Cuddy Clauder three-two

Source: Kathryn Tickell
Transcription: Gian Marco Pietrasanta
https://youtu.be/YVZvbQLDjIs

play video

I have a doubt about the correctness of the second measure of the second part

gian marco, your time signature for this tune should 6/4 rather than 3/2, that is, two main beats per bar rather than three (you could count it 1-2-3 - 2-2-3).

The measure you highlight should, with L: 1/8, be |(3def g4 B4 G2| or, with your L: 1/4, |(3d/e/f/ g2 B2 G|.

I’ve reset this tune to be in 6/4 (most old manuscripts have it in 6/8) and simplified it by removing some of the Tickell variations.

This is an old tune, a transcription being first published by James Oswald in 1760. In his setting all the Fs are natural but become F#s (or equivalent) in later settings (Aird, Gow etc.).
See here: https://tunearch.org/wiki/Cuddy_Clauder

The title, I think, was originally “Cuddy Clawd Her” but, perhaps to make it more drawing room friendly, it later became the fairly meaningless “Cuddy Clauder”, as if a person’s name.

“This is an old tune, a transcription being first published by James Oswald in 1760.”

And, of course, a multi-part version appears in the 1733 William Dixon manuscript. His title is “Cuddy Claw’d Her”.

That makes perfect sense, Tervs and Tunes - I should have checked there for Matt Seattle’s extensive commentary.

There’s evidently no category for 6/4 tunes here.
6/4 is an older way of notating jigs, and is particularly appropriate for the type of jig variation sets in Dixon and other older sources, where you’d have too much black in the notation to be able to read it clearly (or I would, anyway).
The tune has a vast number of variants, the Gow one being an outlier in that it is in a minor rather than mixolydian mode.
The 2 versions above are given with a major key sig, a result of the tune being altered by Northumbrian smallpipers. It’s originally a mixolydian tune, in which the tag bar would be |Af2 A2F| rather than |Af2 A2e|