

- 6. Grave, Corelli Violin sonata in A Major op 5 no 6, i. Grave (from McGibbon Manuscript 39, p. 27) [3511; 2430]

After the final bar of this movement is written: "Wednesday 13th September 1749 one quarter before 4 in the morning my B of A.D. 24 years 8 mos. & 4 Days old Dear Sister Anny Knox Died"

- Allemanda Allegro, Corelli Violin Sonata in F Major op 5 no 10, ii. Allemanda Allegro (from Robert Kelsall Manuscript 306, f. 55v) [1510; 6430]
- Allegro, Corelli Violin sonata in A Major Op 5 No 6 ii. Allegro (from McGibbon Manuscript 40, p. 28) [1145; 1755]

- [untitled], Corelli Violin sonata in A Major Op 5 No 6 iii. Allegro (from McGibbon Manuscript 41, p. 28) [1125; 1175]

Ornaments from Estienne Roger’s Amsterdam edition of Corelli’s op 5: Roger ornaments given in separate stave above original (as in Roger).

Some extra ornamentation written in.

- Sonata, Corelli Violin Sonata in A Major op 5 no 9, i. Preludio (from Robert Kelsall Manuscript 635, f. 132) [3325; 1275]
- 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]

- Giga Allegro, Corelli Violin Sonata in A Major op 5 no 9, ii. Giga (from Robert Kelsall Manuscript 636, f. 133) [3210; 6730]

- Adagio, Corelli Violin Sonata in A Major op 5 no 9, iii. Adagio (from Robert Kelsall Manuscript 637, f. 133) [555; 111]
- Adagio, Corelli Violin Sonata in C Major op 5 no 3, iii. Adagio (from James Knox Manuscript 199, f. 52) [516; 711]

- Tempo di gavotta, Corelli Violin Sonata in A Major, op 5 no 9, iv. Tempo di Gavotta (from Robert Kelsall Manuscript 644, f. 137) [5127; 1675]
- [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]

- Adagio, Corelli Violin Sonata in A Major op 5 no 9, iii. Adagio (from Robert Kelsall Manuscript 637, f. 133) [555; 111]
- Adagio, Corelli Violin Sonata in A Major op 5 no 9, iii. Adagio (from James Knox Manuscript 213, f. 55) [001; 555]

Ornaments from Estienne Roger’s Amsterdam edition of Corelli’s op 5: Roger ornaments given in separate stave above original (as in Roger). Grave; Allegro; Adagio; Grave; Adagio

Ornaments from Estienne Roger’s Amsterdam edition of Corelli’s op 5: Roger ornaments given in separate stave above original (as in Roger). Index given for plain line.

- Mr McGibbon's Graces on Corelli's XIth Solo, Corelli Violin Sonata in E Major, Op 5 No 11 i. Preludio Adagio (with embellishments by McGibbon). (from McGibbon Manuscript 57, p. 37) [5566; 5545]

- [Corelli Violin Sonata in E Major op 5 no 11, iii. Adagio], Corelli Violin Sonata in E Major op 5 no 11, iii. Adagio (from McGibbon Manuscript 58, p. 37) [001; 255]

- Mr McGibbon's Graces on Corelli's VIIIth Solo, Corelli Violin Sonata in E Minor, Op 5 No 8 i. Preludio Largo (with embellishments by McGibbon) (from McGibbon Manuscript 54, p. 35) [112; 334]

Otherwise unknown set of variations on the Gavotta in Corelli’s Violin Sonata op 5 no 10. Well constructed and looks more like the work of a professional than an amateur. Possibly the work of McLean or McGibbon.

- Gavotta Allegro, Corelli Violin Sonata in F Major op 5 no 10, iv. Gavotta Allegro (from Robert Kelsall Manuscript 308, f. 55v) [1122; 3322]
- 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]

Ornaments from Estienne Roger’s Amsterdam edition of Corelli’s op 5: Roger ornaments given in separate stave above original (as in Roger)

2 strain tune + 1 variation.

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

Strathspey rhythms. Concordances (other): "The Duke of Cumberland’s Reel" Abraham Mackintosh 1796 Vol 2 p. 17; ‘The Duke of Cumberland’s Reel’, Gow 1797 p. 12

Minuet tune

2 strain tune + 1 variation. Concordances (other): "The Dusty Miller", Bremner Scots Reels or Country Dances Vol 1 p. 27.

- Dusty Miller, Dusty Miller (from Cameron Manuscript 270, p. 64) [352; 722]
- Dusty Miller, Dusty Miller (from MacFarlane Manuscript 2 165, p. 221) [354; 722]

Last strain appears on previous page. 2 strain tune + 1 variation.

- Failte na miosg, Failte Na Miosg (from MacFarlane Manuscript 3 108, p. 80) [112; 666]

- Fife and a’ the Lands about it, Fife and All the Lands About It (from MacFarlane Manuscript 3 239, p. 215) [6111; 5551]

Looks like a reel tune, but title suggests it is based on a street cry. Cadences onto E at the end of each section (alt index given). A part is similar to "Miss Willes of Leslies Birthday" by A. Dempster, James Walker, A Collection of New Scots Reels (c. 1795)

Jig tune, but listed on reel index on f. 36v.

Taken from the Overture to Handel's Ottone (HWV 15). Dated 1752 at bottom of page.

- Gavotte by Mr Handel, Gavotte by Handel (from George Skene Manuscript 40, f. 14v) [5423; 7611]

2 strain tune + 3 variations.

- Geminiani's Favourite minuet, Geminiani's Minuet (from Robert Kelsall Manuscript 365, f. 68) [117; 117]
- D.o in another key, Geminiani's Minuet (from Robert Kelsall Manuscript 366, f. 68) [117; 117]

Minuet tune. With bass part.

Below the tune is written "Composed the 10th Octr. 1755’. G minor jig with a few Corelli-like turns. Signs of improvement in James Knox’s compositions by this point.

Multi section variations, with 12/8 jig for last set; Corelli-like runs for ornaments

- Had the Lass till I win at her, Had the Lass Till I Win At Her (from MacFarlane Manuscript 2 23, p. 48) [1565; 1542]

2 strain tune + 1 variation.

- Handels Hornpipe, Handel's Hornpipe (from MacFarlane Manuscript 2 86, p. 136) [3215; 7211]

Dated "1759". Presumably another of Knox's own compositions.

Minuet tune. Title partially obscured.

Dated "1750", but probably not a Knox composition. Different to tune of the same name in MacFarlane 2 p. 245.

6/8 jig, but listed in reel index on f. 36v.

- House of Gray, House of Gray (from James Knox Manuscript 100, f. 28) [1344; 1355]

Identical to House of Gray on f. 27v.

- House of Gray, House of Gray (from James Knox Manuscript 93, f. 27v) [1344; 1355]

Listed in Reel index on f. 36v. Simple reel tune, binary harmony, taken from song air.

- Lennox love to Blanter, Lennox Love to Blantyre (from Sinkler Manuscript 44, f. 61) [1131; 2266]
- Lennox Love, Lennox Love to Blantyre (from Drummond Castle Manuscript 1 30) [1131; 2366]
- How can I keep my Maidenhead, How Can I Keep My Maidenhead (from MacFarlane Manuscript 2 188, p. 235) [1131; 2266]

2 strain tune + 3 variations. Last is 3/4 "Quick". Nearly identical with McGibbon’s setting, though interesting that the violin version in B♭ has been chosen rather than the flute version, suggesting this is a MS for both flute and violin. Concordances (other): I Love my Love in Secret’ McGibbon Scots Tunes Vol 1, 4-5.

- 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 Thomson Manuscript 3, p. 2) [3215; 5226]
- 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]

6/8, but called a reel

Marked "Brisk"

- Jamaico, Jamaica (from Gairdyn Manuscript 119, f. 19) [; ]
- Jameca, Jamaica (from Thomson Manuscript 57, p. 39) [1333; 6361]

2 strain tune, but 3 variations are on A part only.

2 strain tune + 2 variations. Last strain is given on f. 36v.

- 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]
- 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]

Different spelling given as Keppoch’s Rant on index f. 36v

- Pharo’s Reel, Pharo’s Reel (from Drummond Castle Manuscript 2 7) [5155; 4522]

This isn't actually the standard Killiecrankie tune - it's concordant with a different tune called "Four and Twenty Highlandmen".

- Four and twenty highlandmen, Four and Twenty Highlandmen (from Drummond Castle Manuscript 2 45, ) [5152; 5172]
- Four and twenty Highlandmen, Four and Twenty Highlandmen (from MacFarlane Manuscript 2 175, p. 229) [5152; 5172]

- Derbes M[inuet], Derby's Minuet (from Gairdyn Manuscript 299, f. 42) [111; 555]

Minuet tune

- Menwett 33, Lady Jean Home's Minuet (from Cameron Manuscript 33, p. 7) [117; 156]

Concordances (other): "Lady Mc: Intosh’s Reel" Bremner Scots Reels 1, 52.

Reel tune

- Allastor, Laodh Mo Chroidh Alastir (from Drummond Castle Manuscript 1 7) [1174; 3773]
- Laodh mo chroidh Alastir, Laodh Mo Chroidh Alastir (from MacFarlane Manuscript 2 124, p. 186) [1174; 3773]

- King James March, King James’s March (from Sinkler Manuscript 21, f. 65) [5322; 3511]
- Limerick's Lament, Limerick's Lament (from George Skene Manuscript 17, f. 5v) [333; 333]
- Menwett 122 Lochaber, Lochaber (from Cameron Manuscript 122, p. 25) [133; 331]
- Lochaber, Lochaber (from McGibbon Manuscript 85, p. 55) [133; 333]

- Lotharia, Lotharia (from Robert Kelsall Manuscript 562, f. 115v) [551; 211]

Song, with words. Attributed here to [James] Oswald. Probably a Masonic anthem. There are a few collections under title Temple of Apollo which Oswald was involved. Extra words given at the end.

3/2 Hornpipe & long set of variations.

- My Lord Strange’s Hornpipe, My Lord Strange’s Hornpipe (from Robert Kelsall Manuscript 67, f. 13) [351; 354]

Similar to "A French Minuet", Clerk 7.

Arrangement for 2 trebles. Doesn’t appear to be from Handel ‘Tolomeo’.

Probably final movement of a sonata by Mascitti.

McGibbon Sonata for Two German Flutes, no. 2 in E Minor, ii. Allegro. Both parts in score. Evidently at least one folio is missing, as this piece begins halfway through the B part of the second movement. Index reconstructed from original.

McGibbon Sonata for Two German Flutes no. 2 in E minor, iii. Minuet: Andante. Both parts in score.

McGibbon Sonata for Two German Flutes no. 3 in C Major, i. Allegro. Both parts in score. (Sonata numbering according to Ford edition).

McGibbon Sonata for Two German Flutes no. 3 in C Major, ii. Largo. Both parts in score. (Sonata numbering according to Ford edition).

McGibbon Sonata for Two German Flutes no. 3 in C Major, iii. Giga Allegro. Both parts in score. (Sonata numbering according to Ford edition).

McGibbon Sonata for Two German Flutes no. 4 in G Major, i. Largo. Both parts in score. (Sonata numbering according to Ford edition).

McGibbon Sonata for Two German Flutes no. 4 in G Major, ii. Allegro. Both parts in score. (Sonata numbering according to Ford edition).

McGibbon Sonata for Two German Flutes no. 4 in G Major, iii. March Andante. Both parts in score. (Sonata numbering according to Ford edition).

McGibbon Sonata for Two German Flutes no. 5 in A Major, i. Largo. Both parts in score. (Sonata numbering according to Ford edition).

McGibbon Sonata for Two German Flutes no. 5 in A Major, ii. Allegro assai. Both parts in score. (Sonata numbering according to Ford edition).

McGibbon Sonata for Two German Flutes no. 5 in A Major, iii. Minuet Andante. Both parts in score. (Sonata numbering according to Ford edition). Written at bottom of movement: "The End of William McGibbon's Six Duetts".

Untitled minuet tune

Minuet tune

Minuet tune, with bass.

Otherwise unknown Minuet tune by William McGibbon.

Minuet tune. With bass part. "DF" written at the side is a correction of the melody line, not an ascription. Poor writing in the bass.

Minuet tune. Different to both the "Miss Cochran's Minuet" in McGibbon MS, 120, and tune of the same name in MacFarlane 2, 54.

Minuet tune, with bass. Title partially missing. Could be Miss Jeany Ferguson's Minuet.

Minuet tune - different to the "Miss Johnston's" in MacFarlane 2, p. 122.

Minuet tune, with bass. "Miss Mccabes minuet" written at bottom of page (with no music).

In 6/8, despite being called a reel

With bass.

Song for voice + bass. Words written underneath treble part.

Marked "Slow"

- Nancy’s to the green wood gone, Nancy’s to the Greenwood Gone (from Robert Kelsall Manuscript 83, f. 15) [5553; 3266]

2 strain tune + 1 variation.

- O Minie, O Dear Mother What Shall I Do (from Sinkler Manuscript 50, f. 59v) [1312; 1652]
- O dear Mother what shall I do, O Dear Mother What Shall I Do (from MacFarlane Manuscript 2 213, p. 262) [113; 356]
- O Dear Mother, O Dear Mother What Shall I Do (from MacFarlane Manuscript 3 135, p. 100) [112; 356]

In four sections, but "first" and "second" written above sections 3 & 4 - possibly two violin part. Multiple sections: C 3/4 3/4 12/8.

Actually part of the Overture from the opera Hydaspes by Francisco Mancini (1710)

- An Overture in the Opera of Hydespa, Overture in Hydaspes (from Robert Kelsall Manuscript 585, f. 120v) [1133; 5544]

Actually part of the Overture from the opera Hydaspes by Francisco Mancini (1710)

Actually part of the Overture from the opera Hydaspes by Francisco Mancini (1710)

Overture from Handel's Teseo (HWV 9). In three movements: untitled, Largo, Allegro.

Minuet tune, with bass.

Tunes from the play Queen Mab, composed by the Temple of Apollo, and published by Oswald in 1755.

Tunes from the play Queen Mab, composed by the Temple of Apollo, and published by Oswald in 1755.

Tunes from the play Queen Mab, composed by the Temple of Apollo, and published by Oswald in 1755. Opening four bars is dotted section, followed by a second section for two treble parts titled "Columbine's Supplication" and headed "PIa e dolce"

Tunes from the play Queen Mab, composed by the Temple of Apollo, and published by Oswald in 1755.

Tunes from the play Queen Mab, composed by the Temple of Apollo, and published by Oswald in 1755. Two treble parts. 2 strain tune + 1 variation.

Tunes from the play Queen Mab, composed by the Temple of Apollo, and published by Oswald in 1755.

Tunes from the play Queen Mab, composed by the Temple of Apollo, and published by Oswald in 1755. "Tempo di MInuetto" written under first stave.

Tunes from the play Queen Mab, composed by the Temple of Apollo, and published by Oswald in 1755.

Tunes from the play Queen Mab, composed by the Temple of Apollo, and published by Oswald in 1755.

Very strathspey-like. Listed in Reel index f. 36v. Concordances (other): "Queensberry House" Bremner Scots Reels 1.

2 strain tune + 3 variations.

- 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]
- 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]

- Saw ye my pegie, Saw Ye No My Peggie (from Gairdyn Manuscript 26, f. 3v) [665; 555]
- Saw you my Love Migey Linken over the Lee, Saw Ye No My Peggie (from Thomson Manuscript 7, p. 5) [663; 552]
- 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]

scale, with note names

Siess Sonata for Two Flutes no. 2 in D Major ii. Presto. Both parts given in score, and labelled Traversa Prima and Traversa Seconda.

Siess Sonata for Two Flutes no. 5 in G Minor, iii. Minuet altern. Both parts given in score. The untitled minuet in G Major following this is actually the second half of this movement. The original has a DC back to the first minuet after the Major section. Here the title is given after the minor part.

Barring seems to be wrong - index given as if 2nd bar starts on 5th crotchet.

- Jolly Robin, Jolly Robin (from Drummond Castle Manuscript 2 17) [5153; 5142]
- Sleepy Maggie. D.Y., Sleepy Maggie (from MacFarlane Manuscript 2 27, p. 54) [5153; 5142]

Solo part from an anonymous Sonata in C Major, i. Adagio

Solo part from an anonymous Sonata in C Major, ii. Allegro

Solo part from an anonymous Sonata in C Major, iii. Minuet

2 strain tune + 4 variations. "James Knox" [faint] signature above variation 5.

- Cockhold Geo:, Cuckold George (from Gairdyn Manuscript 37, f. 4) [5524; 5513]

- 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]
- A Soger Lad or any Bodie, A Soldier Lad or Anybody (from MacFarlane Manuscript 2 192, p. 237) [1512; 1511]
- 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]

Reel tune - different tune to "Stewart's Rant" on Knox f. 26.

- Gairntully’s Rant, Gairntully's Rant (from Drummond Castle Manuscript 2 2) [3211; 4744]
- Gairntullie’s Rant, Gairntully’s Rant (from MacFarlane Manuscript 2 120, p. 183) [3211; 2744]

Different from tune of same name on Knox f. 23v.

- Stewart’s Rant, Stewart’s Rant (from Drummond Castle Manuscript 2 21) [3654; 4747]
- Was you at the Bridal, Was You At the Bridal (from MacFarlane Manuscript 2 194, p. 238) [3654; 4747]

2 strain tune + 2 variations. Last variation is a 6/8 jig. Also in a McGibbon Scots Tunes later edition as "Miss Hamilton’s Delight". The final Jig appears in Oswald's CPC as "The Lads of Nairn". John Purser notes in his CPC edition that Edward Bunting believed this to have been composed by Cornelius Lyons, harper to the Earl of Antrim in c.1702 [Purser CPC, vol4 notes p. 6]. Concordances (other): "The Blossom of the Raspberry", Oswald CPC vol 4 p. 17. "Miss Hamilton’s Delight" GB-En Ing 12.

Reel tune. Concordances (other): "Will you to Sherriffmoor", Bremner Scots Reels vol 1 p. 49 - clearly same tune, but denser in Bremner.

- Kilmarnoch’s Reel, Kilmarnock’s Reel (from Drummond Castle Manuscript 2 19) [5122; 5144]

- The Braes of Bellandèan, The Braes of Ballenden (from MacFarlane Manuscript 3 191, p. 160) [355; 556]

Pretty similar to Bremner tune, but some noticeable differences - especially lack of dotted rhythms. Concordances (other): "The Bridge of Anas", Bremner Scots Reels 1, 58.

Dated 1755 at end - probably another of James Knox’s own compositions.

Page partially destroyed, but all the music is complete. Index checked against Muse's Delight. Concordances (other): "The Contest Between Love and Glory. Set by Mr Arne", Apollo's Cabinet, or the Muses Delight 1, 125.

Concordances (other): "Duke of Perth’s Reel" Bremner Scots Reels 1, 8.

- Duke of Perth’s Reel, The Duke of Perth's Reel (from Drummond Castle Manuscript 2 1) [1315; 1522]

Dated "8th octr. 1755. Composed." One of Knox’s own compositions. Not very strong writing. Attempt to move briefly to subdominant in 2nd half through use of Chord I7 in second strain.

Title cut off on page, but given in full on index f. 36v "Highland man Kist his Mo.r". Clearly the same tune as Bremner, but with different ornamentation etc. Concordances (other): "The Highlandman Kiss’d his Mother", Bremner Scots Reels 1, 10.

- The hounds are all out, The Hounds Are All Out (from Robert Kelsall Manuscript 564, f. 116) [1315; 4352]

Different in style to the other "reels" in this collection (possibly since it’s "Irish") in terms of harmony, rhythm, and note 2/4 time signature

Passamezzo Moderno variations.

- [John come kiss me now], John Come Kiss Me Now (from Clerk of Penicuik Papers 39, GD18/4538/5/13) [1132; 4443]
- John Come Kiss Me Now, John Come Kiss Me Now (from Cuming Manuscript 31, p. 40) [1112; 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]

- [The Lass of Patie’s Mill], The Lass of Patie's Mill (from Clerk of Penicuik Papers 23, GD18/4538/5/8/1) [3235; 1155]
- The Lass of Patys Mill, The Lass of Patie's Mill (from MacFarlane Manuscript 2 14, p. 36) [3235; 1155]
- The Lass of Patie’s Mill, The Lass of Patie’s Mill (from MacFarlane Manuscript 3 188, p. 146) [3235; 1155]
- Peaties Mill, The Lass of Patie's Mill (from MMC 491 10, p. 54) [3235; 1130]

Page partly obscured by water or ink. Key signature and time signature not clear.

- A Scots-measure, Scots Measure (from Gairdyn Manuscript 64, f. 9v) [None; None]
- The maltman or Roger the Cavalier, The Maltman Comes On Monday (from Cuming Manuscript 24, p. 29) [615; 627]
- 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]

2 strain tune + 1 variation.

- The Millers Wedding., The Miller's Wedding (from McGibbon Manuscript 189, p. 93) [5122; 5113]

Dated 1759 at top of page. Title not the clearest, but in index of reels on f. 36v, listed as "The pecing reell". Concordances (other): "Kiss the Lass ye like best", Bremner Scots Reels 1, 54.

- To daunten me, To Daunton Me (from MacFarlane Manuscript 3 211, p. 190) [5114; 2177]

2 strain tune + 1 variation. Rare use of dense Corelli-like ornamentation on a Scots tune.

- Down tweedsead, Down Tweed Side (from Gairdyn Manuscript 81, f. 13) [None; None]
- Tweedside, Tweed Side (from Cuming Manuscript 33, p. 48) [156; 113]
- 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]
- Tweedsyde, Tweed Side (from James Knox Manuscript 217, f. 56) [156; 113]

Exact concordance (except bass omitted in Knox): "Tweedside" McGibbon Scots Tunes Vol. 1 1742 p. 10.

- Down tweedsead, Down Tweed Side (from Gairdyn Manuscript 81, f. 13) [None; None]
- Tweedside, Tweed Side (from Cuming Manuscript 33, p. 48) [156; 113]
- 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]

Signature of JK and dated 10th July 1753. Another of Knox’s own compositions.

Possibly intended as another variation on the Corelli Giga. Almost works, but goes off on a bit of a tangent and doesn’t follow the harmony of original, ending abruptly in Bflat Major. Could be Knox's own attempt at writing a variation.

Violin 1 part of the first of the final movement of Giovanni Hasse's first of his Six Concertos for Violins, French Horns or Oboes etc., Op 4. No extra double-stopping as in previous movements, but there is extra articulation and ornamentation not in Hasse's original edition.

Page damaged / partially missing.

- Minuet, Weideman’s Minuet (from Robert Kelsall Manuscript 418, f. 80) [564; 211]
- [Weydiman's Minuet], Weideman's Minuet (from Robert Kelsall Manuscript 523, f. 108v) [564; 211]
- Weydiman's Minuet, Weideman's Minuet (from Robert Kelsall Manuscript 524, f. 108v) [564; 211]

Listed in reel index on f. 36v.

- 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]
- A Soger Lad or any Bodie, A Soldier Lad or Anybody (from MacFarlane Manuscript 2 192, p. 237) [1512; 1511]
- Stay & take your Breeches with you, Stay and Take Your Breeches With You (from James Knox Manuscript 88, f. 26) [1512; 1516]

2 strain tune + 2 variations. Concordance (other): "When she cam ben she bobed", James Oswald, Caledonian Pocket Companion Vol 1 p14-15.

- when she came ben she bobbed, When She Came Ben She Bobbed (from Bowie Manuscript 46, f. 28v) [1327; 1175]
- When the bryd cam ben she becked, When She Came Ben She Bobbed (from Leyden Lyra-viol and Violin Manuscript 8, f. 53v) [1327; 1175]
- When she cam ben, When She Came Ben She Bobbed (from Sinkler Manuscript 35, f. 62v) [121; 334]
- When she came ben she bobbed, When She Came Ben She Bobbed (from MacFarlane Manuscript 3 227, p. 202) [111; 333]

Final movement of a McGibbon trio sonata - there is only a single copy of the printed edition of this surviving, with only the flute I copy (see Elizabeth Ford's edition).

Song for treble voice (with words) + instrumental bass.

Marked "Allegro", but this is actually the "Presto" from the overture to the opera "Il trionfo di Camilla" by Giovanni Bononcini.