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Manuscript Tune Index

by Aaron McGregor


All title fields
Key signature
Time signature
Bass
Source
KS (edited)
TS (edited)
Variations

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

Clear form
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Manuscript: Bowie 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)
A Ground
Variations: 20 divisions on a ground bass Comments: Taken from Playford’s The Division Violin.
A Ground Bowie Manuscript 23, f. 15v D ♯♯ ♯♯ Ͼ/3 6/4 20 yes no 3215 5512 3215L 55L12
Alen Watter
2 strain tune + 1 variation.

- Allan water, Allan Water (from Gairdyn Manuscript 340, f. 46v) [None; None]
- Allin Water, Allan Water (from Thomson Manuscript 50, p. 35) [1331; 5221]
- Allan watter, Allan Water (from Sinkler Manuscript 11, f. 67) [1131; 5221]
- Allan Water, Allan Water (from Cuming Manuscript 21, p. 25) [1131; 5221]
- Allan Water. D.Y., Allan Water (from MacFarlane Manuscript 2 103, p. 146) [1131; 5521]
 Allan Water Bowie Manuscript 12, f. 9v F ♭ ♭ ₵ 4 yes no 1131 5221 1131H 5221
Baes Hages
Possibly missing B♭s in ks, though tune makes sense without.

- Bessie's Haggis, Bessie's Haggis (from Gairdyn Manuscript 290, f. 40) [; ]
- Bessies Hagis, Bessie's Haggis (from Gairdyn Manuscript 337, f. 46) [; ]
- Bessie’s haggies, Bessie's Haggis (from James Knox Manuscript 202, f. 52v) [1315; 6422]
 Bessie’s Haggis Bowie Manuscript 19, f. 13 F ₵ 2 no no 1334 6423 133x4 6x423
bone Cirste
1 strain (16 bar) tune + 1 variation. Setting for violin and bass, with bass reversed in table-top format. Different bass over variation. Of the two versions in Balcarres, the first is much straighter, less chromatic, and the second is almost identical to the Bowie version (bass is pretty similar though not exact copy) and is attributed to John McLachland. Concordances (other): “Bonnie Christian, david grieves way, with the 9th string lowered,” Balcarres p. 76 no 116.

- bonnie Christan, Bonny Christy (from Guthrie Manuscript 58, p. 309) [5531; 6651]
- B Kirstie, Bonny Christy (from Gairdyn Manuscript 206, f. 24v) [None; None]
- Bonny Christie, Bonny Christy (from MacFarlane Manuscript 3 286, p. 270) [5251; 3214]
 Bonny Christy Bowie Manuscript 4, f. 3v G ♯ ♯ ₵ 2 yes yes 5251 3111 525L1 3111
A Bore
"J M" initials written below 2nd line. Looks like this tune and the following two are part of a suite by John McLachland.
Bourée Bowie Manuscript 16, f. 12 C ₵ 2 no no 3164 2572 3H1H6H4H 2H572H
Cecoll Hen
Possibly a pipe tune. Range of a 9th, lots of dotted rhythms. Time Signature has been blotted out.

- Cockabendie, Cockabendie (from Drummond Castle Manuscript 2 24, ) [1122; 1161]
- Cock a Bendie, Cockabendie (from Young-Bodleian 28, f. 32) [1122; 1161]
 Cockabendie Bowie Manuscript 41, f. 24v F ♭ ♭ ₵ 2 no no 1122 1161 1122 1161H
Cutie Clather
1 strain tune + 4 variations. hHas more of the feel of variations on a ground bass, similar in style to English division style.

- Caddie Clauder, Cuddie Clauder (from Robert Kelsall Manuscript 591, f. 122) [3552; 3553]
- Cow'd I ha'e claw'd her, Cuddie Clauder (from McGibbon Manuscript 115, p. 69) [3552; 3553]
 Cuddie Clauder Bowie Manuscript 36, f. 21v G 6/4 5 yes no 3552 3553 3552 3553
down the bowrn dewe:
1 strain tune + 2 variations.

- Down the Burn Devie, Down the Burn Davie (from Panmure Violin Manuscript 1 74, f. 37) [3611; 3311]
- Down the burn Davie, Down the Burn Davie (from MacFarlane Manuscript 3 67, p. 53) [1161; 3513]
 Down the Burn Davie Bowie Manuscript 5, f. 4v F ♭ ♭ ₵ 3 yes no 3151 3111 315L1 3111
[For Iris I Sigh]
Composer: [Henry Purcell] Comments: This is an instrumental setting of Henry Purcell's song "For Iris I sigh", from his music for Amphitryon (Z.572/10b). The setting appears to be for violin and bass, with the top part written in French violin clef. The bass is reversed on opposite folio, in table-top format. B♭ missing in ks, and there are many errors in the bass part.
For Iris I Sigh Bowie Manuscript 29, f. 18v D ♭ 3 3/4 2 no yes 316 645 b3H1Hb6H b6H4H5H
[Glenrinnes Cheer]
Another reel tune, with similar feel to Bowie 31. Concordances (other): “Hilland Tune,” Young Scots Tunes 1720 (tr).

- Highland tune, Glenrinnes Cheer (from Gairdyn Manuscript 93, f. 16) [1535; 7474]
- Glenrinnes Cheer, Glenrinnes Cheer (from MacFarlane Manuscript 2 201, p. 240) [1535; 7474]
 Glenrinnes Cheer
Title (alternative): Highland Tune		 Bowie Manuscript 33, f. 20v A ₵ [backwards] ₵ 2 no no 1535 7474 15b35 7b47bL4
Haelle and Sound to Company or The Bone Wives of Aberden
2 strain tune + 1 variation. Strathspey-like dotted rhythms on tune (ie strains 1-2), and looks like a 4 in a bar feel. Variation features division into semi-quavers.

- Chisholm’s Rant, Chisholm's Rant (from George Skene Manuscript 4, f. 1v) [1125; 1111]
- Kirkcudbright, Kirkcudbright (from Drummond Castle Manuscript 1 26) [1126; 1111]
- Kirkcudbright, Kirkcudbright (from MacFarlane Manuscript 2 182, p. 232) [1121; 1111]
 Hail and Sound to Company or The Bonny Wives of Aberdeen Bowie Manuscript 20, f. 13v C C 4 yes no 1126 1151 1H1H2H6 1H1H5H1H
hallow eben
Hallow Even Bowie Manuscript 25, f. 17 F ♭ ♭ C 2 no no 3111 2261 3111H 2H2H61H
A Scotts misur

- [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 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 Bowie Manuscript 27, f. 17v G ♯ ♯ ₵ 2 no no 3111 3332 31H11 3332
heey ho the Balop
1 strain tune + 15 variations. Marked "Largo". Uses ornament symbols (not common in this MS). Oswald CPC version is very similar, including variations. Balcarres version is similar, but with fewer variations. Concordances (other): “Hey How the Ballop,” Oswald CPC VI, p. 20. “The Parliaments Rant. david grieves way,” Balcarres p. 136. “The Parliaments Rant, mr macklachlands way, by mr Beck,” Balcarres p. 142.

- The Balip, The Ballop (from Guthrie Manuscript 23, p. 299) [5551; 6611]
- The well Buked Ballap, The Well-Buked Ballop (from Thomson Manuscript 40, p. 30) [1135; 2246]
 Hey Ho the Ballop
Title (alternative): The Parliament's Rant; The Well-buked Ballop		 Bowie Manuscript 53, f. 34v G ♯♯ ♯♯ ₵ ₵ 16 yes no 1135
Alt. index 1: 7724 (Alt index given as if key note is A)		 2246
Alt. index 2: 1135 (Alt index given as if key note is A)		 1H1H35
Alt. index 1: b7b724 (Alt index given as if key note is A)		 2H2Hx46
Alt. index 2: 1H1H35 (Alt index given as if key note is A)
hyland Lady
2 strain tune + 1 variation.

- Highland Laddie, Highland Laddie (from Robert Kelsall Manuscript 552, f. 113v) [1122; 1122]
- Highland Laddie, Highland Laddie (from Drummond Castle Manuscript 1 29, ) [5333; 6262]
 Highland Laddie Bowie Manuscript 11, f. 8v F ♭ ♭ ₵ 4 yes no 1133 5155 1133 5155
hit her upon thee bon and she come near me
1 strain tune + variations on binary ground. No double barlines. :s: sign written above last variation.
Hit Her on the Bum Bowie Manuscript 42, f. 24v G 6/4 5 yes no 3374 5315 33b74 531H5
I Love my Love in secret
1 strain tune + 4 variations. Violin scordatura AEAC# (not given, but clear from open string chords and by ref to other versions of tune). Index given according to pitches in standard tuning. Concordances (other): “I love my Love in seacreit,” Playford OST, 2 (vln). “I loue my love, in secret, by mr beck, morisons way,” Balcarres no. 26, p15 (lute). “I loue my loue in Secret, mr lesslies way,” Balcarres no. 216, p136 (lute). “I love my love in secret,” Sinkler ff. 4v-5 (kbd).

- 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 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]
- I love my love in secret, I Love My Love in Secret (from James Knox Manuscript 109, f. 29v) [3211; 6225]
 I Love My Love In Secret Bowie Manuscript 52, f. 33v A ♯♯ ♯♯ ₵ ₵ 5 yes no 3111 6223 3111H 6L223
Jedbrughs marsh
Phrase lengths of 5 and 9 bars. Might be copying error.
Jedburgh’s March Bowie Manuscript 26, f. 17v A ₵ 2 no no 1155 1121 115L5L 1121
J Mc Gig
Composer: J[ohn] Mc[lachlan]
Jig Bowie Manuscript 18, f. 12v C 3/4 2 no no 331
Alt. index 1: 3654 (Alt index given as if ts is 6/4.)		 642
Alt. index 2: 7545 (Alt index given as if ts is 6/4.)		 3H3H1H
Alt. index 1: 3H6H5H4H (Alt index given as if ts is 6/4.)		 6H4H2H
Alt. index 2: 754H5H (Alt index given as if ts is 6/4.)
J: Mc: Scotts Measure
Composer: J[ohn] Mc[Lachlan] Concordances (other): “A New Scotch-measure,” Playford OST. “Maulelies scotts measure, mr becks way,” Balcarres p3. “Malsys Scotch Measure,” Sinkler ff. 26v-27 (kbd).

- McLachlen Scots measure, John McLachlan's Scots measure (from Gairdyn Manuscript 173, f. 22v) [None; None]
- McLachlens scotts measure, John McLachlan's Scots Measure (from Leyden Lyra-viol and Violin Manuscript 2, f. 50) [1155; 5151]
 John McLachlan’s Scots Measure
Title (alternative): Maule's Scots Measure; A New Scotch Measure		 Bowie Manuscript 37, f. 22v C ₵ ₵ 2 no no 1155 5151 1155 5151H
Catharin Logie
Marked "Adagio". Possibly intended as a medley with the following three tunes.

- 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]
- 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]
- Katharine Ogie, Katherine Oggie (from James Knox Manuscript 144, f. 37) [5111; 3217]
 Katherine Oggie Bowie Manuscript 30, f. 19v A ₵ ₵ 2 no no 5111 3217 5L111 b321b7L
Cattie Bardie
1 strain tune + 3 variations.
Katy Bairdie Bowie Manuscript 45, f. 27v G ₵ 4 yes no 5522 7724 5L5L22 b7Lb7L24
[King William over the Boyne Water]
Concordances (other): “A Song,” [There was a knight and he was young] D’Urfey, Pills, V, 112. “King William over the Boyn Water,” GB-En Adv MS 5.2.25. “Now Westlin Winds” [Tune: Come kiss wi’ me, come clap wi’ me’], Scots Musical Museum, Vol 4, 531.
King William over the Boyne Water
Title (alternative): There was a knight and he was young; Come kiss wi’ me, come clap wi’ me		 Bowie Manuscript 32, f. 20 A ₵ 2 no no 5557 4471 5L55b7 44b7L1
Lang Kell in Aberden
Reel tune.

- pease caill in Aberdeen, Cauld Kail in Aberdeen (from Gairdyn Manuscript 29, f. 3v) [5152; 5154]
- Cauld Kail in Aberdeen Kail-castocks in Strahbogie - Bagpipe humour, Cauld Kail in Aberdeen (from George Skene Manuscript 45, f. 17v) [5352; 3154]
 Lang Kell in Aberdeen
Title (alternative): Cauld Kail in Aberdeen		 Bowie Manuscript 21, f. 14 A ₵ 2 no no 5152 5154 5152 5154
Love is the Caues of My mornen
1 strain tune + 1 variation. B♭ missing in key signature (appears once as a passing note).

- Love is the cause of my Mourning, Love is the Cause of My Mourning (from Gairdyn Manuscript 385, f. 53v) [; ]
- Love is the caus of my mourning , Love is the Cause of My Mourning  (from Leyden Lyra-viol and Violin Manuscript 3, f. 50v) [133; 331]
- Love is the Cause of my mourning, Love is the Cause of My Mourning (from MacFarlane Manuscript 2 129, p. 189) [133; 333]
- Love is the Cause of my mourning, Love is the Cause of my Mourning (from MacFarlane Manuscript 3 237, p. 213) [133; 333]
- Love is the Cause of my mourning, Love is the Cause of my mourning (from McGibbon Manuscript 113, p. 67) [133; 333]
 Love is the Cause of my Mourning Bowie Manuscript 7, f. 6v F ♭ 6/4 2 yes no 1313
Alt. index 1: 133 (Alt index given as if ts is 3/4)		 4312
Alt. index 2: 331 (Alt index given as if ts is 3/4)		 131H3
Alt. index 1: 133 (Alt index given as if ts is 3/4)		 431H2
Alt. index 2: 331 (Alt index given as if ts is 3/4)
[Minuet] J Mc
Composer: J[ohn] Mc[lachlan] Comments: Minuet tune with hemiolas at end of each section.
Minuet Bowie Manuscript 17, f. 12 C 3/4 2 no no 555 324 5H5H5H 3H2H4H
J: McL: Menwett
Composer: J[ohn] McL[achlan]
Minuet Bowie Manuscript 39, f. 23v B♭ ♭♭ ♭♭ 3 3/4 2 no no 113 536 113 536
J: McLac: Menwet
Composer: J[ohn] McLac[hlan] Comments: French style. Hemiolas at end of each section.
Minuet Bowie Manuscript 40, f. 24 D ♭ ♭ 3 3/4 2 no no 113 235 1H1Hb3H 2b3H5
over the moor to magie
1 strain tune + 2 variations. Concordances (other): "O’er the moor to Maggy", Neal CST p. 12 (close concordance with st1-4).

- ore the muir to Maggie, O'er the Moor to Maggie (from Sinkler Manuscript 38, f. 62) [5122; 5155]
- O’er the muir to Maggie, O’er the Moor to Maggie (from Cuming Manuscript 26, p. 31) [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 Bowie Manuscript 50, f. 32v G ♯ ♯ ₵ 3 yes no 5113 2227 51H13 22H2H7
Old Long Signe
2 strain tune + 2 variations.

- [Old Lang Syne], Old Lang Syne (from Sinkler Manuscript 51, f. 59v) [1113; 5554]
- For old long syne, Old Lang Syne (from Robert Kelsall Manuscript 258, f. 44v) [1113; 5554]
- For old long Syne, Old Lang Syne (from Robert Kelsall Manuscript 278, f. 48) [1113; 5554]
 Old Lang Syne Bowie Manuscript 49, f. 31v F ♭ ♭ ₵ ₵ 6 yes no 1113 5554 1H1H1H3H 5554
pege I most Love the
2 strain tune + 1 variation

- Pegy I mosst love thee Capt: Campbell his marsh, Peggy I Must Love Thee (from Bowie Manuscript 48, f. 30v) [6111; 2266]
- As I went down yon burn so Clear, As I Went Down Yon Burn So Clear (from Gairdyn Manuscript 54, f. 7v) [6111; 2266]
- Magie I most love thee, Peggy I Must Love Thee (from Sinkler Manuscript 32, f. 63) [6111; 2266]
- Peggie I must love thee, Peggy I Must Love Thee (from MacFarlane Manuscript 2 18, p. 44) [5111; 2266]
 Peggy I Must Love Thee
Title (alternative): Captain Campbell His March		 Bowie Manuscript 24, f. 16v G C 4 yes no 6111
Alt. index 1: 1333 (Alt index as if key note is E)		 2266
Alt. index 2: 4411 (Alt index as if key note is E)		 6L111
Alt. index 1: 1b3b3b3 (Alt index as if key note is E)		 226L6L
Alt. index 2: 4411 (Alt index as if key note is E)
Pegy I mosst love thee Capt: Campbell his marsh
2 strain tune + 3 variations. Enlarged version of setting in Bowie 24.

- pege I most Love the, Peggy I Must Love Thee (from Bowie Manuscript 24, f. 16v) [6111; 2266]
- As I went down yon burn so Clear, As I Went Down Yon Burn So Clear (from Gairdyn Manuscript 54, f. 7v) [6111; 2266]
- Magie I most love thee, Peggy I Must Love Thee (from Sinkler Manuscript 32, f. 63) [6111; 2266]
- Peggie I must love thee, Peggy I Must Love Thee (from MacFarlane Manuscript 2 18, p. 44) [5111; 2266]
 Peggy I Must Love Thee
Title (alternative): Captain Campbell His March		 Bowie Manuscript 48, f. 30v G ♯ ♯ ₵ ₵ 8 yes no 6111
Alt. index 1: 1333 (Alt index given as if key note is E)		 2266
Alt. index 2: 4411 (Alt index given as if key note is E)		 6L111
Alt. index 1: 1b3b3b3 (Alt index given as if key note is E)		 226L6L
Alt. index 2: 4411 (Alt index given as if key note is E)
the Scots Chaconne
Composer: [John McLachlan?] Variations: not really a chaconne, but rather variation set with variable harmonic pattern.

- highland air or A Scots chacune, Scots Chaconne (from Gairdyn Manuscript 257, f. 28) [None; None]
- The Scots Shochone, Scots Chaconne (from Leyden Lyra-viol and Violin Manuscript 43, f. 68v) [3342; 1155]
- Scoth chacon, Scots Chaconne (from Robert Kelsall Manuscript 586, f. 121) [1H1H2H7; 663H3H]
 Scots Chaconne Bowie Manuscript 22, f. 14v A ₵ ₵ 5 yes no 3342
Alt. index 1: 1127 (Alt index given as if key note is C)		 1155
Alt. index 2: 6633 (Alt index given as if key note is C)		 b3b342
Alt. index 1: 1H1H2H7 (Alt index given as if key note is C)		 1155
Alt. index 2: 663H3H (Alt index given as if key note is C)
Old Simon Brodie
1 strain tune + 4 variations. Strains are numbered.

- Simon Brody, Simon Brodie (from Young-Bodleian 29, f. 33) [1342; 1353]
- Simon Brodie, Simon Brodie (from MacFarlane Manuscript 3 65, p. 50) [1522; 3575]
- Milton Brodie, Milton Brodie (from MacFarlane Manuscript 3 145, p. 110) [3133; 2724]
- Simon Brodie, Simon Brodie (from McGibbon Manuscript 198, p. 96) [1522; 3575]
 Simon Brodie Bowie Manuscript 44, f. 26v G ♭ ♭ ₵ 5 yes no 3133 2724 b31b3b3 2b7L24
the Capten: shall not get the:
Setting for violin and bass, with bass reversed on opposite folio. Concordances (other): “The captain shall not gett the, by mr Beck,” Balcarres p.130-1 no 206 (lute). “The captain shall not gett the, mr Becks way,” Balcarres pp.138-9 no 221 (lute). “Deil take the gair and the bragrie o’it”, Oswald CPC V, p23. “The Blathrie o’t,” SMM I, p33.

- The Captain shall not [gett me], The Captain Shall Not Get Thee (from Gairdyn Manuscript 162, f. 22) [None; None]
- The captain shall not get you, The Captain Shall Not Get Thee (from Gairdyn Manuscript 328, f. 45v) [None; None]
- The Captain sha’nna’ get thee, The Captain Shall Not Get Thee (from MacFarlane Manuscript 3 44, p. 33) [1315; 7776]
 The Captain Shall Not Get Thee
Title (alternative): The Blathrie o’t; Deel take the gair and the Bragie o’it		 Bowie Manuscript 3, f. 2v G ♯ ♯ C 2 no yes 1315 7221 1315L 7L221
the highland kings Rant

- The highland kings rant, The Highland King's Rant (from Gairdyn Manuscript 71, f. 11v) [; ]
 The Highland King's Rant Bowie Manuscript 38, f. 23 G ₵ 1 no no 3135 3317 3135 331b7
[The Last time I Came O'er the moor] J: McL
Composer: J[ohn] McL[achlan]

- Last time I came over the Mure, The Last Time I Came O'er the Moor (from Panmure Violin Manuscript 1 76, f. 39) [1111; 2777]
- The last time I came ou’r the Muir , The Last Time I Came O'er the Moor (from Gairdyn Manuscript 311, f. 43v) [; ]
- The last time I came ore ye muir, The Last Time I Came O'er the Moor (from Robert Kelsall Manuscript 277, f. 47v) [4211; 3276]
- Last Time I came o’er the Muir, The Last Time I Came O’er the Moor (from MacFarlane Manuscript 2 15, p. 40) [3211; 2776]
 The Last Time I Came O’er the Moor Bowie Manuscript 35, f. 21v F ♭ ♭ ₵ 2 no no 3211 2216 321H1H 2H2H1H6
Wap at the Widow my Lady
1 strain tune + 6 variations. Feeling of 2 strain tune at opening, but this structure breaks down later in the set. Some similarities with English division style. Balcarres version is nearly identical to Bowie, including all variations. Playford OST version strains 1-2 nearly identical (except 6/4 rather than 6/8) and lots of overlap in variations. Concordances (other): “Wappat the Widdow my Lady,” Playford OST p. 10 (vn). “The Widow” / “Wap at the Widdow” Thomson OC2, II, p10 (v, bc). “Wapp at the Widdow my ladie, the new / way by mr Beck,” Balcarres pp.132-3.

- the: widos: Lade, The Widow’s Laddie (from Bowie Manuscript 2, f. 1v) [3162; 3131]
- Wap at the Widow, Wap at the Widow (from MacFarlane Manuscript 2 85, p. 134) [3122; 3131]
 The Widow's Laddie Bowie Manuscript 14, f. 10v G ♯ ♯ 6/8 7 yes no 3122 3131 3122 3131H
the: widos: Lade
Setting for violin and bass, with bass reversed on opposite folio. Bass only covers strains 1-2 (i.e. not variation). Concordant with "Wap at the Widow my Lady," Bowie 14, but different version of tune and variations. Concordances (other): “The Widow,” Thomson OC (2/1733) ii, no 5 (v, bc). “The Widow,” TTM p148. “Wap at the Widow, my Laddie,” SMM 2.124 p130.

- Wap at the Widow my Lady, The Widow's Laddie (from Bowie Manuscript 14, f. 10v) [3122; 3131]
- Wap at the Widow, Wap at the Widow (from MacFarlane Manuscript 2 85, p. 134) [3122; 3131]
 The Widow’s Laddie Bowie Manuscript 2, f. 1v G ♯ ♯ 6/4 4 yes yes 3162 3131 316L2 3131H
[This is Not My Ain House]
1 strain tune + 4 variations. Some overlap in variations with Oswald CPC. Concordances (other): “This is no mine ain House”, Thomson OC2, II, p. 72. “This is no my ain House”, Oswald CPC XI, p. 118.

- This is not my own House, This is Not My Own House (from Drummond Castle Manuscript 1 42, ) [3532; 6526]
 This is Not My Ain House
Title (alternative): De’il Stick the Minister		 Bowie Manuscript 15, f. 11v D ♯♯ ♯♯ C 5 yes no 3532 1525 353H2H 1H525
Tho' you make no return
Song by Henry Purcell. The sole vocal item in the MS. Words are included, but these are out of sync with music. Concordances (other): Henry Purcell, The Maid's Last Prayer or Any Rather Than Fail (1693), Z.601.
Tho' You Make No Return Bowie Manuscript 34, f. 21 A 6/4 6/4 2 no no 3435 1677 b34b35 16L7L7L
Tibie fouller in the glen
2 strain tune + 2 variations

- Mary Harvey att the Gaurd, Mary Harvey at the Guard (from Thomson Manuscript 52, p. 37) [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]
 Tibbie Fowler
Title (alternative): Mary Harvey at the Guard; Owing at Her		 Bowie Manuscript 47, f. 29v G ♭ ♭ ₵ 6 yes no 1111 2744 1111 2b7L44
[untitled]
Looks like an aide-memoire. Four bars, notes without stems, no clef ks, ts, accidentals, or rhythms.
Untitled Bowie Manuscript 1, f. 1 no no
[untitled]
Possibly a minuet, but unusual in that it moves between grouping bars in 3 & 6.
Untitled Bowie Manuscript 8, f. 7 G ♯ ♯ ₵/3 3/4 2 no no 153 623 153 623
[untitled]
Short virtuosic prelude. Grouping / amount of beats varies between bars. Possibly most advanced violin technique in piece of music from Scotland to date, including difficult string crossing and double-stopping.
Untitled Bowie Manuscript 9, f. 7v G ♯ ♯ ₵ ₵ 1 no no 0351 7156 0351 7L156
[untitled]
Looks like a 3/2 hornpipe.
Untitled Bowie Manuscript 10, f. 8 C 3/2 2 no no 135 724 1H3H5H 72H4H
[untitled]
Looks like a march tune. Initials J.M. appear after tune, so possibly composed by John McLachlan.
Untitled Bowie Manuscript 13, f. 10 F ♭ ♭ ₵ 2 no no 3315 6425 3315 6425L
[untitled]
French style prelude or entry. Much more ornamentation than rest of MS, and includes a petite reprise. Probably paired with following piece, but no bassline here.
Untitled Bowie Manuscript 28, f. 18v G ♭♭ ♭♭ 2 ₵ 2 no no 5566 4455 55b6b6 4455
[untitled]
Classic rhythmic features of a reel, including birl.
Untitled Bowie Manuscript 31, f. 19v A ₵ ₵ 2 no no 5577 3535 5L5Lb7Lb7L b35b35
[untitled]
Untitled Bowie Manuscript 54, f. 38 F ♭ ♭ 6/4 2 no no 1511 5515 151H1H 5515
[untitled]
Looks like mistakenly written with French violin clef at opening, and missing F♯ in key signature
Untitled Bowie Manuscript 55, f. 83 E ♯ 3/4 2 no no 551 775 551H 7b7b5
[untitled]
Probably missing F♯ in key signature.
Untitled Bowie Manuscript 56, f. 83 E ♯ 6/4 2 no no 1111 1175 1H1H1H1H 1H1H7b5
when she came ben she bobbed
2 strain tune + 2 variations (ie 6 divisions on passamezzo antico).

- 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]
- When She came ben She bobbed, When She Came Ben She Bobbed (from James Knox Manuscript 220, f. 56v) [111; 334]
 When She Came Ben She Bobbed Bowie Manuscript 46, f. 28v G ♭ ♭ 6/4 6 yes no 1327 1175 1b32b7L 11H75
when the bred wase mered
1 strain tune + 1 variation

- When the breid was Maried, When the Bride Was Married (from Panmure Violin Manuscript 1 57, f. 27v) [3115; 1111]
 When the Bride was Married Bowie Manuscript 6, f. 5v F ♭ ♭ ₵ 2 yes no 3115 1111 3115L 111H1H
I wish I wer for hellen lyes

- Where Helen Lyes, Where Helen Lies (from Gairdyn Manuscript 13, f. 2v) [111; 166]
 Where Helen Lies Bowie Manuscript 51, f. 33 C 3/2 2 no no 133 566 1H3H3H 5H66
wher will oure Good man ly
1 strain tune + 5 variations.

- Where shall our Goodman Lay, Where Shall Our Good Man Lie (from Gairdyn Manuscript 63, f. 9v) [None; None]
- Where shall our Good-man Lye in the Cold nights in Winter, Where Shall Our Good Man Lie (from Thomson Manuscript 44, p. 32) [5615; 3312]
- Wher will our Good man ly, Where Shall Our Good Man Lie (from Cameron Manuscript 191, p. 47) [1117; 5533]
- Ay as she piss’d she padled it, As She Piss’d She Paddled It (from MacFarlane Manuscript 2 12, p. 32) [1124; 3314]
 Where Shall Our Good Man Lie
Title (alternative): As She Piss’d She Paddled It		 Bowie Manuscript 43, f. 25v G ₵ 6 yes no 1124 3314 1124 3314