Annotation:Sir Charles Douglas's Strathspey
X:1 T:Sir Charles Douglass C:Niel Gow M:C| L:1/16 R:Strathspey B:Niel & Nathaniel Gow - A Fourth Collection of Strathspey Reels & c. (1800) Z:AK/Fiddler’s Companion K:D B2|:SA3DF3D A2D2D2B2|A2D2F2D2 (FGA2)Td4|AD3TF3D AD3A3F|GB3FA3 EEE2TB2:| A2d2-d3f {f}e3d{d}c3B|Ad3d3f e3f {ef}g2e2|Ad3-d3f e2c2d2A2|Bd3F2d2 EEE2TB2| A3d-d3f {f}e3dc3B|Ad3-d3f e3g {a}g2fe|fa3ef3 df3Bd3|Ad3Fd3 EEE2TB2S||
SIR CHARLES DOUGLAS. AKA and see “Caillich Odhar (1)," "Chailleach Odhar," "Dunn Carline (The).” Scottish, Strathspey (whole time). D Major. Standard tuning (fiddle). AAB. Composed by biography:Nathaniel Gow (1763-1831), probably, as Regency era dance and music researcher Garth Notley suggests[1], not in honor of naval hero Wikipedia:Sir_Charles_Douglas,_1st_Baronet of Carr (1727-1789), but rather in honor of Sir Wikipedia:Charles_Douglas,_6th_Marquess_of_Queensberry (1777-1837). Notley points to the likelihood that Gow's compositions would be directed to the potential patronage of a living person rather than a deceased admiral. Gow's strathspey was published in 1800 and seems to have been popular in Edinburgh at the time, then filtered to London society a few years later. Notley finds mention of it being played and danced to at aristocratic balls around 1803, after which it quickly faded from reports of such events.
