The Fiddler’s Companion

© 1996-2008 Andrew Kuntz

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LAD

 

 

Notation Note: The tunes below are recorded in what is called “abc notation.” They can easily be converted to standard musical notation via highlighting with your cursor starting at “X:1” through to the end of the abc’s, then “cutting-and-pasting” the highlighted notation into one of the many abc conversion programs available, or at concertina.net’s incredibly handy “ABC Convert-A-Matic” at

http://www.concertina.net/tunes_convert.html 

 

**Please note that the abc’s in the Fiddler’s Companion work fine in most abc conversion programs. For example, I use abc2win and abcNavigator 2 with no problems whatsoever with direct cut-and-pasting. However, due to an anomaly of the html, pasting the abc’s into the concertina.net converter results in double-spacing. For concertina.net’s conversion program to work you must remove the spaces between all the lines of abc notation after pasting, so that they are single-spaced, with no intervening blank lines. This being done, the F/C abc’s will convert to standard notation nicely. Or, get a copy of abcNavigator 2 – its well worth it.   [AK]

 

 

 

LAD FROM BALINROBE, THE. Irish, Reel. D Major/Mixolydian. Standard. AA’BB’. Composed by County Cavan/Philadelphia fiddler and composer Ed Reavy (1898-1988) in honor of his father-in-law, Steve Murphy of Balinrobe in the Neale. Reavy (The Collected Compositions of Ed Reavy), No. 32, pg. 34.

X:1

T:Lad from Balinrobe, The

R:Reel

C:Ed Reavy

M:2/2

L:1/8

Z:Joe Reavy

N:Written to honor the memory of Steve Murphy, Joe's father-in-law,

N:who was born outside Balinrobe in the Neale in the early nineteen

N:hundreds. Steve was a spirited man and a true friend.

K:D

D2 (3FED FGAB | =cdeg fd^ce | dcAG FGAc | dcAF GECE | D2 (3FED FGAB |

cBcd cAGA | dcdB =cBcA |1 GE=cE D^CA,C :|2 GE=cE D2 ||

|: (3ABc | defg addc | Addc defd | =cdef gccB | =cdef gfeg | f2 ec dcAG |

FGAB =cdeg | (3fgf e^c dcAF | GECE D2 :|| fe |: defg abae | cdef gage |

defg abaf | gece d2 fg | abag efge | defd AB=cA | FGAB =cBAF | GE=cE D2 z :|2

GE=cE D^CA,C ||

 

LAD MALCOLM, THE. AKA and see "Gille Callum."

 

LAD O’BEIRNE’S FAVORITE. AKA and see “Atlantic Wave.” Irish, Reel.

 

LAD O'BEIRNE'S (HORNPIPE). AKA - “Reavy’s Hornpipe.” Irish, Hornpipe. G Major. Standard. AA'BB'. Composed by the late prolific composer and fiddler Ed Reavy (1898-1988) of County Cavan, Ireland and Corktown, near Philadelphia, Pa. It was named for the great fiddler Lad O'Beirne as O'Beirne loved the tune, though it was written for Reavy's son, Ed Reavy Jr., a lover of hornpipes. The younger Reavy especially liked "Harvest Home" and his father promised to write him a hornpipe in the same vein. Reavy Jr. was somewhat skeptical, as he considered "Harvest Home" a masterpiece, but a few weeks later the elder returned home from a dance and played the hornpipe for his son, and "when I heard that tune, that's when I realized that he was a genius." Ed Reavy Jr. thinks it is different from the sort of hornpipes his father usually wrote. The piece was recorded by the great County Sligo/New York fiddler Michael Coleman in 1944, and later, in the 1960's by Sean Ryan (although it appeared under the title “The Flowing Tide,” a title that usually goes with another hornpipe). Source for notated version: Ed Reavy's son, fiddler Joseph Reavy [Fiddler Magazine]. Fiddler Magazine, Vol. 3, No. 2, Summer 1996; pg. 35. Reavy (The Collected Compositions of Ed Reavy), No. 96, pgs. 1008-109. Ossian OSS 49, Mick Moloney – “The Music of Ed Reavy.” Outlet PTI CD 1014, Sean McGuire & Joe Burke – “Two Champions” (1971. appears as “The Flowing Tide”). Rounder RO 7023, Natalie MacMaster - “No Boundaries” (1996. Setting learned from Cheticamp, Cape Breton, fiddler Arthur Muise. The hornpipe was a favorite of Cape Breton fiddler Angus Chisholm who learned it from a 1962 recording of Sean Maguire). ‘Ón tSean-Am Anall’ {Danny O’Donnell} (appears as second of “Reavy’s Hornpipe’s”).

X:1

T:Lad O’Beirne’s

M:4/4

L:1/8

Q:160\

R:Hornpipe

K:G Major

Bc|(3dcB gd BdcB|Agfa gf (3gfe|dfec BdcA|FGAG (3FED (3CB,A,|

G,B,DG BGDB,|(3CCC EG cedc|BDGB ADFA|1GBAF G2:|2Ggfa g2 ga||

(3bag dg bgdg|afdf afdf|+g2d2+ +f2A2+ +e2G2+ +d2F2+|(3cBA (3BAG (3FED (3CB,A,|

G,B,DG BGDB,|(3CCC EG cedc|BDGB ADFA|Ggfa g2 ga|

(3bag dg bgdg|afdf afdf|(3gag (3fgf (3efe (3dcB|(3cBA (3BAG (3FED (3CB,A,|

G,B,DG BGDB,|(3CCC EG cedc|BDGB ADFA|GBAF G2||

X: 2

T:Lad O'Beirne's

R:Hornpipe

C:Ed Reavy

M:4/4

L:1/8

Z:Joe Reavy

N:Dedicated to Ed's friend Lad, who recently passed on.

N:He was one of the most talented people to come from

N:Ireland.

K:G

Bc| (3dcB gd BdcB | Agfa gfge | dfec BdcA | FBAG (3fed (3CB,A, |

G,B,DG BGDB, | CEAB cedc | BGBd cAFA |1 (3GFG BA G2 :|2

Ggfa gfga || bgdg bgdf | afdf afdf | gafg efdA | FBAG (3FED (3CB,A, |

G,B,DG BGDB, | CEAB cedc | BGBd cAFA | Ggfa gfga | bgdg bgdf |

afdf afdf | (3gag (3fgf (3efe dB | (3cBA (3BAG (3FED (CB,A, |

G,B,DG BGDB, | CEAB cedc |1 BGBd cAFA | (3GFG BA G2 :|2

BABd cBAG | (3FED (3CB,A, G,2 z ||

 

LAD O'BEIRNE'S (JIG). AKA and see “Baby Gavin,” “Burke’s [1],” “Charlie Mulvihill’s (Jig) [1],” “Connie O’Connell’s Jig [2],” “Gallagher’s [2],” “Matt Molloy’s (Jig),” “The Short Road,” “The Silver Vale.” Irish, Jig. D Major. Standard. AA'BB. Source for notated version: Becky Miller [Phillips]. Phillips (Traditional American Fiddle Tunes), vol. 2, 1995; pg. 370. Coleman Music Center CHC 009, Alfie Joe Dinneen & Peg McGrath (1946-1995) – “The Coleman Archive, vol. 2: The Home Place” (2005. Various artists). Varrick VR‑038, Yankee Ingenuity ‑ "Heatin' Up the Hall" (1989).

See also listings at:

Jane Keefer’s Folk Music Index: An Index to Recorded Sources 

Alan Ng’s Irishtune.info

 

LAD O'BEIRNE'S/O’BYRNE’S (REEL) [1]. AKA and see “Eleanor Neary’s Favorite.” AKA - “A Kilfen Reel.” Irish, American, Canadian; Reel. Canada; Cape Breton, Prince Edward Island. G Major. Standard. AABB (Cranford/Holland, Mallinson, Mulvihill): AA’BB’ (Harker/Rafferty, Perlman). Fiddler James 'Lad' O'Beirne (1911-1980), who either composed this tune or else it was learned from him, was an influential South County Sligo-raised émigré to New York City in 1928. Bill Black (1996) relates the story that this reel supposedly was the last tune composed by O’Beirne prior to his death, while Philippe Varlet adds he was told by Lad’s son, Jim, that the fiddler had composed the tune on the subway coming home from work, late in his life. Lad was a younger contemporary of Michael Coleman although far outlived him, passing away in 1980. Unlike Coleman, however, he unfortunately never commercially recorded, though there are a few tracks of informal recordings available (see the album “Milestone at the Garden”). In fact, O’Beirne and Coleman were quite intertwined musically and personally. They came from the same village—Killavil in County Sligo—and O’Beirne married Coleman’s neice. Lad’s father was Phillip O’Beirne, a renowned fiddler in Sligo who gave the young Coleman fiddles lessons before the latter emigrated to the United States.

***

Philippe tells another story he had from Jim O’Beirne. It seems that when Lad was living in New York he was renowned as being one of the best Irish fiddlers ever to put bow to strings—even better, said some, than the great Michael Coleman. He was in great demand and played for many occasions. One time he was engaged to play for a wedding with some other musicians, including Hugh Gillespie, a skilled fiddler from Donegal (and incidently, a protégé of Coleman’s), and others. O’Beirne arrived and sat next to Gillespie and another, younger fiddle player. Out for mischief, Gillespie leaned to Lad and suggested confidentially that they ‘play a tune he doesn’t know’, as if to put the younger player in his place. The remark must have irritated Lad, who decided that two could play that game and resolved to turn the tables on Gillespie. He played a tune he knew Gillespie would not know—followed by another…and another. Gillespie got the message, and after sitting in humiliation for a time without playing a note he packed up his fiddle and bow and left. The day following the gig Gillespie’s wife turned up at O’Beirnes’ door and asked to see Lad, demanding to know what happened at the wedding yesterday. O’Beirne, feigning innocence, asked her what was the matter, and Mrs. Gillespie answers: “I don't know what you did to my husband, but when he got home he threw half our furniture out the window!"

***

David Taylor (1992), however, believes the reel is traceable to the great Co. Mayo/New York fiddler John McGrath (1900-1955). Sources for notated versions: tenor banjo player Tommy Finn (b. 1964, Marlow, Ballymote, Co. Sligo) [Flaherty]; learned from a recording of tenor banjo player Kevin Griffin (Doolin, County Clare) by fiddler Jerry Holland (Inverness, Cape Breton) [Cranford]; Liam Donnelly (Lisburn, County Antrim) [Mulvihill]; Kenny Chaisson (b. 1947, Rollo Bay, North-East Kings County, Prince Edward Island) [Perlman]; fiddler Brian Conway (Queens, New York) [Black]; New Jersey flute player Mike Rafferty, born in Ballinakill, Co. Galway, in 1926 [Harker]. Black (Music’s the Very Best Thing), 1996; No. 8, pg. 4. Cooper (The Complete Irish Fiddle Player). Cranford (Jerry Holland’s), 1995; No. 177, pg. 50. Darsie (Traditional Tune Sourcebook). Flaherty (Trip to Sligo), 1990; pg. 50. Harker (300 Tunes from Mike Rafferty), 2005; No. 162, pg. 50. Mallinson (Enduring), 1995; No. 15, pg. 6. Mulvihill (1st Collection), 1986; No. 151, pg. 41. Perlman (The Fiddle Music of Prince Edward Island), 1996; pg. 50. Claddagh Records, Mary MacNamara – “Traditional Music from East Clare.” Fiddlesticks cass., Jerry Holland - “A Session with Jerry Holland (1990). Green Linnet, Jerry Holland - “The Fiddlesticks Collection” (1995). GIFT 10007, Arty McGlynn & Nollaig Casey – “Lead the Knave.” Green Linnet SIF 1063, The Irish Tradition – “The Times We’ve Had.” Green Linnet SIF‑1110, Brian Conway, Tony DeMarco & Martin Wynne ‑ "My Love is in America: The Boston College Irish Fiddle Festival" (1991). Green Linnet GLCD 3127, Sharon Shannon – “The Best of Sharon Shannon: Spellbound” (1999. Appears as first tune of “Mouth of the Tobique” set, learned from Mirella Murrey, Clifden, Co. Galway). Tara Records 4008, “Josephine Marsh” (1996). Tulla Ceili Band – “A Celebration of 50 Years.” Dervish – “The Boys of Sligo.” James Keane (et al) – “The Big Squeeze.”

See also listings at:

Jane Keefer’s Folk Music Index: An Index to Recorded Sources 

Alan Ng’s Irishtune.info

X:1

T:Lad O'Beirne's [1]

M:4/4

L:1/8

K:G

DG~G2 DGBG|(3ABc BG AGEG|DG~G2 DGBd|(3efe dg eagf|\

dB~B2 dBGB|1cE~E2 GEDB,|DEGA ~B2eB|dBAc BGGE:|2\

cE~E2 GEDB,|DEGA (3Bcd eB|dBAc BGGB|:\

(3ded Be dGBd|egdg eage|dB ~B2 dBGB|cE~E2 GED2|\

BddB d2ef|~g3 a bgdB|DEGA B2Bc|dBAc BGG:|

X:2

T: Lad O'Beirne's [1]

S: Brian Conway

Z: transcribed by B.Black

Q: 300

R: reel

M: 4/4

L: 1/8

K: G

DG G2 DGBG | AcBG AE E2 | DG G2 DGBd | egfg e2 ge |

dB B2 AGEG | cE E2 GEDB, | DEGA B2 eB | dBAc BG G2 :|

d2 ce d2 Bd | egdg e2 ge | dB B2 AGEG | cE E2 GEDc |

Bd d2 Bdef | gfga gedB | DEGA B2 eB | dBAc BG G2 :|

X:3
T:Lad O'Beirne's [1]
R:R
S:Brid Harper
O:Donegal Fiddle School
M:4/4
L:1/8
K:G
|:DG~G2 DGBG|(3ABc) BG AGEG|DG~G2 DGBd|(3efe) dg eagf|! dB~B2
dBGB|1cE~E2 GEDB,|DEGA ~B2 eB|dBAc BGGE:|! 2cE~E2 GEDB,|DEGA (3Bcd)
eB|dBAc BGGB|! |:(3ded) Be dGBd|egdg eage|dB ~B2 dBGB|cE ~E2 GE D2|! Bd
~d2 Bdef| gb (3fga) gedB|DEGA (3Bcd) eG|dBGc BG ~G2:|! "Nollaig Casey
plays the last part as follows:" Bd (3ddd) d2 ef|g2 bg abge|dB ~B2
dBGB|cE ~E2 GE D2|! Bd (3ddd) d2 ef|g2 bg ab gz|DEGA (3Bcd) eB|dBAc BGG2:|! 

 

LAD O’BEIRNE’S (REEL) [2]. Irish, Reel. G Major. Standard. AA’BB.

X:1

T:Lad O'Beirne's Reel

D:Ciara/n Mac Mathu/na, "Job of Journeywork"

N:played by Paddy Bawn O'Sullivan and Paddy Reynolds (fiddles)

N:Jimmy Smyth (flute) and Bill Greenall (piano), recorded in

N:New York in 1966

R:reel

M:4/4

L:1/8

K:G

G2 BG dGBG|ABcd efge|d2 BG dGBG|(3FED AD BDAF|

G2 BG dGBG|ABcd efge|d^cdf e=cAF|1GBAF G2 (3DEF:|2 GBAF G2 Bd|:

g2 fg edBd|dfab afdg|bagf gdBG|(3FED AD BDAF|

G2 BG dGBG|ABcd efge|d^cdf e=cAF|GBAF G2 Bd:|

 

LAD O’BEIRNE’S (REEL) [3]. Irish, Reel. F Major. Josephine Marsh (appears as “Lad O’Beirne”). Sharon Shannon (appears as “Lad O’Beirne’s). Mulcahy Family. Patrick Street – “All in Good Time.”

X:1

T:Lad O’Beirne’s [3]

R:Reel

M:C|

L:1/8

K:F
d2cA dAcA| GFGA GFDF| CFGF Acdc| d3e fagf|
d2cA dAcA| GFGA GFDF| CF3~ Acd2| dbag f2fg||
a2gf afgf| defd cAAB|cBcd cAcf| g3a bagf|
a2gf afgf| defd cAAB|cBcd cfgf|gbag f2dc||

 

LAD O’BEIRNE’S (REEL) [4].  Irish, Reel. D Major. Standard. AB. Source for notated version: written out for Seamus Connolly by the late fiddler Paddy Reynolds (born in County Longford, but long a resident of Staten Island, NY), a contemporary and frequent playing partner of O’Beirne’s. [Connolly & Martin]. Connolly & Martin (Forget Me Not), 2002; pgs. 60-61.

X:1

T:Lad O’Beirne’s [4]

M:C|

L:1/8

R:Reel

S:Connolly & Martin – Forget Me Not  (2002)

K:D

d2 cA BFFA|GFEF GABc|…||

d2 eg fdec|dBcA BFFA|…||

 

LAD THAT CAN DO IT, THE (An Buachaill atá in ann é a Dhéanamh).  Irish, Jig. D Major. Standard tuning. AABB. Editor Jackie Small (CRE V, 1999), says this jig is reminiscent of several others, including “Bryan O’Lynn.” Source for notated version: a music manuscript supplied to Breatnach by fiddler John M. Buckley (Sliabh Luachra) [Breathnach]. Breathnach (CRÉ V), 1999; No. 36, pg. 19.

 


LAD WINNA WORK, AND THE LASS WINNA LAIRN, THE. English. England, Northumberland. Title appears in Henry Robson's list of popular Northumbrian song and dance tunes ("The Northern Minstrel's Budget"), which he published c. 1800.

 

LAD WITH THE JET-BLACK-HAIR. See “Ann Gille dubh ciar dubh.”

 

LAD WITH/WI' THE PLAIDIE, THE. AKA - “The Laddie with the Pladdie.” AKA and see "The Rose Among the Heather [1]." Scottish; Strathspey or Highland Schottische. D Major. Standard tuning. AABBC (Kennedy, Kerr, Lerwick, Martin): AA’BBCCDDE (Cranford). Kerr gives parts ‘A’, ‘B’ and ‘E’ of the setting found in Cranford. Pipers sometimes call the tune “The Rose Among the Heather,” notes Paul Stewart Cranford (1995). The tune was used as a vehicle for the Kielder Scottische in Northumberland. Christine Martin (2002) notes the melody is also a well-known Gaelic port called “Am Faighir Muileach” (The Mull Fair). Source for notated version: variations learned by fiddler Jerry Holland (Inverness, Cape Breton) from a recording of Cape Breton fiddler Joe MacLean [Cranford]. Cranford (Jerry Holland’s), 1995; No. 127, pg. 37. Kennedy (Fiddler’s Tune Book), vol. 2, 1954; pg. 19. Kerr (Merry Melodies), vol. 1; No. 7, pg. 19. Lerwick (Kilted Fiddler), 1985; pg. 33. Martin (Traditional Scottish Fiddling), 2002; pg. 41. Rounder Records, “Jerry Holland” (1976). Topic TSCD 669, Billy Ballantine, Jake Hutton & Tom Hunter (et al) – “Ranting and Reeling: Dance Music of the north of England” (1998. Piccolo player Billy Ballantine {born c. 1890’s} and fiddlers Jake Hutton and Tom Hunter were all from Northumberland).

 

LAD WITH THE TROUSERS ON, THE. AKA and see "The Sailors Are All at the Bar." English, Air (9/8 time). England, Northumberland. G Major. Standard. AABB. Title appears in Henry Robson's list of popular Northumbrian song and dance tunes ("The Northern Minstrel's Budget"), which he published c. 1800.

***

The lad wi' the trousers on, He says he winnot hae me;

The lad wi' the trousers on, He says he winnot hae me.

If he winnot hae me, He can let me be;

Aw can get another, Twice as good as he. (Stokoe)

***

Stokoe & Bruce (Northumbrian Minstrelsy), 1882; pg. 128.

 

LAD WITH THE WHITE COCKADE, THE. AKA and see "White Cockade."

 

LADAR MOR A' GHOGAIN (Big Ladle of the Cog). Scottish, Reel. E Minor. Standard. AAB. A ‘cog’ or ‘coggie’ is a container or small barrel made of staves. Stewart-Robertson (The Athole Colleciton), 1884; pg. 251. Culburnie Records CUL 102, Alasdair Fraser & Jody Stecher – “The Driven Bow” (1988).

X:1

T:Ladar Mor a’ Ghogain

M:C|

L:1/8

R:Reel

B:Stewart-Robertson – The Athole Collection  (1884)

Z:AK/Fiddler’s Companion

K:E Minor

B|:~E2 BG FDAF|~E2 BG BEEe|faef dBAF|~E2 BG BEBe:|

geeb fddf|geeb geeb|geeb fddf|geeb efec|dfec dBAF|Eeeg faef|

dfec dBFA|~E2 BG BEBe||

 

LADDIE COME TIE MY APRON LOW. English. England, Northumbria. Title appears in Henry Robson's list of popular Northumbrian song and dance tunes ("The Northern Minstrel's Budget"), which he published c. 1800.

 


LADDIE I ESTEEM YOU (A' Ghille dhuinn is toigh leam thu). Scottish, Slow Air (4/4 time). G Minor. Standard. AAB. This tune "is an interesting air, derived from the editor's progenitor. Were it known to Government that veneration and attachment even the most common Highlander entertains for his native spot‑‑that there is no sacrifice for the service of his country but he will cheerfully submit to, on condition of its being ultimately preserved to him and his family‑‑they would certainly interpose some remedy to prevent the depopulation of the Highlands, a measure of which they have shewn themselves so worthy, on every occasion of putting their conduct to the test." {Fraser follows with several paragraphs outlining his plans to intervene in the rate of emigration through consolidation of the fishing industry} (Fraser). Fraser (The Airs and Melodies Peculiar to the Highlands of Scotland and the Isles), 1874; No. 66, pg. 23.

X:1

T:Laddie I esteem you

T:A’ Ghille dhuinn is toigh leam thu

M:C

L:1/8

R:Air

S:Fraser Collection  (1874)

Z:AK/Fiddler’s Companion

K:G Minor

D|G>B c2 A>G F2|G>B f2 d3f|BB c2 A>F d2|G>^FD>F G2G:|

f|d>Bf>B AF F2|f<d d>^f g2 gb|d>Bf>B A<F d2|G>^FD>F G2 GA|

GGG>A G>F F2|G>AB>c d2 d>B|c>BA>G F>F d2|B>^FD>F G2G||

 

LADDIE LIE NEAR ME. English. England, Northumberland. Title appears in Henry Robson's list of popular Northumbrian song and dance tunes ("The Northern Minstrel's Budget"), which he published c. 1800.

 

LADDIE WI' THE BONNET, THE. Scottish, Reel. B Flat Major. Standard. AAB. Composed by Alexander Walker. Walker (A Collection of Strathspeys, Reels, Marches, &c.), 1866; No. 47, pg. 17.

 

LADDIE WITH THE PLADDIE, THE. AKA and see “Lad with/wi' the Plaidie.”

 

LADDIE WITH THE YELLOW COATIE. Scottish, Country Dance Tune (4/4 time). The air appears in the Drummond Castle Manuscript (in the possession of the Earl of Ancaster at Drummond Castle), inscribed "A Collection of Country Dances written for the use of his Grace the Duke of Perth by Dav. Young, 1734."

 

LADIES BRIEST/BREAST KNOT(S). AKA – “Lady’s Breast Knot.” AKA and see "The (Bonny) Breast Knot(s)." Scotland, Shetland, America; Reel and Country Dance Tune, Shetland Reel. Shetland, Whalsay and Unst districts. USA, New England. D Major. Standard. AABB. The title refers to the decoration of ribbons worn on the bodice of a gown. A very popular in England and mainland Scotland in the early 18th century, from whence it spread throughout the British Empire and the colonies. It appears to have been first published as “The Lady’s Breast Knot” around 1750 in London in Rutherford’s Choice Collection of Sixty of the Most Celebrated Country Dances. The familiar English tune "Bobby Shaftoe" uses the second strain for its melody. In America the tune is best known as "Jay Bird" and the play‑party song "Skip to My Lou," though as "Ladies Breast Knot" it had been known in New England from the last half of the 18th century. It was included in the 1777 fife manuscript of Giles Gibbs (East Windsor, Ellington Parish, Connecticut), the common place book of William Williams (1775), George Bush’s copybood (1779), and Elizabeth Van Rensselaer’s music book (Boston, 1782). Dance directions appear in Clement Weeks' copybook of 1783 (Greenland, New Hampshire), and it was among the manuscript notes of New York musician Micah Hawkins (1794—Hawkins has been credited with composing the first American opera). “Ladies Breast Knot” also appears in the music manuscript copybook of Henry Livingston, Jr.  Livingston purchased the estate of Locust Grove, Poughkeepsie, New York, in 1771 at the age of 23. In 1775 he was a Major in the 3rd New York Regiment, which participated in Montgomery’s invasion of Canada in a failed attempt to wrest Montreal from British control. An important land-owner in the Hudson Valley, and a member of the powerful Livingston family, Henry was also a surveyor and real estate speculator, an illustrator and map-maker, and a Justice of the Peace for Dutchess County. He was also a poet and musician, and presumably a dancer, as he was elected a Manager for the New York Assembly’s dancing season of 1774-1775, along with his 3rd cousin, John Jay, later U.S. Chief Justice of Governor of New York. John Glen (1891) finds the earliest appearance of the tune in print in Robert Bremner's 1757 collection. Source for notated version: the music manuscript of Captain George Bush (1753?-1797), a fiddler and officer in the Continental Army during the American Revolution [Keller]. Bremner (Scots Reels), c. 1757; pg. 31. Keller (Fiddle Tunes from the American Revolution), 1992; pg. 16.

X:1

T:Lady’s Breast Knot, The

M:C|

L:1/8

R:Reel

S:Bremner – Scots Reels (c. 1757)

Z:AK/Fiddler’s Companion

K:D

G(BB)G F(AA)F | E(ee)d “tr”c2 BA | G(BB)G F(AA)c | (d/c/B/A/ d)F “tr”E2D2 :|

|: fdfd f(a”tr”gf) | e=cec e(g”tr”fe) | fdfd f(aa)c | d(AA)G “tr”F2 (ED) :|

X:2

T:Ladies Breast Knot

M:C|

L:1/8

R:Reel

S:Henry Livingston’s manuscript copybook, late 18th century

Z:AK/Fiddler’s Companion

K:D

D | G(BB)G F(AA)F | E(ee)d c2 BA | G(BB)G FAAc | d/c/B/A/ dF “tr”E2D :|

|: fdfd f(aa)g/f/ | ecec e(gg)f/e/ | fdfd fa2f | d(AA)G “tr”F2D :|

 

LADIES CHOICE [1]. American, Breakdown. D Major ('A' part) & G Major ('B' part). Standard tuning. Listed as a breakdown, but in form it is a polka. AABB. Ford (Traditional Music in America), 1940; pg. 54.

X:1

T:Ladies’ Choice [1]

M:2/4

L:1/8

S:FordTraditional Music in America (1940)

Z:AK/Fiddler’s Companion

K:D

d/e/|fA fg/g/|f>ee/ ee/f/|gf ga|f/g/f/e/ dd/e/|

fA fg/g/|f>ee/ ef/g/|aa g/f/e/e/|d3z:|

K:G

B>B Bc|d2g2|e>e e/f/g/e/| (d2 d2)|

a>a ag|fe d2|d/d/d/z/ ba|g/g/g/z/ g2:|

 

LADIES CHOICE [2]. AKA and see “Dance of the Honeybees.”

 

LADIES' DELIGHT, THE. AKA and see “Pretty Pegg(y) [1].” American, Reel. D Major. Standard tuning. AABB. See note for “Pretty Peggy” for more on this tune family. Cole (1000 Fiddle Tunes), 1940; pg. 27. Ryan’s Mammoth Collection, 1883; pg. 52. White’s Unique Collection, 1896; No. 80, pg. 14.

X:1

T:Ladies’ Delight

M:C|

L:1/8

S:White’s Unique Collection (1896), No. 80.

Z:AK/Fiddler’s Companion

K:D

d2 (fd) AFDF | d2 (fd) egfe | d2(fd) AFDF | GEFD (EA,) A,2 | d2(fd) AFDF |

d2(fd) egfe | d2(fd) AFDF | dfeg (fd)d2 :: (3FED (AD) BDAD | (3FED (AD) B,EEG |

(3FED (AD) BDAD | GEFD (A,D)D2 | (3FED (AD) BDAD | A(D (3FED) (B,E)EG |

FAdf ecdB | egfe (fd)d2 :|

 


LADIES DRESSED IN THEIR GARMENTS SO GREEN, THE. Irish, Song Air (3/4 time). E Flat Major. Standard tuning. AB. "Mr. MacKenzie says:‑‑ 'This air was popular in Ballycastle (in Antrim) about 1840 and long before that. I often heard it played on the harp'" (Joyce, 1909). Bayard (1981) believes the tune resembles "Whistling Mike" (O'Neill), "The Tinware Lass" (Cole), "Pewter Mug" (Ford), and his Pennsylvania collected "Governor Taylor's March." Joyce (Old Irish Folk Music and Song), 1909; No. 330, pg. 153.

X:1

T:Ladies dressed in their garments so green, The

M:3/4

L:1/8

R:Air

S:Joyce – Old Irish Folk Music and Songs  (1909)

Z:AK/Fiddler’s Companion

K:E_

G/F/|E2G2B2|A2G2F2|E2G2B2|e4 de|c2A2F2|G2A2B2|

E4 GF|E2G2B2|A2G2F2|E2G2B2|e4 de|c2A2F2|G2A2B2|E4||

de|f3dB2|B3z cd|e2B2G2|E3z FG|A2G2A2|B2G2E2|

F4 GF|E2G2B2|A2G2F2|E2G2B2|e4 de|c2A2F2|G2A2B2|E4||

 

LADIES FANCY [1]. AKA ‑ "Lady's Fancy." AKA and see "Say Old Man Can You Play the Fiddle? [1]." Old‑Time, Breakdown. USA, Southwest. E Major. Standard or EDae tunings. ABCC. The title appears in a list of traditional Ozark Mountain fiddle tunes compiled by musicologist/folklorist Vance Randolph, published in 1954. The tune, says Randolph, is also known as "Rye Straw." It is a version of “Say Old Man…”, although the tonality shifts somewhat from major to minor for that tune. Sometimes the ‘G’ string is tuned down to ‘E’ for this tune. Source for notated version: Ardell Christopher (Texas, New Mexico) [Christeson]. R.P. Christeson (Old Time Fiddlers Repertory), vol. 1, 1973; pg. 80‑81.

 

LADIES FANCY [2]. AKA and see "The Yellow Wattle [1]," "The Ladies Walking Stick." Irish, Jig. G Major. Standard. AABB. O’Neill (1922) remarks: “This jig, a variant of the much more diversified ‘Yellow Wattle’ No.353 in O'Neill's Dance Music of Ireland, was sent to me by Prof. P.D. Reilly, a famous dancing master of "London and Castle Island", with the notation: This simple jig was a noted favorite among the two last generations, and quite good enough for the present when well played.” Source for notated version: Thomas Gavin, Tralee, via Prof. P.D. Reilly [O’Neill]. O’Neill (Waifs and Strays of Gaelic Melody), 1922; No. 157.

X:1

T:Ladies' Fancy, The

M:6/8

L:1/8

S:Thomas Galvin, Tralee

Z:Paul Kinder

K:G

G3 AEE|AGG GED|G3 AEE|AGG GED|

G3 AEE|AGG GED|G3 ABc|dAG FED:|

|:dFF DEE|DFF DEE|dFF DEE|DFF FED|

dFF DEE|DFF DEE|AAA ABc|dAG FED:||

 

LADIES' FANCY [3], THE. AKA and see "Cailleach an Tuirne," "Cailin A' Tuirna," "Is Maith Le Nora Ciste" (Nora Likes Cake), "Kiss Me Darling," "The Maid at the Spinning Wheel," "Maire an Phortair," “Noran Kista,” “Nora’s Purse,” "Norickystie," "Port an Achreidh,” "The Road to Lurgan," “Sergeant Early's Jig," “The Spinning Wheel [4],” "The Wild Irishman [4],” "Wreathe the Bowl.”  Irish, Jig.

 

LADIES FANCY [4]. AKA and see "Preacher's Favorite." Unrelated to "Ladies Fancy [1].” Old-time, Breakdown.

 

LADIES FANCY [5]. AKA and see “The Long Dance,” “The Piper’s Finish.” Irish, Jig. D Major. Standard. AABBCCDDEEF. May be related in some way to “Ladies Fancy [2]"; although the melodic material differs there is some similarity in the use of melodic and rhythmic repetition, and some patterns seem similar. Petrie’s version sounds very much like a piper’s piece. Source for notated version: “Mrs. Close” [Stanford/Petrie]. Stanford/Petrie (Complete Collection), 1905; No. 880, pgs. 220-221.

 

LADY’S FANCY [6]. "Garrett Barry(‘s Jig)," "Gearoid de Barra," "Tune the Fiddle.”

           

LADIES FINE AIRES, THE. AKA and see "How Happy Are We."

           

LADIES HORNPIPE [1], THE. AKA and see “Delaney’s Clog,” “Londonderry Clog,” “The Londonderry Hornpipe,” “Showman’s Clog.” Irish, Hornpipe. D Major. Standard tuning. AABB'. Roche Collection, 1983, vol. 2; No. 209, pg. 10.

 

LADIES HORNPIPE [2], THE. Scottish, Hornpipe. D Major. Standard tuning. AABBCCDD. Martin (Ceol na Fidhle, vol. 3), 1988; pg. 28.

           

LADIES IN THE BALLROOM [1]. Old-Time, Breakdown. USA, Ky. G Major. Standard tuning. AABB (Titon): AA'BB' (Phillips). See the related tune "Waynesboro (Reel)." Jeff Titon (2001) says source Davenport is the only source musician known to have recorded playing this tune, however, its history can be traced somewhat. Bob Fulcher gives that Shell Coffey, who was born in 1895, learned the tune from an older African-American fiddler, Bled Coffey, who came to the Wayne County, Ky., area from Virginia prior to the Civil War. Source for notated versions: Clyde Davenport (Monticello, Wayne County, Ky.) [Phillips, Titon ]. Phillips (Traditional American Fiddle Tunes), Vol. 1, 1994; pg. 133. Titon (Old-Time Kentucky Fiddle Tunes), 2001; No. 84, pg. 111. Berea College Appalachian Center AC002, Clyde Davenport – “Puncheon Camps” (1992).

 

LADIES IN THE BALLROOM [2]. AKA and see “Rattlesnake Bit the Baby,” “Take Me Back to Georgia.” Old-Time, Breakdown. C Major. Standard tuning. Georgia fiddler Lowe Stokes recorded the tune in 1929 as “Take Me Back to Georgia.”

X:1

T:Ladies in the Ballroom

L:1/8

M:2/4

S:Howdy Forrester; transcribed by John Hartford

N:John Hartford notes this tune is a variant of “Black River.”

N:Howdy Forrester says that Benny Thomasson starts to play this tune on the break

N:to “All Smell Good on Sunday.”

K:C

c||e/g/e/d/ c>e|a(g g>)A|B/d/B/A/ G>B|d(c c2)|e/g/e/d/ c>e|a(g g)e/g/|

a/b/a/g/ e/g/e/d/|c3:|

|:G,|C/B,/C/D/ E/C/E/G/|F/D/F/G/ A/F/A/c/|G/F/G/A/ B/G/B/d/|c/B/c/d/ e/f/g|

G,/B,/C/D/ E/C/E/G/|F/E/F/G/ A/F/A/c/|G/F/G/A/ B/G/B/d/|c3:||

 

LADIES, LOOK OUT FOR YOUR SHINS. A Midwest U.S. dance tune title.

 

LADIES MARCH TO THE BALLROOM, THE. AKA and see “Queen of the Rushes,” “The Battering Ram [2].” Irish, Single Jig. D Major. Standard. AABB. Colector George Petrie noted this was “A Connaught Jigg.” Stanford/Petrie (Complete Collection), 1905; No. 936, pg. 238.

X:1

T:Ladies March to the Ball-Room, The

M:12/8

L:1/8

R:Single Jig

N:”A Connaught Jigg”

B:Stanford/Petrie – Complete Petrie Collection of Ancient Irish Music, No. 936  (1905)

Z:AK/