Annotation:Gillie Callum

|Tune properties and standard notation

 G(H)ILLIE CALLUM (The Lad Malcolm). AKA and see "Keelum Kallum (taa fein)," "Sword Dance," "Tail Toddle," "Tail Todle." AKA - "Gillie Callam da pheithein." Scottish, Strathspey. A Mixolydian. Standard tuning (fiddle). AB (Howe, Surenne): AAB (most versions): AABB (Johnson, Skinner): ABBCDDEE (Martin): AABBCCDDEEFFGGHHIIJJ (Morison): AABBCCDDEEFFGGHHIIJJKKLL (Gow/1st Collection). One of the core tunes of Scottish repertoire, sometimes published (especially in older collections) with numerous variation sets. The earliest record of the tune is in David Young's 1734 Drummond Castle Manuscript (in the possession of the Earl of Ancaster at Drummond Castle; sometimes called the Duke of Perth MS because of the inscription); Glen (1891) finds it also in Bremner's 2nd Collection or Scots Reels or Country Dances (London, 1768, p. 108) under the title "Keelum Kallum taa fein." "Gillie Callum" retained its popularity into the next century, and J.S. Skinner, who was a dancing master as well as a celebrated violinist, taught the dance at such places as Elgin and Balmoral (where among other dances he had four children dance Gillie Callum "in a masterly style, such as has not been witnessed in this locality before") {Aberdeen Free Press}. In fact, Skinner included the tune later in his collection The Scottish Violinist, under the title "Sword Dance." Several sources note that this is the tune generally played as a Strathspey and Reel for the Highland Sword Dance, and the melody is today familiar in association with a Highland sword dance in which great care is taken not to displace the crossed swords on the ground during the exercise. Scottish tradition has it that it was first danced by a king of the Scots, Malcolm Canmore (O'Neill says the name is an English version of the Gaelic Callum a chinn mhoir, which "signifies as 'Callum of the big head'), in celebration of his victory at the Battle of Dunsinane in the year 1054. This story goes that Malcolm slew an opponent, then in triumph placed his enemy's sword on the ground, crossing it with his own, and danced between them in triumph (Martin, 2002). Another tradition says that it is a dance of prophesy, for to touch the swords during the dance bodes ill with respect to the coming battle. O'Neill (1922) maintains that Callum "incurred the displeasure of the highlanders by marrying a Saxon princess which involved many unpopular changes. Gillie Callum, or Callum's tax-gatherer (an odious official everywhere) has been immortalized in melody, while the traditional story is well nigh forgotten." There are puirt-a-beul words to the tune which begin: Gille Callum da pheighinn, ..... (Gille Callum two pennies, Gille Callum da pheighinn,  ..... Gille Callum two pennies, Da pheighinn, da pheighinn,..... Two pennies, two pennies, Gille Callum bonn-a-sia! ........  Gille Callum 'coin of six'.) The Gille Calum was performed not only by men, but (at least on some occasions) by women. Elizabeth Grant of Rothiemurchus wrote of the festivities at Kinrara, the home of the Duchess of Gordon, Jane Maxwell: We are often over at Kinrara, the Duchess having perpetual dances, either in  the drawing room or the servants hall and my father returning these entertainments in the same style. A few candles lighted up bare walls, at short warnings fiddles and whisky punch were always at hand and then gentles and simples reeled away in company till the ladies thought the scene becoming more boisterous that they liked remaining in; nothing more however, a highlander never forgets his place, never loses his native inborn politeness, never presumes upon on favour. She follows this passage with a description of the beautiful dancing of Lady Jane Montague, who not only danced the Gille Calum but Sean Triudhas as well.  Source for notated version: Chicago police officer and Highland piper William Walsh [O'Neill].  Printed sources: Carlin (The Gow Collection), 1986; No. 66 (with variations) {appears as "Gillie Callam Da Pheithein"}. Gow (First Collection of Strathspey Reels), 1784 (revised 1801); p. 2 (appears as "Gillie Callam da pheithein"). Gow (Complete Repository), Part 4, 1817; p. 35. Honeyman (Strathspey, Reel and Hornpipe Tutor), 1898; p. 20 (appears as "Ghillie Callum"). Howe (1000 Jigs and Reels), c. 1867; p. 45. Hunter (Fiddle Music of Scotland), 1988; No. 124. S. Johnson (A Twenty Year Anniversary Collection), 2003; p. 13. Kerr (Merry Melodies), vol. 1; Set 5, No. 3, p. 5. Köhlers’ Violin Repository, Book 1, 1881; p. 88. MacDonald (The Skye Collection), 1887; p. 14. Martin (Ceol na Fidhle), vol. 4, 1991; p. 18. Martin (Traditional Scottish Fiddling), 2002; p. 52. McGlashan (A Collection of Reels), c. 1786; p. 26. Morison (Highland Airs and Quicksteps, vol. 1), c. 1882; No. 35, pp. 19-20 (includes variation sets attributed to Niel Gow). O'Neill (Waifs and Strays of Gaelic Melody), 1922; No. 103. Skinner (Harp and Claymore), 1904; p. 113. Stewart-Robertson (The Athole Collection), 1884; p. 9 (appears as "Gille Calium"). Surenne (Dance Music of Scotland), 1852; p.139.  Recorded sources: Celtic CX45, Wilfred Gillis - "Arisaig Airs." Maggie's Music MM 306, Bonnie Rideout - "Scottish Fiddle Collection" (2006).  See also listings at: Jane Keefer's Folk Music Index: An Index to Recorded Sources Alan Snyder's Cape Breton Fiddle Recording Index

|Tune properties and standard notation