Leaving Glenurquhart strathspey

Also known as Leaving Glen Urquhart, Tulloch MacCarrick, Tulloch McCarrick.

There are 7 recordings of a tune by this name.

Leaving Glenurquhart has been added to 1 tune set.

Leaving Glenurquhart has been added to 7 tunebooks.

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Two settings

X: 1
T: Leaving Glenurquhart
R: strathspey
M: 4/4
L: 1/8
K: Amaj
e>d| {B}c>B.c<A e2c<A|{A}.A<Aa>e f>e.c<A|{B}c>Bc<A e>A.c<A|c<ed>B =G2e>d|
{B}c>B.c<A e2c<A|{A}.A<Aa>e f>e.c<A|B>c.d>e .f<ae>B|{d}c2A2 A2:|
|:f>g| a>ga>f e2c<A|{A}.A<Aa>e f>e.c<A|a>ga>e .c<eA>e|{d}c2B2 B2f>g|
a>ga>f e2c<A|{A}.A<Aa>e f>e.c<A|B>cd>e .f<ae>B|{d}c2A2 A2:|
|:e>d| c>Bc>A {A}.A<Ae>A|c<ea>e {g}f>ec<A|c>Bc<A c<eA>e|{d}c2B2 B2e>d|
c>Bc>A {A}.A<Ae>A|c<ea>e {g}f>ec<A|B>cd>e f<ae>B|{d}c2A2 A2:|
|:c>d| e>cA>c e>A.c<A|d2c<f e>A.c<A|A2.c<A c<eA>e|{d}c2B2 B2c>d|
e>cA>c e>A.c<A|d2c<f e>A.c<A|B>cd>e f<ae>B|{d}c2A2 A2:||
X: 2
T: Leaving Glenurquhart
R: strathspey
M: 4/4
L: 1/8
K: Amix
e>d| c>Bc<A e2c<A|A2a>e f>ec<A|c>Bc<A e>Ac<A|c<ed>B G2e>d|
c>Bc<A e2c<A|A2a>e f>ec<A|B>cd>e f<ae>B|c2A2 A2:|
|:g2| a>ga>f e2c<A|A2a>e f>ec<A|a>ga>e c<eA>e|c2B2 B2g2|
a>ga>f e2c<A|A2a>e f>ec<A|B>cd>e f<ae>B|c2A2 A2:|
|:e>d| c>Bc<A A2e>A|c<ea>e f>ec<A|c>Bc<A c<eA>e|c2B2 B2e>d|
c>Bc<A A2e>A|c<ea>e f>ec<A|B>cd>e f<ae>B|c2A2 A2:|
|:c>d| e>cA>c e>Ac<A|d2c<f e>Ac<A|A2c<A c<eA>e|c2B2 B2c>d|
e>cA>c e>Ac<A|d2c<f e>Ac<A|B>cd>e f<ae>B|c2A2 A2:||

Three comments

Leaving Glenurquhart, March. C: William MacDonald

Not a strathspey, and not a 4/4 tune, but a 2/4 march. The only option for a 2/4 tune here would be to submit it as a polka. Rather than do this, I’ve submitted it as a strathspey, and spaced the notes such as they can be set with a timing of 2/4 and an L: value of 1/16, which would render the staff notation as a 2/4 march. There is at least one setting of the tune as a quickstep (David Glen collection).
The first setting is a fiddle setting and is based on the playing of the late Willie Hunter Jr. Willie played it in A major (with the one G natural in the tune), as many fiddlers do, though obviously an A mixolydian tune in its usual pipe setting. The recurring three A notes, that begin bar 2 would be bowed separately on the fiddle. I’ve notated them with the first note as a grace note, in order that the notation remains consistent when transferring the metre. This motif is very much part of playing marches in Scottish fiddling, being an equivalent of a ‘birl’ on the pipes.
The second setting is a pipe setting from the Glendaruel collection, and is, of course, without the gracing. I may add a setting with the gracing at a later date.

The composer, William MacDonald, was born in Glenurquhart in 1843. He was piper to MacPherson of Glentruim, and later became piper to the Prince of Wales at Abergeldie. He is said to have become overly religious in later life, and destroyed his pipes.
This tune was originally named "Tulloch MacCarrick", and this is said to have been the name of a farm in Deeside. The tenant was apparently a piping enthusiast, and a story goes that his wife wouldn’t let him have strong drink in the house. He would take William MacDonald on a tour of the farm land where he would have a stash of whisky bottles behind several dyke stanes, and would sample each bottle with William before returning to the hoose to be met by a not too happy spouse.

The Glendaruel setting in 2/4 (sans gracing):

X: 1
T: Leaving Glenurquhart
C: William MacDonald
R: March
M: 2/4
L: 1/16
K: Amix
e>d|\
c>Bc<A e2c<A|A2a>e f>ec<A|c>Bc<A e>Ac<A|c<ed>B G2e>d|
c>Bc<A e2c<A|A2a>e f>ec<A|B>cd>e f<ae>B|c2A2 A2:|
|:g2|\
a>ga>f e2c<A|A2a>e f>ec<A|a>ga>e c<eA>e|c2B2 B2g2|
a>ga>f e2c<A|A2a>e f>ec<A|B>cd>e f<ae>B|c2A2 A2:|
|:e>d|\
c>Bc<A A2e>A|c<ea>e f>ec<A|c>Bc<A c<eA>e|c2B2 B2e>d|
c>Bc<A A2e>A|c<ea>e f>ec<A|B>cd>e f<ae>B|c2A2 A2:|
|:c>d|\
e>cA>c e>Ac<A|d2c<f e>Ac<A|A2c<A c<eA>e|c2B2 B2c>d|
e>cA>c e>Ac<A|d2c<f e>Ac<A|B>cd>e f<ae>B|c2A2 A2:||

Thanks for posting this, especially the information.