Page:A Dictionary of Music and Musicians vol 3.djvu/748

736 to us in a printed form some of the best of our old national music. In performing his special task, the eager musician was nowise scrupulous as to how or where he found the melodies for transformation into Reels or Strathspeys. It has been alleged that he converted many of our vocal melodies into dance tunes. But the worst that can be charged against him is that he altered the old names of many tunes, calling them after his patrons and patronesses, thus often rendering it doubtful whether a tune was his own composition or belonged to an earlier time.

That Neil Gow was the greatest player on the fiddle of Scotish dance-music, whether in his own time or since, is universally admitted. In a short notice of him (published in the 'Scots' Magazine,' 1809), Dr. Knight, who had frequently heard Neil play, and who was himself a famous fiddler, thus describes his style of execution:—'His bow-hand as a suitable instrument of his genius was uncommonly powerful; and when the note produced by the up-bow was often feeble and indistinct in other hands, it was struck in his playing with a strength and certainty which never failed to surprise and delight skilful hearers.… We may add the effect of the sudden shout with which he frequently accompanied his playing in the quick tunes, and which seemed instantly to electrify the dancers, inspiring them with new life and energy, and rousing the spirits of the most inanimate.'

Burns took many old Strathspeys, and wrote to them some of his finest verses. Thus in 'Rothermurche's Rant,' the first part of the tune is almost note for note that of the Strathspey; the second part has been altered so as to make the music more vocal in its character, the original being strictly instrumental music, with difficulties which the voice could not well overcome.

Another fine specimen is 'Green grow the Rashes O,' verses by Burns. An early version of this tune is in a MS. Lute Book which belonged to Sir Robert Gordon of Straloch, dated 1627–29. It was styled 'a daunce' then, as it was later, but has none of the dotted notes so characteristic of the Strathspey. In the 'Collection of Original Scotch Tunes,' published by H. Playford, 1700, there are a few Reel tunes in addition to the large number of Scotch measures which it contains. One called 'Cronstoune' is a very good specimen of the Reel, whether quick or slow. Another, entitled 'The Birks of Plunketty,' is a good Strathspey, but has been written down in 3-4 time by some one who did not understand the measure. Another, 'The Cummers (Commeres) of Largo,' is styled a Reel; being in 9-8 time we would now term it a Jig. But to return to Burns' song, ' Green grow the Rashes O,' the words of which he wrote to what Angus Gumming calls 'The Grant's Rant' or 'Feve feve Tunal chie.'

'Roy's Wife of Aldivalloch' was written to the tune of 'The Dutchess of Hamilton's Reell,' words by Mrs. Grant of Carron. Burns also wrote verses to the same air, beginning, 'Canst thou leave me thus in sorrow?' but the lady's verses have held their own even against his, and are sung to this day.

Burns' 'Wilt thou be my dearie?' was written to the tune of 'The Souter's Daughter,' named by Angus Gumming, in the volume above referred to, 'Dutchess of Buccleugh's Reell.' Burns, in his instructions as to the setting of the music, says in a note annexed to the words–'Tune, The Souter's Daughter. N.B.–It is only the first part of the tune to which the song is to be set.'

'The Braes abune Bonaw' is set to 'Lord Lovat's Reell.' The first 'Banks o' Doon' (not the popular version) Burns says he wrote to the tune of 'Ballendalloch's Reell.' 'Dr. William Grant's Reell' was laid under contribution for the words written in 1795, 'This is no my ain house.' 'Whistle o'er the lave o't' is a good Strathspey, and to it Burns wrote the verses beginning, 'First when Maggie was my care,' as a substitute for old verses, witty but indecent. Carron's Reel, 'The Whisky Still,' has given the melody to a good song, 'Ewie wi' the cruikit horn.' The tune of 'Dinna think, bonnie lassie,' is borrowed from 'Clunie's Reell.'

Many other specimens could be given, but the above may suffice for our present purpose.

In conclusion, we may briefly refer to the extremely bald accompaniments which were written a hundred years ago to these dances, when arranged with a bass for the violoncello, harpsichord, or pianoforte. A few bars from 'Sir James Colquhoun's Reell,' 'The Black Watch, 42nd Regiment,' will enable the reader to understand what is meant. It will be noticed that there is never more than one note in the bass, this however was usually played in octaves.