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The Traditional Tune Archive
    The Semantic Index of North American, British and Irish
 traditional instrumental music with annotations, formerly known as
                          The Fiddler's Companion.
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Bonnie Prince Charlie danced to this tune at the house of Lude, near Blair, before the battle of Prestonpans, 1745
This is not My Own House

Played by: Gill Bowman
Source: Soundcloud
Image: Prince Charles Edward Stuart, 1720 - 1788.

Lost Portrait of Charles Edward Stuart.jpg

This is not My Own House

AKA and see "This is No My Ain Lassie (2)." The reel is an old one, a version of which appears in the Blaikie MS of 1692 as Abbeyhills Rant [1].

Bonnie Prince Charlie danced to this tune at the house of Lude, near Blair, before the battle of Prestonpans, 1745 {he won that one} (Marshall monogram, 1845 Collection, and Winstock 1970). Country dance directions to the tune were recovered from the Holmain Manuscript from Dumfries-shire (c. 1710-1750).

The earliest record of the melody under the "ain/own house" title (which may be seen as a set of "De'il Stick the Minister (2)," is from David Young's Duke of Perth Manuscript (AKA the Drummond Castle Manuscript) of 1734 (where it is listed as a country dance), and Thomson's Orpheus Caledonius, vol. 2, 1733.




...more at: This is not My Own House - full Score(s) and Annotations

X:4 T:This is not my ain House C:”The Variations by R. Mackintosh” M:C L:1/16 R:Air Q:"Slow" B:Robert Mackintosh - "A Fourth Collection of New Strathspey Reels, also some Famous old Reels" (1804, p. 16) N:Dedicated to the Dutchess [sic] of Manchester N:Robert "Red Rob" Mackintosh (c. 1745-1808) was a Scottish violinist and N:composer active in Edinburgh at the end of the 18th century. Originally from N:Tullymet, near Pitlochry, Perthshire. He moved to London in the last decade N:of his life. Z:AK/Fiddler's Companion K:D V:1 clef=treble name="4." [V:1] A2|FA3 Da3 {g}f4 e3d|(B2cd) (BA)(GF) B3EE3A|FA3Da3 {g}f4 e2d2|B3dAF3 AD3D2|| A2|FA3DA3 FA3B3A|FA3Df3 e2E2E3A|FA3DA3 FA3BB3A|(Bcd2) (cde2) d2D2D2A2| FA3DA3 FA3TBA3|FA3Df3 e2E2E2g2|{fg}a3fg3e f3de3c|{Bc}d3BA3F AD3D2|| A2|FGAF Da3 {g}f4 e3d|(BA)(dc) (BA)(GF) B2E2E2A2|(FGAF) (DFA)a (fefg) (fedc)|BABd BAGF AD3D2|| A2|(FD)(A,D) (FD)(AF) (DA,)(FD) AFdA|DFAd FAdf eEEA/G/|FDA,D A,DFD AFdA fdAF|(BcdB) (cdec) d2(D2 D)(dAG)| (FD)(A,D) (A,D)(FD) (FD)(AF) (dA)(FA)|(DF)(Ad) (FA)(df) e2E2 E(efg)|(.b.a.g.f .a.g.f.e .g.f.e.d .f.e.d.c)|(.e.d.c.B .A.B.d.F) AD3D2|| AG|(A/.A,/.B,/.C/ .D/.E/.F/.G/ .A/.B/.c/.d/.e/.f/.g/.a/) (.g/.f/.g/.a/ .g/.f/.b/.a/ .g/.f/.e/.d/ .f/.e/.d/.c/)|(B/^A/B/c/) (B/c/d/c/) (d/c/B/=A/) (B/A/G/F/) (B/=c/A/B/ G/A/F/G/ E/F/G/E/ A/G/F/E/)| |(A/.A,/.B,/.C/ .D/.E/.F/.G/ .A/.B/.c/.d/.e/.f/.g/.a/) g/f/g/a/ g/f/b/a/ g/f/e/d/ f/e/d/c/|((c/B/)(d/c/)(e/d/)(f/e/) .g/.f/.e/.d/ .f/.e/.d/.c/ .e/.d/.c/.B/ .A/.G/.F/.E/ D)|| AG|F/D/A,/D/ B,/D/C/D/ A,/D/B,/D/ C/D/F/D/ A,/(F/D/)(A/ F/)(d/A/)(f/ d/)(a/f/)d/ A/(f/d/)(A/|F/)d/A/F/ G/A/B/c/ d/c/B/A/ G/F/E/D/ B,/(G/E/)(B/ G/)(e/B/)(g/ e/)(E/G/F/) E/G/F/E/| .D/.A,/.B,/.C/ .C/.E/.F/.G/ .A/.D/.E/.F/ .G/.A/.B/.c/ .d/.A/.B/.c/ .c/.e/.f/.g/ (.a/f/)(d/A/) (f/d/)(A/F/)|(B/c/d/c/) (B/c/d/B/) (c/d/e/d/) (c/d/e/c/) (d/f/e/f/) (d/e/c/d/) (B/.d/.c/.B/ .A/.G/.F/.E/)| D/D/A,/D/ A,/D/B,/D/ A,/D/B,/D/ C/D/F/D/ A,/(F/D/)(A/ F/)(d/A/)(f/ d/)(a/f/)(d/ A/)(f/d/)(A/|F/)(d/A/)F/ D/A/B/c/ .d/.c/.B/.A/ .B/.F/.E/.D/ E(E/G/F/) (E/G/)(B/A/) (G/B/)(e/^d/) (e/f/g/b/)| (.a/.d/.e/.f/ .g/.a/.b/.c'/ .d'/.c'/.b/.a/.b/.f/.e/.d/ e/).b/.a/.g/.f/.e/.d/.c/ d/c/B/A/ B/A/G/F/|(G/B/)(A/c/) (B/d/)(c/e/) (d/f/)(e/g/) (f/a/)(c/e/) (.d/.d/.c/.B/.A/.G/.F/.E/) D||

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Although we are not trained musicologists and make no pretense to the profession, we have tried to apply such professional rigors to this Semantic Abc Web as we have internalized through our own formal and informal education.
This demands the gathering of as much information as possible about folk pieces to attempt to trace tune families, determine origins, influences and patterns of aural/oral transmittal, and to study individual and regional styles of performance.
Many musicians, like ourselves, are simply curious about titles, origins, sources and anecdotes regarding the music they play. Who, for example, can resist the urge to know where the title Blowzabella came from or what it means, or speculating on the motivations for naming a perfectly respectable tune Bloody Oul' Hag, is it Tay Ye Want?
Knowing the history of the melody we play, or at least to have a sense of its historical and social context, makes the tune 'present' in the here and now, and enhances our rendering of it.
Andrew Kuntz & Valerio Pelliccioni

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  1. ↑ as per James C. Dick, "The Songs of Robert Burns", London, 1903, No. 96.
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