Annotation:Orange and Blue (2)
X:1 T:Orange and Blue [2] M:6/8 L:1/8 R:Jig Q:"Allegro" B:Davidson's Gems of Scottish Music (n.d., p. 32) Z:AK/Fiddler's Companion K:C g|!coda!e2c {d}cBc|G2c E2c|e2c ege|c3 cde| f2d d2c|B2d d2c|B2G BdB|GBc def| e2c {d}cBc|G2c {d}cBc|e2c ege|c3 ceg| a2f g2e|f2d e2c|BdB GAB|c3 c2!fine!|| f|e2g gag|e2g gag|e2c ege|c3 cde| f2a aga|f2a aga|f2d faf|d3 def| efg gag|efg gag|ecd efg|c3 c3g| afa geg|fdf edc |BdB GAB|c3 c3!d.c.!||
ORANGE AND BLUE [2]. AKA and see "Blue Bonnets Hornpipe," "Frolic (The)," "Queen's Marriage (The)." Scottish, Jig. C Major (Gow, Howe, Lowe, Manson, Skye): D Major (Perlman): A Major (Kerr). Standard tuning (fiddle). AB (Gow, Howe, Kerr, Lowe, MacDonald, Manson): AA'BB' (Perlman). A jig version of the schottische setting in "Orange and Blue (1)" that appears in MacKenzie’s National Dance Music of Scotland and other publications dating to the early 19th century (such as Nathaniel Gow's Complete Repository Part 4 of 1817). Samuel Bayard believed it to be an Orangeman or Protestant tune, associating the title with the colors orange and blue of the flag of the Dutch House of Orange, one of whose princes, William of Orange, became a king of England and champion of the Protestant cause in the 17th century. William, 'King Billy', is variously revered and vilified as the conqueror of Ireland in the 1670's.
