The Fiddler’s
Companion
© 1996-2009 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
tuning. 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 IN HIS BREECHES, THE. Irish, Jig. G Major. Standard
tuning. AABB. The ‘A’ part begins on the subdominant chord, obscuring the tonality
until the end of the strain. Kennedy (Jigs & Quicksteps, Trips
& Humours), 1997; No. 95, pg. 23.
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 tuning. AABB (Cranford/Holland): AA'BB' (Reavy).
Composed by prolific tune composer and fiddler Ed Reavy (1898-1988) originally
from County Cavan, Ireland, who lived in Corktown, near Philadelphia, Pa., for
many years. It was dedicated to the great New York fiddler Lad O'Beirne as
O'Beirne loved the tune, although it was originally 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]. Cranford (Jerry Holland: The Second
Collection), 2000; No. 205, pg. 76. 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”).
See also listings at: Alan Snyder’s Cape Breton Fiddle Recording
Index Jane Keefer’s Folk Music Index: An
Index to Recorded Sources Alan Ng’s Irishtune.info |
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
tuning. 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 tuning. 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
tuning. 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 tuning. 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 (originally), Canadian, English;
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. The tune has variants in Scotland, Cape
Breton, and the north of England. 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). Wildcat Records WILDCD 101, Ronan Martin
– “Ronan Martin” (2008).
See also listings at: Alan Snyder’s Cape Breton Fiddle
Recording Index Jane Keefer’s Folk Music Index: An
Index to Recorded Sources |
X: 1
T: The Laddie with the Pladdie
T: Strathspey, D
L: 1/16
M: C
F:http://www4.ncsu.edu/unity/users/p/pfackler/www/Music/CBTunes.abc
K: D
|: f3g1 f3e1 d3e1 d1B3| A3F1 A3d1 c1e3e4| f3g1 f3e1 d3e1 d1B3| c3d1 e3a1 f1d3 d4:|
|: A4 (3F2E2D2 F1A3 A3d1| B3A1 B3d1 c1e3 e1f3| A4 (3F2E2D2 F1A3 A3d1| c3d1 e3a1 f1d3d4:|
|: F1A3 D3A1 (3F2G2A2 d3A1| F1A3 D3F1 G1E3 E3A1| F1A3 D3A1 (3F2G2A2 d3A1| (3G2F2E2 (3E2A2G2 F1D3D4:|
|: a3f1 d1f3 g3f1 e1d3| g3e1 (3f2e2d2 c1e3 (3e2f2g2| a3f1 d1f3 g3f1 e1d3| (3f2g2a2 (3e2f2g2 f1d3d4:|
f4 (3a2g2f2 e4 (3g2f2e2| d4 (3f2e2d2 c4 (3e2d2c2| B4 (3d2c2B2 A3d1 f3a1| g3f1 e3d1 c1a3 a3g1|
(3f2e2f2 (3a2g2f2 (3e2d2e2 (3g2f2e2| (3d2c2d2 (3f2e2d2 (3c2B2c2 (3e2d2c2| (3B2A2B2 (3d2c2B2 A3d1 f3a1| g3f1 e3a1 f1d3d4||
D: Ray Ellis, More Like Me!, REC001, 1999
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 tuning.
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
tuning. 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:Emin
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 tuning. 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:Gmin
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 tuning.
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 tuning. 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:Ford – Traditional 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 tuning. 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.
Collected by Marion Thede in Lincoln County, Missouri, by the title “Preacher’s
Favorite,” with “Ladies’ Fancy” as an alternate title.
LADIES FANCY [5]. AKA and see “The Long Dance,” “The Piper’s Finish.” Irish, Jig. D
Major. Standard tuning. 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 FANCY [7].
Old-Time, Breakdown. USA, Missouri. D Major. Standard tuning. AA’BB’.
There are other, unrelated, Midwest tunes by this title. Beisswenger &
McCann (2008) note similarities with Lonnie Robertson’s “Caney Mountain Hornpipe.”
Source for notated version: Art Galbraith (1909-1993, near Springfield,
Missouri), learned from family members [Beisswenger & McCann]. Beisswenger &
McCann (Ozarks Fiddle Music), 2008; pg. 39. Rounder
Records 0133, Art Galbraith – “Dixie Blossoms” (1981).
LADIES FAVOURITE.
English, Country Dance Tune (2/4 time). A Major. Standard tuning
(fiddle). AABB. Thompson (Compleat Collection of 200 Favourite Country
Dances, vol. 1), 1757; No. 175.
X:1
T:Ladies Favourite, The
M:2/4
L:1/8
B:Thompson’s Compleat Collection of 200 Favourite Country Dances, vol. 1 (London, 1757)
Z:Transcribed and edited by Fynn Titford-Mock, 2007
Z:abc’s:AK/Fiddler’s Companion
K:A
c2 (c/B/)A|d2 (d/c/)B|c2 (c/B/)A|GB B2|c2 (c/B/)A|d2
(d/c/)B|(c/d/e) (f/g/a)|cA A2:|
|:a2 (a/g/)f|g2 (g/f/)e|f2 (f/e/)d|ce e2|a2 (a/g/)f|g2 (g/f/)e|(c/d/e)
(f/g/a)|cA A2|
cAfd|ecdB|cAdB|GB
B2|cAfd|ecdB|c/d/e f/g/a|cA A2:||
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 (fiddle). AABB'. Roche
Collection, 1983, vol. 2; No. 209, p. 10.
LADIES HORNPIPE [2], THE. Scottish, Hornpipe. D Major. Standard tuning
(fiddle). AABBCCDD. Martin (Ceol na
Fidhle, vol. 3), 1988; p. 28.
LADIES IN THE BALLROOM
[1]. Old-Time, Breakdown. USA, Ky. G
Major. Standard tuning (fiddle). AABB (Titon): AA'BB' (Phillips). See "Waynesboro (Reel)," of which “Ladies in
the Ballroom” appears to be a regional variant. Jeff Titon (2001) finds that source Davenport is the only source
musician known to have recorded playing this tune, however, he notes 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; p. 133. Titon (Old-Time Kentucky
Fiddle Tunes), 2001; No. 84, p. 111. Berea College
Appalachian Center AC002, Clyde Davenport – “Puncheon Camps” (1992). Field
Recorders Collective FRC 1004, Clyde Davenport (2009).
X:1
T:Ladies in the Ballroom [1]
M:C|
L:1/8
S:Clyde Davenport (Ky.)
K:G
(D|D)EGA Bcdd|efgf efge|dBAG EGGA G2
ED|
DEGA Bcde|efgf efge|dBAG EGGA|G2
ED|EGGA G3:|
|:a|b2b2 abae|gage dBAG|E G2 A G2 ED|EGAB A2a2|
b2b2 abae|gage dBAG|EG2 A G2 ED|EGGA
G3:||
LADIES IN THE BALLROOM
[2]. AKA and see “Rattlesnake Bit the Baby,” “Take Me Back to Georgia.” Old-Time,
Breakdown. C Major. Standard tuning (fiddle). Georgia fiddler Lowe Stokes
recorded the tune in 1929 as “Take Me Back to Georgia.”
X:1
T:Ladies in the Ballroom [2]
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/Fiddler’s Companion
K:D
A,/D/|F3 FEF G2E EDE|F2d GEC d>ed
cAG|FAF FEF G2E EAG|
F2D GEC DED D2::A|A2B c2A AdB
cAG|A2d d2e fed cAG|
A2B c2A AdB cAG|F2A GEC DED D2:|
LADIES OF ARGYLE, THE. Scottish. John Glen (1891) finds the earliest
appearence of the tune in print in Joshua
Campbell's 1778 collection (pg. 16).
LADIES OF CARRICK, THE (Na Mna Uasal/Uaisle Ua/o Carraig). AKA and see "The Mysteries of Knock." Irish,
Double Jig. Ireland, County Donegal. A Mixolydian. Standard tuning. AABB. A
popular double jig in County Donegal, recorded by Ceol na dTead. Sources for
notated versions: fiddler Nellie Kennedy (Chicago) whose brother, fiddler James
Kennedy also contributed to O’Neill’s collection, and whose father was a County
Leitrim fiddler of local renown from whom she learned this tune [O’Neill];
Francie and Mickey Byrne (County Donegal) [Feldman & O’Doherty]. Feldman
& O’Doherty (The Northern Fiddler),
1979; pg. 159. O'Neill (Krassen), 1976; pg. 43. O'Neill (Music of Ireland:
1850 Melodies), 1903/1979; No. 934, pg. 174. O'Neill (Dance Music of
Ireland: 1001 Gems), 1907/1986;
No. 164, pg. 42.
X:1
T:Ladies of Carrick, The
M:6/8
L:1/8
R:Jig
S:O’Neill – Dance Music of
Ireland: 1001 Gems (1907), No.
164
Z:AK/Fiddler’s Companion
K:A
EAA edc|eAA Aaf|eAA edc|fBB Baf|eAA
edc|eAA ef=g|fed edc|fBB Baf:|
|:ecc acc|ecc ef=g|ecc acc|fBB
Baf|ecc acc|ecc ef=g|fed edc|fBB Baf:|
LADIES OF DROMOND. Irish, Highland. See “Ladies of Gormond”????
X:1
T:Ladies of Dromond
R:Highland
M:4/4
L:1/8
K:A
cd ||(3efe ^de ceBe | A2cA EAcA
|(3efe ^de ceBa |(3gfe (3dcB (3Ace (3agf |\
(3efe ^de ceBe | A2cA EAcA | (3efe
^de ceBa | (3gfe (3dcB A2ce ||\
aAcA eAcA | dcde fBB2 | aAcA eAca |
(3gfe (3dcB A2ce |\
aAcA eAcA | dcde fBB2 | aAcA eAca |
(3gfe (3dcB A4 ||
LADIES OF FRANCE. Irish, Jig. A Dorain. Standard tuning. AABB. Carlin (Master Collection), 1984; No. 251, pg.
144.
LADIES OF GORMOND (HIGHLAND). Irish, Highland. Ireland, County Donegal. A
Major. Standard tuning. AA’B. The tune is a version of the Scottish strathspey
“Miss Rose.” Source for notated
version: fiddler John Doherty
(1895-1980, County Donegal) [Feldman & O’Doherty]. Feldman & O’Doherty
(The Northern Fiddler), 1979; pgs. 80
& 82 (the tune on page 82 is same but appears as “Untitled Strathspey”).
LADIES OF LEINSTER, THE ({Na} Mna Uasle {Ua} Laigeann). AKA and see “The Prohibition.” Irish, Reel. G Major.
Standard tuning. AB (O'Neill/1850 & 1001): AA'B (O'Neill/Krassen): AABB
(Mulvihill). Source for notated version: Brendan Mulvihill (Baltimore,
Md.)[Mulvihill]. Mulvihill (1st Collection), 1986; No. 59,
pg. 15. O'Neill (Krassen), 1976; pg. 143. O'Neill (Music of Ireland: 1850
Melodies), 1903/1979; No. 1460, pg. 270. O'Neill (Dance Music of
Ireland: 1001 Gems), 1907/1986;
No. 691, pg. 122.
X:1
T:Ladies of Leinster, The
M:C|
L:1/8
R:Reel
S:O’Neill – Dance Music of
Ireland: 1001 Gems (691)
Z:AK/Fiddler’s Companion
K:G
dc|BGGTB d2 cB|ADDE FGAc|BGGB d2 cB|cdeg
fdcA|BGGB d2 cB|
ADDE FGAc|BGGB d2 cB|cdef
g2||d2|gfdB GBdB|Aaag fedc|Bdgf edcB|
cdef g2 dB|G2 gf edcB|ADDE F2
GA|BGGB cAAg|fdef g2||
LADIES OF LONDON. English, Air (6/8 time). E Flat Major. Standard tuning. AB. The air
appears in Playford's Dancing Master
(1690 and later editions), Apollo's
Banquet (1690), Pills to Purge
Melancholy (all editions), and "many of the ballad operas"
(Chappell). Chappell (1859) notes that several songs were written to the tune,
including "Advice to the Ladies of London in the choice of their
husbands" (Roxburghe Collection), "Advice to the Ladies of London to
forsake their fantastical topknots, since they are become so common with
Billingsgate women, and the wenches that cry kitchen stuff" (Douce Collection),
"The Country Maiden's Lamentation" (Douce Collection), and "The
Witty Maid of the West; or, The Miller well thrash'd by Robin the Plowman; :
for which service he received a sum of money, which bought a ring and paid for
the marriage betwixt him and his beloved Nancy." Chappell (Popular Music of the Olden Times), Vol.
2, 1859; pg. 64.
X:1
T:Ladies of London
M:6/8
L:1/8
S:Chappell – Popular Music of the Olden Time (1859)
Z:AK/Fiddler’s Companion
K:E_
EFG AGF|GFE B2G|ABc BAG|G3 F3|EFG
AGF|GFE e2e|cdB =ABc|c3 B3||
Bcd e2d|cBA G2d|edc =Bcd|d3c3|_Bcd
eBc|BAG F2E|EGA BGc|F3 E3||
LADIES OF PLEASURE. AKA and see "Ladies Pleasure."
LADIES OF TULLYBARDEE, THE. AKA and see “The Monaghan Twig [1],” “The Monaghan Switch.”
LADIES ON THE ROAD. Irish, Hornpipe. D Major. Standard tuning. AABB. Composed by Falmouth,
Massachusetts, musician and writer Bill Black for the group Cherish the Ladies.
Black (Music’s the Very Best Thing),
1996; No. 221, pg. 119.
X:1
T: Ladies on the Road
C: © B. Black
Q: 325
R: hornpipe
M: 4/4
L: 1/8
K: D
(3ABc | dBcA BAFA | AFEF DEFA | BEFE DFAc | dcBA B2 (3ABc |
dBcA BAFA | AFEF DEFA | defd edBd | AFEF D2 :|
A2 | FB B2 cBBc | defd AFEF | DFAd FAdf | bfed B3 A |
FB
B2 cBBc | defd AFEF | DEFA BcdB | AFEF D2 :|
LADIES ON THE/A
STEAMBOAT. AKA and see “Tug Boat.” AKA – “Lady
on a Steamboat.” Old‑Time, Breakdown. USA; Nebraska, Missouri, Kentucky.
G Major. Standard tuning. AA: AB (Lamancusa): AABB (Beisswenger & McCann,
Phillips, Titon). A favorite tune of Blind Ed Haley, influential
fiddler from northeastern Kentucky. Dick Burnett of Monticello, Wayne County,
Ky., who recorded the tune in 1927 (for Columbia Records) with fiddler Leonard
Rutherford, recollected he might have learned the tune from Haley. It is known
that Rutherford learned “Blackberry Blossom” from Haley, says Mark Wilson. In any
case, the Rutherford and Burnett version was very influential (through both
their tours and their recording) and has become a standard, especially for
Wayne County, Kentucky, old‑time musicians—“the banjo head usually
getting rapped in remembrance of Dick Burnett's wild performance of the
piece" (Bobby Fuclher, 1986).
***
Leonard Rutherford and Dick Burnett.
***
Some similarities to “Steamboat ‘Round the Bend” and
close similarities to Nebraska fiddler Bob Walters’ “Ladies Round the Bend” and “Po’ Black Sheep.” See also “Sally Johnson.” Recorded by the
West Virginia band The Kessinger Brothers in 1929 under the title “Tugboat.” Sources for notated versions: Bob Walters
(Burt County, Nebraska) who had the tune from his father, according to Dwight
Lamb [Christeson]; Leonard Rutherford (Ky.) [Phillips, Titon]; Lonnie Robertson
(1908-1981, Springfield, Mo.) [Beisswenger & McCann]. Beisswenger &
McCann (Ozark Fiddle Music), 2008; pg. 119. R.P. Christeson (Old Time Fiddlers Repertory, vol. 2), 1984;
pg. 77. Phillips (Traditional American
Fiddle Tunes, vol. 1), 1994; pg. 134. Titon (Old-Time Kentucky Fiddle Tunes), 2001; No. 85, pg. 112. Columbia 15209‑D (78 RPM), Burnett & Rutherford
(1927). County 788, Clyde Davenport (Ky.) ‑ "Clydeoscope: Rare and
Beautiful Tunes from the Cumberland Plateau" (1986). Davis Unlimited
Records, W.L. Gregory & Davenport - "Monticello: Tough Mountain Music
from Southern Kentucky" (1974). Rounder 0172, Bob Carlin - "Where Did
You Get That Hat?" (1982). Rounder CD 0375, Lonnie Robertson – “Lonnie’s
Breakdown” (1996. Originally recorded 1978). Rounder 1004, "Ramblin'
Reckless Hobo: The Songs of Dick Burnett and Leonard Rutherford" (1970).
See also listing at: Jane Keefer’s Folk Music Index: An
Index to Recorded Sources |
X:1
T:Ladies on the Steamboat
M:4/4
L:1/8
R:Reel
S:Clyde Davenport, via Bruce Molsky
N:ABC’s from a transcription by John
Lamancusa, by permission http://www.mne.psu.edu/lamancusa/tunes.htm
Z:AK/Fiddler’s Companion
K:G
{f}((g2 | g)a)[Bg]e (de)[Bg]a | b2
{a}[B2(b2]b)z [B2(g2] | g)age d2 ed |
(BG)[DA]F [G,2G2][B2((g2] |
g)a)[Bg]e (de)[Bg]a | b2 {a}[B2(b2]b)z [B2(g2] |
g)age d2 ed | (BG)[DA]F G2 {A}[G2(B2
|| G)c[DB]A G2 [Dc]A | (BG)[DA]G (EF)[G,G]A |
(Bc)[DB]A G2 cA | (BG)[DA]F G2
{A}[G(B] | B)c[DB]A G2 [Dc]A |
(BG)[DA]G (EF)[G,G]A | (Bc)[DB]A G2
[Dc]A | (BG)[DA]F [G,2G2] z2 ||
LADIES' PANTALETTES, THE ("Bristide na M-Ban" or "Drairini
na Mna Uaisle"). AKA and see "The Boatman's
Reel," "Crooked
Road to Dublin," "The
Duke of Leinster's Wife," "The
Green Pantaloons," "The
Grey Frieze Breeches," "Leonard's
Reel," "Ladies/Ladys
Pantaloo(n)s," “McKeon’s,” "Pat the Fowler." Irish, Reel. G Major. Standard. AB
(Mitchell, O'Neill/1001): AAB (Breathnach, Kennedy, O'Neill/Krassen).
Pantalettes were a type of calf-length ruffled undergarment worn by 19th
century women underneath their voluminous skirts. O’Neill’s titles are “Ladies’
Pantalettes” and “Pat the Fowler.” Goodman gives it as “The Green Pantaloons”
and it appears as an untitled reel from County Clare in Stanford/Petrie (Complete Collection, 1905; No. 906). The
alternate title “The Duke of Leinster’s Wife” came from its pairing in a medley
with the tune “The Duke of Leinster” by the great County Sligo-born New York
fiddler Michael Coleman. Perhaps the
original title was not remembered, or perhaps, as one story goes, naming a tune
after women’s underwear was thought in some circles to be indelicate or
otherwise unacceptable, so the “Wife” title was devised so as to emphasize the
routine pairing of the two melodies (while retaining the gender of the original
title). The “McKeon’s” title comes from a 78 RPM recording by Frank Quinn, and
“Gardner’s Favorite” is from a 1928 recording by flute player Sean McKenna and
fiddler James Morrison.
***
An explanation of the “Ladies
Pantalettes” title comes from the Irish linguistic scholar Diarmuid O’Muir. It
seems that in the days of wooden sailing ships that occasionally great effort
would be made to get the very best performance the vessel was capable of. This usually meant ‘putting on’ as much sail
as was possible, and every scrap of available canvas was utilized to that end.
The very last tiny sail, situated above the top gallants and the skyscraper at
the top of the mast was known as ‘the ladies pantalettes’; this not only
denoted the size of the sail, but perhaps became motivation for a speedy return
to port.
***
O’Neill (Irish Folk Music, 1910) relates that he first heard this tune while
on duty as Desk Sergeant at the Deering Street police station:
***
The strains of a slashing but unfamiliar reel floating out on the night
air from the lowered windows of Finucane’s Hall caught my eager
ear one Saturday night, when Tommy Owens was playing for a
party…as the police station was just across the street, I had little
difficulty in memorizing the tune. Although it had never been printed
it soon gained wide circulation among experts, and it had become such
a favorite with Inspector John D. Shea (the Chief of Detectives), that
it has since been identified with his name.
***
The tune was the first reel learned
by Willie Clancy, taught to him by his flute playing father, Gilbert Clancy.
One of the earliest recordings of the tune under this title was by piper Eddie
Mullaney and fiddler Patrick Stack in Chicago, 1926. Sources for notated
versions: piper Willie Clancy (1918-1973, Miltown Malbay, west Clare)
[Breathnach, Mitchell]; set dance music recorded at Na Píobairí Uilleann, late
1980’s [Taylor]. Breathnach (CRÉ III),
1985; No. 161, pg. 74. Cotter (Traditional
Irish Tin Whistle Tutor), 1989; 30 & 32. Kennedy (Traditional Dance Music of Britain and Ireland: Reels and Rants),
1997; No. 85, pg. 22 (appears as “Lady Pantaloons”). Mitchell (Dance Music of Willie Clancy), 1993; No.
82, pg. 76. O'Neill (O’Neill’s Irish
Music), 1915/1987; No. 259, pg. 134. O'Neill (Krassen), 1976; pg. 102.
O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1235, pg. 232.
O'Neill (Dance Music of Ireland: 1001
Gems), 1907/1986; No. 509, pg. 96. Taylor (Music for the Sets: Blue Book), 1995; pg. 18. Claddagh 4CC 32, Willie Clancy – “The Pipering of Willie
Clancy, Vol. 1” (1980).
X:1
T:Ladies’ Pantalettes, The [1]
L:1/8
M:C|
R:Reel
S:O’Neill – Dance Music of
Ireland: 1001 Gems (509)
Z:AK/Fiddler’s Companion
K:G
BdcA G2G2|ABcA d2cA|BdcA G2g2|fdcA
dBcA|
BdcA G2G2|ABcA d2cA|BdcA G2g2|fdcA
BG G2||
fgaf g2 af|gbag fd d2|fgaf gbag|fdcA
BG G2|fgaf g2 af|
gbag fd
d2|defg abag|fdcA BGAc||
LADIES'
PANTALETTES [2], THE AKA – “Ladies’ Pandeletts.” American, Reel. G Minor. Standard
tuning. AB. The tune is not O’Neill’s “Ladies Pantalettes,” but rather a
relation of “Eileen Curran,” notes
Don Meade. Cole (1000 Fiddle Tunes),
1940; pg. 50 (appears as "Ladies' Pandeletts"). Ryan’s Mammoth Collection, 1883; pg. 77.
X:1
T:Ladies’
Pantalettes [2]
M:C|
L:1/8
R:Reel
S:Ryan’s Mammoth Collection (1883)
Z:AK/Fiddler’s Companion
K:G Minor
BdcA G2 GB
| AFcF dFcF | BdcA G2ag | fdcA AG G2 | BdcA G2 GB |
AFcF dFcF |
BdcA G2ag | fdcA AG G2 || a2 af g2 fg | a2 ag fdde |
Fgaf g2 ag
| fdcA AG G2 | a2 af g2 fg | a2 ag fdde | fgaf gabg | fdcA AG G2 ||
LADIES/LADYS
PANTALOO(N)S. AKA and see "Limerick Lasses [1]," "The Humours of Appletown,"
"The Dublin Lasses [1],"
"The Green Fields of Erin [2],"
"The Heather Breeze [1],"
"The Heather Bloom," "The Heathery Braes," "The
Heathery Braes of Ballyhealy," "Coppers and/of Brass [1],"
"Crossing the Field,"
"McNamara's Reel,"
"Ladies Pantalettes." Claddagh Records CC32,
Willie Clancy ‑ "The Pipering of Willie Clancy" (1980).
LADIES PLAYTHING, THE.
See “Lady’s Plaything.”
LADIES PLEASURE [1]. AKA and see "Ladies of Pleasure."
English, Morris Dance Tune (6/8 time with some irregular measures ‑ the
'Slows'.). F Major (Bacon, Karpeles & Raven): G Major (Barnes, Mallinson).
Standard tuning. ABC (Karpeles & Raven): AABC (Barnes): ABCBCB (Bacon,
Mallinson). Published before 1730. The tune is sometimes called "Ladies of
Pleasure," a distinct change in meaning. Collected from the village of
Bledington, Gloucestershire, in England's Cotswolds. Bacon (The Morris Ring), 1974; pg. 93. Barnes (English Country Dance Tunes, vol. 2),
2005; pg. 71. Karpeles & Schofield, 1951; pg. 39. Mallinson (Mally’s Cotswold Morris Book), 1988; No.
28, pg. 20. Raven (English Country Dance
Tunes), 1984; pg. 26. EMI/Harvest 7243 8 29861 2
6, Ashley Hutchings et al - "Son of Morris On" (1976/1994).
X:1
T:Ladies’ Pleasure, The [1]
M:6/8
L:1/8
S:Bacon – The Morris Ring
R:Morris Jig
K:F
c|f2f A2B|c2A F2C|F>FF GAB|A2G
G2c|f2f A2B|
c2A F2C|F>FF GAB|A2G F3||G>GG
BAB|G>GG BAB|
G>AB cde|fed c2c|f2f A2B|c2A
F2C|F>FF GAB|A2G F3||
M:3/8
L:1/8
c3
M:6/8
L:1/8
f3 f3|A3 B3|c3 A3|
M:3/8
L:1/8
F2C|
M:6/8
L:1/8
F>FF GAB|A2G G3|
M:3/8
L:1/8
c3
M:6/8
L:1/8
f3 f3|A3 B3|c3 A3|
M:3/8
L:1/8
F2C|
M:6/8
L:1/8
F>FF GAB|A2G F3||
LADIES PLEASURE [2]. English, Morris Dance Tune (6/8 time). G Major. Standard tuning. AABBCC
(Raven): AAB, CCB, CCB (Bacon, Mallinson). The tune was collected from the
village of Fieldtown (Leafield), Oxfordshire, in England's Cotswolds. Bacon (The Morris Ring), 1974; pg. 168.
Mallinson (Mally’s Cotswold Morris Book),
1988, vol. 2; No. 22, pg. 12. Raven (English
Country Dance Tunes), 1984; pg. 80.
X:1
T:Ladies’ Pleasure, The [2]
M:6/8
L:1/8
R:Morris Jig
K:G
d2G d2G|cBc ABc|d2G edc|B2A G2B:||
cBc cBc|ABc def|gfg eag|f2e def|
g2d gfe|d2c ABc|d2G edc|B2A G3||
LADIES QUADRILLE. AKA and see "Yellow Knife."
Old‑Time, Quadrille. Voyager VRLP 328‑S,
"Kenny Hall and the Long Haul String Band" (Learned from the Lamb
brothers, the Happy Hayseeds)
.......................
LADIES, STEP UP TO TEA! (Seo libh, a Mhná, chun Tae). Irish, Slip Jig. A Dorian. Standard
tuning. AABB. Source for notated version: fiddler and uilleann piper Stephen
Grier (Farnaght, Co. Leitrim), who wrote his manuscripts in the 1880's
[Breathnach]. Breathnach (CRÉ IV),
1996; No. 34, pg. 20.
LADIES TAKE CARE. Scottish, Air (6/8 time). G Minor. Standard tuning. AABB. Howe (1000 Jigs and Reels), c. 1867; pg. 120.
X:1
T:Ladies Take Care
M:6/8
L:1/8
R:Air
S:Howe – 1000 Jigs and Reels (c. 1867)
Z:AK/Fiddler’s Companion
K:G Minor
D | G(.D.C .B,.A,.G,) | G>AG G2A
| BAB GAB | cAF F2c | .f2(F A2F) |
cAF ABc | d^cd D2d | cA^F | G2 :: d
| (g^fg) .G2g | dBG .G2=e | (f=ef) .F2f |
cAF F2A | (BAB) .B,2=B | (c=Bc)
.C2^c | (d^cd) .D2d | =cA^F G2 :|
LADIES TIGHT DRESS, THE. AKA and see "Ladies Top Dress,"
"Rolling on the Ryegrass,"
"Roll her on the banks,"
"What the Devil ails you
[2]" "Boil the
Kettle Early," "Kitty got a
clinking (coming from the races) [1]," "The Kilfinane Reel," "The Listowel Lasses," "The Lady on the Railroad,"
"Maureen Playboy," "Old Molly Ahern," "The Piper's Lass," "The Rathkeale Hunt," "The Shannon Breeze [1]," "McCaffrey's Reel," "The Telegraph," "The Railway
Station," "Love among the
Roses," "Punch for
the Ladies [2]."
LADIES TOP DRESS. AKA and see "Ladies Tight Dress."
LADIES TRIUMPH [1]. AKA and see "Farewell
to Whiskey [1]," "Goodbye
Whiskey" (Pa.), "Young
America Hornpipe," "Monday
Morning" (Irish), "At the
Fair," "Twin Sisters [5]."
English, Country Dance Tune (2/4 time). G Major. Standard tuning. AABB. The
earliest appearance of the tune was in Gow's Strathspey Reels, Vol. 5,
1809, under the "Farewell to Whiskey" title‑‑it is
attributed to him in several early 19th century Scottish collections. Kennedy (Fiddlers Tune Book), Vol. 2, 1954; pg.
23 (appears as "Farewell to Whisky"). Raven (English Country Dance Tunes), 1984; pg. 149.
LADIES TRIUMPH [2]. AKA and see "Lord Moira's Hornpipe."
LADIES TRIUMPH [3]. See "Lady's Triumph."
AKA and see "Kitty's Ramble{s},"
"Rambles of Kitty," "Dan the Cobbler," "Murray's Maggot," "Strop the Razor [1]," "Linehan's Rambles," "I'm a man in myself
like Oliver's Bull," "The Heart of my Kitty
still warms to me." Perhaps the version on Edison 50870 (78 RPM),
Joseph Samuels (appears as 3rd tune of "St. Patrick's Day Medley").
LADIES WALKING STICK, THE. AKA and see "Ladies
Fancy [2]," "The Yellow
Wattle [1]."
LADIES’ WALPOLE REEL. AKA and see "Lady Walpole’s Reel [1]."
LADS A BUNCHUM [1]. AKA and see "Balance A Straw," "The Captain and His Whiskers."
English, Morris Dance Tune (2/2 {Karpeles & Raven} or 4/4 time
{Mallinson}). F Major (Bacon, Karpeles and Raven): G Major (Mallinson).
Standard tuning. AAB (Bacon): AABB, x6 (Mallinson). The tune is also called
"Balance a Straw," according to Bayard (1981), and both are
simplified adaptations of "The Tulip,"
which is a march composed by James Oswald appearing in his Airs for the Spring, c. 1747. Bayard believes the title to be a
corruption of "Laud'num Bunches"
(Laudanum was a form of the drug opium). This version is from the village of
Adderbury, Oxfordshire, in England's Cotswolds, where the following bit of
verse is sung in the village's morris tradition at the beginning of the dance:
Oh dear mother, what a fool I be;
Here are six young fellows come a‑courting me.
Three are blind and the others can't see,
Oh dear mother, what a fool I be! (Bacon)
A3B
ABcd|B2G2G2AB|c2c2 cBAG|1 F2F2F4:|2 F2F2F2||
|:fe|d2c2c2 FG|A2A2A2 fe|d2c2 B2A2|1 G2F2F2:|2
G2F2F4||
LADS A BUNCHUM [2]. English, Morris Dance Tune (6/8 time). G Major (Mallinson): F Major (Bacon). Standard tuning. ABBB (x4), ACCC (x4), A. A different melody than version #1, collected in the village of Sherborne, Gloucestershire, in England's Cotswolds. Bacon (The Morris Ring), 1974; pg. 282. Mallinson (Mally’s Cotswold Morris Book), 1988, vol. 2; No. 14, pg. 9.
LADS A BUNCHUM [3]. English, Morris Dance Tune (4/4
time). D Major. Standard tuning. AA, BBBAABBBAAAA (Bacon, Mallinson):
AABBBAABBBAA {x3} (Bacon). A different tune that the first two versions,
collected from the village of Hinton, Northamptonshire, in England's Cotswolds.
Bacon (The Morris Ring), 1974; pg.
203. Mallinson (Mally’s Cotswold Morris
Book), 1988, vol. 2; No. 31, pg. 16.
LADS AND LASSES [1]. English, Old Hornpipe (3/2 time). England, North‑West. G Major.
Standard tuning. AAB. Knowles (Northern
Frisk), 1988; No. 48.
LADS AND LASSES [2]. AKA and see "Captain
O'Neill," "The
McClellantown Hornpipe," “Push about the Jorum [1],”
"The Rowan Tree [1]," "Rattle the Bottles [1]." English,
Reel. England, Northumberland. G Major. Standard tuning. AAB (Seattle): AABB
(Kennedy). The melody appears in the 1770 music manuscript copybook of
Northumbrian musician William Vickers, about whom little is known. It also
appears under the “Lads and Lasses” title in the Joshua Jackson manuscript
(Yorkshire). Scottish collections give the tune as “Push about the Jorum.” A
version also appears in Bayard (1944) as an untitled reel, collected in Western
Pennsylvania; see his note for "The Honeycomb Rock." Kennedy (Traditional Dance Music of Britain and
Ireland: Reels and Rants), 1997; No. 87, pg. 22. Offord (John of the Greeny Cheshire Way), 1985;
pg. 78. Seattle (William Vickers),
1987, Part 3; No. 456.
X:1
T:Lads and Lasses [2]
M:C|
L:1/8
R:Reel
S:William Vickers’ music manuscript
copybook, pg. 137 (1770)
Z:AK/Fiddler’s Companion
K:G
dBAG FAAc | BGBd g2 fe | dBAG FAAc |
dBcA G2G2 | dBAG FAAc |
BGBd g2 fe | dBAG FAAc | BGAF G2 ||
f | g2 fg afed | g2 fg ~a2 d2 |
g2 fa afed | edef g2 fe | dBAG FAAc
| BGBd g2 fe | dBAG FAAc | dBcA G2G2 ||
LADS DANCE, THE. English, Jig. D Major. Standard tuning. AB.
The tune appears under this title in old collections from North West England,
and is a version of the Scottish tune “Lads of Dunse.”
One version of the tune is contained in the 19th century Joseph
Kershaw Manuscript. Kershaw was a fiddle player who lived in the remote area of
Slackcote, Saddleworth, North West England, who compiled his manuscript from
1820 onwards, according to Jamie Knowles. The Joseph Kershaw Manuscript,
1993; No. 38 (appears as “The Ladds Dance”).
LAD'S FAVORITE. Irish, Reel. B Minor. Standard tuning. AB. 'Lad' refers to New York
fiddler Lad O’Bierne. Source for notated version: Brian Conway & Tony
DeMarco (New York) [Black]. Black (Music’s
the Very Best Thing), 1996; No. 63, pg. 33. Green
Linnet SIF1035, Brian Conway & Tony De Marco - "The Apple in
Winter" (1981. Learned by Brian Conway from his father, Jim Conway).
X:1
T: Lad's Favorite
S: Conway - DeMarco
Q: 350
Z: transcribed by B.Black
R: reel
M: 4/4
L: 1/8
K: D
Bc | dF F2 AFEF | dF F2 A2 Bc | dF F2 BFAF | DBBA B2 AB |
dF F2 AFEF | dF F2 A2 Bc | (3dcB (3cBA BFAF | DBBA B2 ||
zc | d2 fd edfd | d2 fd faaf | d2 fd edfd | BdcA BAFA |
d2
fd edfd | d2 fd faaf | bgaf gfed | BdcA B2 ||
LADS IN THE KILT. AKA and see "Gillean an
Fheilidh."
LADS OF ALNWICK, THE. AKA – “Apprentice Lads of Alnwick,” English,
Country Dance Tune (3/4 time). England, Northumberland. G Major. Standard
tuning. AABBCCDD. It has been suggested that the rhythm of this tune indicates
origins as a 3/2 old hornpipe. The tune originally appears in the Dixon
manuscript in 1733. See also William Vickers’ (1770) similar sounding “Sunderland Lasses.” Bruce & Stokoe (Northumbrian Minstrelsy), 1882; pg. 157.
Raven (English Country Dance Tunes),
1984; pg. 134. The Master Piper,
1995.
X:1
T:Lads of Alnwick, The
L:1/8
M:3/4
S:Bruce & Stokoe – Northumbrian
Minstrelsy (1882)
Z:AK/Fiddler’s Companion
K:G
g2 de/f/ g/f/e/d/|BGgG B/c/d/B/|g2 de/f/ g/f/e/d/|cAeAce:|
|:B/A/B/c/ dBdB|G/A/B/c/ dBdg|G/A/B/c/ dBdB|A/B/c/d/ eAce:|
|:dg B/c/d/B/ gB|dg B/c/d/B/ ce|dg B/c/d/B/ gB|A/B/c/d/ eAce:|
|:G/A/B/c/ d/e/d/c/ B/c/d/B/|d/e/d/B/ B/c/d/B/ dg|
G/A/B/c/
d/e/d/c/ B/c/d/B/|A/B/c/d/ eAce:|
LADS OF AYR/AIR, THE. AKA and see "The Merry Lads of Air/Ayr."
Scottish, English; Reel or Country Dance Tune. English, Northumberland. C
Major. Standard tuning. AABB. The melody appears in the Bodleian Manuscript (in the Bodleian Library, Oxford), inscribed
"A Collection of the Newest Country Dances Performed in Scotland written
at Edinburgh by D.A. Young, W.M. 1740," and in the Gillespie Manuscript of Perth (1768). A set of this tune called
"The Merry Lads of Ayr" has been identified as one of Joseph (or John) Riddell (1718‑95)
of Ayr's compositions. It appears in Robert
Mackintosh’s A Third Book of
Sixty-Eight New Reels and Strathspeys. Also above forty old Famous Reels
(Ediburgh, 1796). For more see note under “Merry Lads of Ayr.” S. Johnson
(A Twenty Year Anniversary Collection),
2003; pg. 17. Seattle (William Vickers), 1987, Part 2; No. 355.
See also listings at: Alan Snyder’s Cape Breton Fiddle
Recording Index Jane Keefer’s Folk Music Index: An
Index to Recorded Sources |
X:1
T:Lads of Air, The
M:C|
L:1/8
R:Reel
S:Mackintosh – Third Book of Sixty-Eight New Reels and Strathspeys (1796)
K:C
|:f|(ed)cA cGG(f|ed)ce f2
(e/f/g)|edce d(c/B/A/ c)G|(A/B/c) (GE) D3:||
e|c/c/c (g>a) gede|c/c/c ga g2
(fe)|c/c/c (ga) gece|fgef d2 (de)|
c/c/c (ga) gede|c/c/c (ga) g2
fe|cegc’ egcg|afge dagf||
LADS OF BONNY TOWN. English, Jig. D Major. Standard
tuning. AABB. The melody appears in Rutherford’s Choice Collection of Sixty of the Most Celebrated Country Dances
(London, 1750). It also appears in a few 18th century musicians’
manuscript copybooks, including that of James Biggins, from Leeds, Yorkshire
(1779), and that of Henry Livingston, Jr (approx. the same period). 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.
X:1
T:Lads of Bonny Town
M:6/8
L:1/8
R:Jig
S:Henry Livingston’s manuscript
copybook, late 18th century
Z:AK/Fiddler’s Companion
K:D
d2d c2d | efe efg | d2d c2d | ecA
A2A | d2d d2d | efd efg |
afd gec | d2d d3 :: f2f fdf | g2g
geg | f2f fdf | ecA A2g |
faf def | gbg efg | afd gec | d2d d3
:|
LADS OF BOOT. See “Haud the Lass Till I Come
at Her.”
LADS OF DAWSTON. English, Jig. D Major. Standard
tuning. AABB. The melody appears in the 1842 music manuscript collection of
Cumbrian musician John Rook.
X:1
T:Lads of Dawston
M:6/8
L:1/8
R:Jig
S:John Rook manuscript (Cumbria,
1842)
K:D
d2e f2d|egf edc|d2e f2d|gec d3|d2e
f2d|
egf edc|a2f g2d|gec d3::f2A AcA|AcA
AcA|
f2A AcA|ABc d3|f2A AcA|AcA AcA|a2f
g2e|gec d3:|
LADS OF DOOCASTLE, THE (Buachaillí Chaisleáin an Dumha). AKA and see “Long Way from Home,” “Paddy Arthur’s Pint,” “The Trip to Kinvara.” Irish, Reel. D Major.
Standard tuning. AABB (McGuire & Keegan): AA’BB’ (Breathnach). Alternate
titles “Paddy Arthur’s Pint” and “Trip to Kinvara” are from the Green Linnet
Céilí Band (which included fiddler and composer Charlie Lennon) and Buttons and
Bows, respectively, however, the tune was originally composed in the early
1950’s by accordion player Martin Mulhaire as “A Long Way from Home.” “Lads of
Doocastle” was Roger Sherlock’s name for the melody. Doocastle is a townland of
some 3,000 acres on the borders of Sligo and Mayo, and was the birthplace of
famed fiddler Michael Gorman (1902-1969), and fiddler Johnny Henry. Source for
notated versions: flute player Roger Sherlock [Breathnach, McGuire &
Keegan]. Breathnach (CRÉ V), 1999;
No. 160, pg. . McGuire & Keegan (Irish
Tunes by the 100, vol. 1), No. 66, pg. 18.
LADS OF DUNSE, THE (Buacailli Duinse). AKA – “The Lass(i)es of
Duns/Dunce/Dunse,” “The Ladds Dance,” “Lassies of Duns.” Scottish, Jig or
Country Dance. D Major. Standard tuning. AAB. Directions for the dance to this
tune were written down in 1752 by John McGill, dancing master in Girvan
(Ayrshire), for his students. McGill sometimes credited with the tune, although
it has sometimes been claimed as an Irish air. The first publication of the
melody was in Daniel Wright’s collection, 1735, and the Gows described it as
“Old” in their 1788 2nd
Collection. The melody appears in English collections of the second half of
the 18th century under the titles “The Lads Dance” and “The Land We Live In,” and in a 1760
Danish manuscript by the Bast brothers. See note for "Duns(e) Dings A'" for more information
on the Berwickshire town of Duns. Gow (Second
Collection of Niel Gow’s Reels), 1788; pg. 33 (3rd ed.). Johnson
(A Further Collection of Dances, Marches, Minuetts and Duetts of the Latter
18th Century), 1998; pg. 6. Kennedy (Jigs &
Quicksteps, Trips & Humours), 1997; No. 96, pg. 24. Kerr (Merry
Melodies), vol. 1; No. 28, pg. 33. Neil (The Scots Fiddle), 1991; No. 28, pg. 36. O'Neill (Dance Music of
Ireland: 1001 Gems), 1907/1986;
No. 354, pg. 73. Stewart-Robertson (The
Athole Collection), 1884; pg. 136. Thompson (Compleat Collection
of 200 Favourite Country Dances, vol. 2), 1765; No. 175. Culburnie Records CUL 121D, Alasdair
Fraser & Natalie Haas – “Fire and Grace” (2004).
See also listing at: Jane Keefer’s Folk Music Index: An
Index to Recorded Sources |
X:1
T:Lads of Duns
M:6/8
L:1/8
R:Jig
B:Stewart-Robertson – The
Athole Collection (1884)
Z:AK/Fiddler’s Companion
K:D
B | A2(D D)ED | DED B2A | Bcd AFA | BGE E2d | A2D DED | DED B2A | Bcd AFd | AFD D2 :|
g | fef d2e | fga B2A | Bcd AFA | BGE E2g | fef d2e | fga B2A | Bcd Afd |
AFD D2g | fef d2e | fga B2A | Bcd AFA | BGE E2 f/g/ | afa geg | fdf ece | DcB AFd | AFD D2 ||
X:2
T:Lads of Duns
L:1/8
M:6/8
R:Jig
B:O’Neill – Dance Music of Ireland: 1001 Gems (354)
Z:AK/Fiddler’s Companion
K:D
B|AFD DFD|DFD B2A|Bcd AFA|BEE E2 d/B/|AFD DFD|DFD B2A|Bcd AFA|FDD D2:|
|:g|fef d2e|fga B2A|Bcd AFA|BEE E2g|fef d2e|fga B2A|Bcd AFA|FDD D2g:|
|:fef d2e|fga B2A|Bcd AFA|BEE E2g|fga efg|fea B2A|Bcd F2E|FDD D2:|
X:3
T:Ladds [sic] of Dunce, The
M:6/4
L:1/8
B:Thompson’s Compleat Collection of 200 Favourite Country Dances, vol. 2 (London, 1765)
Z:Transcribed and edited by Flynn Titford-Mock, 2007
Z:abc’s:AK/Fiddler’s Companion
K:D
B2|”tr”B3D D2 D2F2D2|D2F2D2 “tr”B4A2|(BABc)d2 A2F2A2|B2E2E2 E4B2|B3DD2 D2F2D2|
D2F2D2 “tr”B4A2|(BABc)d2 A2F2A2|B2D2D2 D4::g2|”tr”f3ed2 d4e2|(fefg)a2 “tr”B4A2|
(BABc)d2
A2F2A2|B2E2E2 E4g2|”tr”f3ed2 d4e2|(fefg)a2 “tr”B4A2|(BABc)d2 A2F2A2|B2D2D2
D4:||
LADS OF/O' ELGIN, THE. Scottish, Strathspey. A Dorian
(Glen): A Mixolydian (Bremner). Standard tuning. AAB. John Glen (1891) finds
the earliest printing of the tune in Robert
Bremner's 1757 collection, where it
is set as a reel. Bremner (Scots Reels),
c. 1757; pg. 59. Stewart-Robertson (The
Athole Collection), 1884; pg. 59.
X:1
T:Lads of Elgin, The
M:C|
L:1/8
R:Strathspey
B:Stewart-Robertson – The
Athole Collection (1884)
Z:AK/Fiddler’s Companion
K:Amin
B|A>Bc>d e>dc>A|B>E E/E/E G>AB>G|A>Bc>d e>dc>A|B>E E/E/E A2A:|
B|A<ae<^f d>ec>A|B>E E/E/E G>AB>G|A<ae<^f d<ec<A|B>E E/E/E A2 A>B|
A<ae<^f
d>e c<A|B>E E/E/E G>AB>G|A>Bc>d e>dc>A|B>E E/E/E
A2A||
LADS OF FOSS, THE. Scottish, Reel. D Major. Standard tuning. AAB
(Athole): AABB (Kerr). Kerr (Merry
Melodies), vol. 2; No. 150, pg. 18. Stewart-Robertson (The Athole Collection), 1884; pg. 93.
X:1
T:Lads of Foss, The
M:C|
L:1/8
R:Reel
B:Stewart-Robertson – The
Athole Collection (1884)
Z:AK/Fiddler’s Companion
K:D
A|FA A/A/A B2AB|dBAF GEEG|FA A/A/A B2 Ag|fdef d/d/d d:|
g|f2df aeeg|f2df ecAg|f2df aeeg|fdef d/d/d dg|
f2df aeeg|f2df ecAg|fefg aeeg|fdef d/d/d d||
LADS OF KILWINNING, THE. English, Reel. England, Northumberland. A
Dorian. Standard tuning. AABB. Seattle (William
Vickers), 1987, Part 3; No. 493.
LADS OF LAOIS{E}
(Gearrbhodaí Laoise). AKA and see “Adam Ferguson’s
Reel,” "The Lads of Leith [2],"
“Sic a Wife as I hae Gotten,”
“Sir Adam Ferguson.” AKA – “Lads of
Leix.” Irish, Reel. E Minor/Dorian.
Standard tuning. AB (Breathnach, Feldman & O’Doherty): AA’B (Miller &
Perron/2006): AABB (Miller & Perron/1977): AA’BB’ (Songer). The tune is the
Irish adaptation of the ancestral Scots reel “The Lads of Leith,” and in fact
the Irish word Laois is similarly
pronounced ‘leash’. The earliest Irish printing appears in Breathnach’s Ceol Rince na hÉirreann (vol. 1) where
he identifies it as Scottish in origin. Philippe Varlet says Paddy Killoran was
the first to record it around 1945 for the Standard label, in a medley simply
titled "Dublin Reels."
Despite it being recorded on the influential 1965 Michael Coleman
tribute album by Andy McGann, Felix Dolan and Joe Burke, there is no evidence
that Coleman ever recorded the reel. McGann’s version is much admired and
imitated in North American traditional circles. It appears that another line of
influence for the “Lads of Laois” stems from Liberties area, Dublin, fiddler
Tommy Potts, somewhat altered to make it his own, although it does not appear
in his commercially recorded output. “The Lads of Laois” is occasionally
attributed to him (e.g. Mallinson’s Evergreen
Irish Session Tunes) although he did not claim it. Fiddler Sean Keane
learned his version of the tune from Tommy Potts (according to the liner notes
of Molloy, Keane, O’Flynn’s “Fire Aflame” album). Paul de Grae poses the
possibility that Killoran, who visited Dublin in the 1940’s, could have met
Potts and played with him. Killoran’s “Dublin Reels” titling of the medley that
included “Lads of Laoise” (paired with “Martin Wynne’s No. 1”) may also be a
clue to the connection, suggests Paul. Kevin Reitman notes there is an acetate
recording, unlabled but probably of the playing of New York fiddlers Lad
O’Beirne and Louis Quinn, that is contemporary with the Killoran recording
(Kevin points out that they followed “Lads of Laoise” with another of Martin
Wynne’s tunes, his “No. 2”).
***
The tune is also known in Scotland
as “Sic a Wife as I hae Gotten,” from Lowe’s Collection (1844) and “Sir Adam
Ferguson” from John Riddell’s 1766
collection. Sources for notated versions: Bronx-born fiddler Andy McGann
(1928-2004, New York) [Miller & Perron], flutist Ned Stapleton/Éamonn de
Stabaltún (Ireland) [Breathnach]—note Paul de Grae suspects this might have
been a setting from fiddler Tommy Potts from whom Breathnach collected 23 other
tunes for his CRE I; fiddler Dan Compton (Portland, Oregon) [Songer]; fiddlers
Francie and Mickey Byrne (County Donegal) [Feldman & O’Doherty]. Breathnach
(CRÉ I), 1963; No. 192, pg. 75.
Feldman & O’Doherty (The Northern
Fiddler), 1979; pg. 170 (appears as untitled reel). Miller & Perron (Irish Traditional Fiddle Music), 1977;
vol. 1, No. 21. Miller & Perron (Irish
Traditional Fiddle Music), 2nd Edition, 2006; pg. 81. Songer (Portland Collection), 1997; pg. 121. Capelhouse Records, James Kelly – “Traditional Irish Music”
(1996). The Orchard, “John Vesey: Sligo Fiddler” (2000). Green Linnet SIF‑1110,
Andy McGann ‑ "My Love is in America: The Boston College Fiddle
Festival" (1991). Ringsend Road Music Group 1, Nollaig Casey & Artie
McGlynn - “Lead the Knave” (1989). Shaskeen Records OS‑360, Andy McGann,
Felix Dolan, Joe Burke ‑ "A Tribute to Michael Coleman" (c. 1965).
Arvid Lindin & Jack Lindberg - “Joined at the Ear.”
See also listings at: Jane Keefer’s Folk Music Index: An
Index to Recorded Sources Alan Ng’s Irishtune.info |
X:1
T:Lads of Laois
T:Lads of Leith
Z:Juergen.Gier@post.rwth-aachen.de
M:C|
L:1/8
K:EDor
EB,~B,2 EGFE|DA,~A,2 DEFD|GEED EFGA|(3Bcd ec dBAF|\
EB,~B,2 EGFE|DA,~A,2 DEFD|E2BE dBAF|1DEFA BEE^D:|2DEFA BE~E2|:\
eB~B2 egfe|defa gfed|(3Bcd e^d efge|fgaf gfed|\
eB~B2 GBFB|EBBA Bdef|~g3e ~f3d|1efed BABd:|2efed BAFD|]
X:2
T:Lads of Laois, the
R:reel
S:Gordon Turnbull
H:Originally Scottish: "The Lads of Leith"
Z:Lesl from Gordon Turnbull, Flutility - side A #4
M:C|
K:Edor
eBAB EFFE|dA~A2 DEED|GEED EFGA|B2eB dBAF|
eBAB EFFE|dA~A2 DEED|E2Be dBAF|DEFA BEE2:|
|eB~B2 effe|defa gfed|(3Bcd ef g2 ge|fagf {f}gfed|
efed BAFA|BEED Bcd2|gbge fafd|efed BAF{A}B|
|eBAB egfe|defa gfed|(3Bcd ef g2 ge|fagf {f}gfed|
eEeB GBFB|EB (3B/c/B/ A Bcd2|gbge f2fd|efed BAFB|E8||
X:3
T:Lads of Leish
M:C|
L:1/8
R:Reel
S:Brian Conway
K:D
GF | E~B,3 E2 FE | D ~A,3 DEFA | GE{F}ED EFGA | [G2B2] eB dBAF |
E~B,3 E2 FE | D~A,3 DEFA | E2 BE dEBD | EFGA B2 AF |
E~B,3 E2 FE | D~A,3 DEFA | GE{F}ED EFGA | [G2B2] eB dBAF |
(3EFE B,E GEB,E | (3DED A,D FDA,D | (3Bcd eB dBAF | DEFA BE E2 ||
e~B3 egfe | d2 fa gfed | (3Bcd ef {a}gfge | fgaf {a}gfed | efed BAFA |
B~E3 Bdef | ~g3e ~f3d | efed Bdgf | e~B3 [B3e3]c | d2 fa gfed |
(3Bcd ef {a}gfge | fg (3agf gfed | e~B3 GBFB | EB{c}BA Bdef |
[d3g3]e ~f3d | efed BAGF ||
LADS OF LEITH [1],
THE. AKA and
see “Beauties of the Ballroom,”
"Gearrbhodaí Laoise," "Lads of
Laois{e}." English, Scottish; Jig and Country Dance. England,
Northumberland. G Minor (Seattle/Vickers): E Minor (Gatherer). Standard tuning.
AB (Gatherer): AABB (Vickers). The melody appears in the Bodleian Manuscript (in the Bodleian Library, Oxford), inscribed
"A Collection of the Newest Country Dances Performed in Scotland written
at Edinburgh by D.A. Young, W.M. 1740." A few years later James Oswald
reprinted it in his Caledonian Pocket
Companion, Book III (c. 1747, 1752). It was collected and adapted by the
Scots poet Robert Burns as the vehicle for his song "She's Fair and Fause
(that causes my smart),” printed in James Johnson’s Scots Musical Museum (No. 398, 1792). Another early setting was
mentioned in James C. Dick’s book The
Songs of Robert Burns (1903) where he states that the Scottish collector
John Glen finds “Lads of Leith” in Walsh’s Caledonian
Country Dances (c. 1744). The jig appears as an untitled ‘A’ Minor tune in
J. Scott Skinner’s Beauties of the
Ballroom, as the third figure of “Ettrick Vale Quadrille.” In Ireland the
tune is called “Lads of Laois,” and see also “Beauties of the Ballroom,” by
which name the tune is known on Cape Breton Island. Gatherer (Gatherer’s Musical Museum), 1987; pg. 17.
Seattle (William Vickers), 1987, Part
3; No. 498. Wood, Songs of Scotland
(1848‑49). Marquis ERA 181, David
Greenberg/Puirt a Baroque - “Bach Meets Cape Breton” (1996).
LADS OF LEITH [2],
THE. AKA and
see “Adam Ferguson’s Reel,” “Lads of Laois{e},” “Sic a Wife as I hae Gotten,”
“Sir Adam Ferguson.” Scottish, Reel. E
Minor. Standard. AABB’. See notes for “Sir
Adam Ferguson” and “Lads of Laois{e}.” Kerr
(Merry Melodies), vol. 4; No. 101,
pg. 13.
X:1
T:Lads of Leith, The [2]
M:C|
L:1/8
R:Reel
B:Kerr – Merry Melodies, vol. 4, No. 101
(c. 1880’s)
Z:AK/Fiddler’s Companion
K:E Minor
E|B,EEF {E/F/}G2 (FE)|A,DDE {D/E/}F2
(ED)|GFE^D EFGA|Bedc B2:||
B|eB B/B/B (gf)ed |Adfa gfed|eB
B/B/B (gf)ed|gbag gfe^d|
eB B/B/B (gf)ed|Adfa gfed|gbge
fafd|gfe^d e2||
LADS OF LEXINGTON, THE. Irish, Reel. A Dorian. Standard tuning. AABB.
Composed by Falmouth, Massachusetts, musician and writer Bill Black, dedicated
to the V.M.I. class of 1996. Black (Music’s
the Very Best Thing), 1996; No. 179, pg. 94.
T: The Lads of Lexington
C: © B. Black
Q: 350
R: reel
M: 4/4
L: 1/8
K: Ador
EA A2 cdea | cdea gdBG | EA A2 cdea | gedB cABG |
EA A2 cdea | gede g3 f | ea a2 bage | dBgB BA A2 :|
^cdef gfec | A^c c2 Ac c2 | ^cded cBAF | GB B2 GB B2 |
^cdef
geaf | geaf g3 a | bgaf gage | dBgB BA A2 :|
LADS OF NORTH TYNE. AKA and see "The Boys of
Bluehill." English, Hornpipe. D Major. Standard tuning. AABB. Raven (English Country Dance Tunes), 184; pg.
180.
LADS OF PRINTFIELD. Scottish. John Glen (1891) finds the earliest appearence of the tune in
print in Joshua Campbell's 1778
collection (pg. 26).
LADS OF SALTCOATS, THE. AKA and see “Lasses/Lassies of the Ferry,”
“Hoch Hey, Johnny Lad.” English,
Reel. England, Northumberland. A Major. Standard tuning. AABB. Rutherford (Twenty-Four Country Dances for the Year 1758).
Seattle (William Vickers), 1987, Part
3; No. 554.
X:1
T:The Lads of Saltcots
S:Rutherford's 24 CD's for 1758
Q:80
Z:Bruce Olson
L:1/4
M:C|
K:A
A3/2 c/ B/A/B/c/|A/F/E/F/
B/4B/4B/B|A3/2c/ B/A/B/c/|\
A/F/E/F/ A/4A/4A/A::(e/f/4g/4 a/)c/
~B/A/(B/c/)|\
e/f/4g/4 a/c/ B/4B/4B/B|(e/f/4g/4
a/)c/ ~B/A/B/c/|\
A/F/E/F/ A/4A/4A/A:|]
LADS OF TAIN. Scottish, Strathspey. D Major. Standard tuning. AAB (Athole, Skye):
AABB' (Kerr). Composed by K. Clarke. Kerr (Merry
Melodies), vol. 2; No. 143, pg. 17. MacDonald (The Skye Collection) 1887; pg. 41. Stewart-Robertson
(The Athole Collection), 1884; pg.
104.
X:1
T:Lads of Tain
M:C|
L:1/8
R:Strathspey
B:Stewart-Roberson – The
Athole Collection (1884)
K:D
B | A<F F>A B<G G<B | A<F F>A d>A B<d | A<F F<A B<G G>B | d>A G/F/E/D/ C<EE :|
c | d<fe<f d>AF>A | d<f g/f/e/d/ c<e e>f | d<f e>f d>AF>A | G>E G/F/E/D/ C<E E>c |
d<f
e>f d>AF>A | d<f g/f/e/d/ c<e e>g | (3fed (3edc (3dcB (3AGF |
G>E G/F/E/D/ C<EE ||
LADS OF TARLAND, THE. Scottish, Jig. G Major. Standard tuning.
AABB'. Composed by Alexander Walker. Walker (A Collection of Strathspeys, Reels, Marches, &c.), 1866; No.
185, pg. 63.
LADS OF THE SHAWS. Scottish. John Glen (1891) finds the earliest appearence of the tune in
print in Joshua Campbell's 1778
collection (pg. 16).
LADS OF TIPPERARY. Irish, Jig. D Major. Standard tuning. AABBCCDD. As it resembles "Over the River to Charlie [1]” it may by a derivative or a special development, or it may have "borrowed" features of that tune, states Bayard (1981). See also the related “Bucks of Tipperary.” O’Farrell (National Irish Music for the Union Pipes), 1804; pg. 28.
X:1
T:Lads of Tipperary
M:6/8
L:1/8
R:Jig
S:O’Farrell – National Irish Music for the Union Pipes (1804)
Z:AK/Fiddler’s Companion
K:D
dfd B2B | AGF A2B | dfd B2B | g3 f2e | dfd B2B | AGF A2B | d2g fge |
d3 d2 :: A | d{e}fg aff | bgg agf | d2d f/g/af | g3 gfe | def a/b/bf | b/c’/bg a/b/af |
edB BAB | g3 f2e :: dfd B2B AGF A2B | DFA def | gba gfe | fde/c/ d2B |
ABA/F/ A2B | d2g fge | d3 d3 :: d2g faf | gbg faf | d2d f/g/af | g3 f2e |
def
abc’ | bag fed | edB BAB | g3 f2e :|
LADS ON THE MOUNTAIN. AKA and see "The
Walls of Liscarroll [1]." Irish, Single Jig (12/8 time). D Major.
Standard tuning. AB. Collector George Petrie said this was “A Connaught Jigg.”
Stanford/Petrie (Complete Collection),
1905; No. 937, pg. 238.
X:1
T:Lads on the Mountain
M:12/8
L:1/8
R:Single Jig
B:Stanford/Petrie – The Complete Petrie Collection of Ancient
Irish Music, No. 937 (1905)
Z:AK/Fiddler’s Companion
K:D
def edc d2A AGE|GEE =cEE GEE cEE|def
edc d2A AGE|
GEE =cEE DED DEG||A2D DED A2G
AB=c|GEE =cEE GEE cEE|
A2D DED A2G AB=c|GEE =cEE DED D2||
LADS WI’ THE KILTS, THE. Scottish, Jig. D Major. Standard tuning. AABB.
Kerr (Merry Melodies), vol. 4; No.
246, pg. 27.
X:1
T:Lads wi’ the Kilts, The
M:6/8
L:1/8
R:Jig
S:Kerr – Merry Melodies, vol. 4, No. 246
(c. 1880’s)
Z:AK/Fiddler’s Companion
K:D
e | dBA AAB | def dBA | BdA B2g |
ada gfe | dBA AAB |
dfe dBA | dBA B2g | ada gfe :: def
gfg | agf fef | def gfg |
agf f2e | def gfg | agf fef | dBA
A2g | ada gfe :|
LADUS, THE. American, Reel. G Major. Standard tuning.
AABB. Cole (1000 Fiddle Tunes), 1940;
pg. 11. Ryan’s Mammoth Collection,
1883; pg. 34.
X:1
T:Ladus, The
M:C|
L:1/8
R:Reel
S:Ryan’s Mammoth Collection (1883)
Z:AK/Fiddler’s Companion
K:G
dc | BGGB d2 cB | ADDE FGAc | BGGB
d2cB | cdef g2 dc | BGGB d2 cB |
ADDE FGAc | BGGB d2cB | cdef g2dc ::
G2 gf edcB | Aaag fedc | Bdgf edcB |
cdef g2g2 | G2gf edcB | ADDE F2GA |
BGGB cAAg | fdef g2g2 :|
_______________________________
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