The Fiddler’s
Companion
© 1996-2009 Andrew Kuntz
_______________________________
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LAEG - LAM |
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] |
LAEG DI MAW. Danish, Polka (2/4 time). G Major ('A' part) & D Major ('B' part).
Standard tuning. AABB. The tune was recorded by the group Spaelimenninir. Sweet
(Fifer’s Delight), 1965/1981; pg. 77.
X:1
T:Laeg di Maw
M:2/4
L:1/8
R:Polka
Z:AK/Fiddler’s Companion
K:G
BB d2 | GG B2 | cc/B/ A/c/B/A/ | GB
d2 | BBd2 | GG B2 | cc/B/ A/c/B/A/ | GB G2 :|
K:D
F/G/ | A/B/A/F/ A/B/A/F/ | A/B/d/A/ f/A/a/A/
| gg/f/ e/g/f/e/ | ff/e/ dF/G/ |
A/B/A/F/ A/B/A/F/ | A/B/d/A/
f/A/a/A/ | g/a/g/f/ e/g/f/e/ | df d :|
LAETE SEANMAR NA
h-OIGE. AKA and see "The Happy Days of Youth."
LAETE SOILBIR NA CASGA. AKA and see "The
Merry Days of Easter."
LAETHANTA SPRAOI NA
CÁSCA. AKA and see "The Sporting Days of Easter."
LAETITIA BURKE. See "Lady Laetitia
Burke."
***
Aldus Roger and the
***
A related
song is Shirley Bergeron's "Old Home Waltz." Source for notated
version: Aldus Roger, Phillip Alleman (
L'AFFAIRE DE PERRODIN. Cajun, Reel. D Major. Standard tuning. AA'BB'. Greenblatt (Cajun Fiddle Book), 1985; pg. 11.
LAFFERTY'S. AKA and see “The Crane’s Leg,” “The Glen of Aherlow [2],” “Rattigan’s Reel [2],” “Rediggan’s,” “The Woman I Never Forgot.” Irish, Reel.
E Dorian. Standard tuning. AABB. Composed by
X:1
T:Lafferty’s
T:Glen of Aherlow, The
M:C|
L:1/8
B:O’Malley Collection (1976)
K:Edor
(3BdB AF dFBF | E^DEF E=DB,D | (3BdB
AF dFBF | DFAF {G}FE E2 |
(3BdB AF dFBF | E^DEF E=DB,D |
B<E~E2 BEBe | dBAF {G}FE E2 :|
|: eB~B2 efge | fd~d2 Adfd | BABd
egfe | dBAF {G}FE E2 |
eB~B2 efge | fd~d2 Adaf | eB~B2 egfe
| dBAF {G}FE E2 :|
LAFRICAN'S. American, Jig. D Major. Standard tuning. AABB. It has been suggested by
Caoimhin Mac Aoidh and Paul Wells that the title is a corruption of
“Lorrigan’s.” Cole (1000 Fiddle Tunes),
1940; pg. 66. Ryan’s Mammoth Collection,
1883; pg. 97.
X:1
T:Lafrican’s
M:6/8
L:1/8
R:Jig
S:Ryan’s Mammoth Collection
(c. 1883)
Z:AK/Fiddler’s Companion
K:D
d | AFD DFA | AFA B2d | AFD DFA |
fdB B2d | AFD DFA | AFA B2d | def gfe | fdd d2 :|
|: f | afd fed | ecd ecA | ddd fdd |
fdB B2d | ded fdd | edd fdd | cef gfe | fdd d2 :|
LAGAN LOVE. AKA and see “My Lagan Love.”
LAGAN SLASHERS. AKA and see "The Atholl
Brae(s)," "The Drinking Reel,"
"The Drunken Tailor,"
"Gallagher's Best,” "League and Slasher," "Pigeon on the Pier [2],"
"The Pigeon on the Gate [1],"
"Reidy's Reel,” "The Scotch Braes,” “The Wandering Tinker.” The Lagan is a river in
LAGER BEER. Scottish, Strathspey. B Minor. Standard tuning. AABB. Kerr (Merry Melodies), vol. 4; No. 86, pg. 12.
X:1
T:Lager Beer
M:C
L:1/8
R:Strathspey
S:Kerr – Merry Melodies, vol. 4, No. 86
(c. 1880’s)
Z:AK/Fiddler’s Companion
K:Bmin
B<B d>e f2
(f>^g)|a>fe>d c<A A>c|B<B d>e f2 (f<b)|f>ed>c (B2
B)f:|
|:b<b f<d B>df>^g|a<a
e>c A>ce>a|b<b f>d B>df>b|f>ed>c (B2 B)f:|
LAGGAN BURN. Scottish (?), Polka. A Major. Standard tuning. AABB. Miller &
Perron (101 Polkas), 1978; No. 70.
LAINGTON'S REEL. AKA and see “Dillon
Brown’s Fancy [2],” “Langton’s Reel.” Irish, Reel. Breathnach (CRÉ II), 1976; No. 258 (appears as
untitled reel). Breathnach (CRÉ III),
1986; No. 117. Green Linnet GLCD 3009, Kevin Burke -
"If the Cap Fits" (1978. Learned from a recording of Paddy Killoran).
LAIRD O’ AUCHLUNCART, THE. Scottish, March (4/4 time). D Major. Standard
tuning. AABBCCDDEEFF. Composed by Scots fiddler-composer J.
Scott Skinner (1843-1927). Skinner (Harp
and Claymore), 1904; pg. 29.
X:1
T:Laird o’ Auchluncart, The
M:C
L:1/8
R:Quickstep
C:J. Scott Skinner
S:Skinner – Harp and Claymore (1904)
Z:AK/Fiddler’s Companion
K:D
A | dcB({c}d) A/F/D/F/ AB/c/ |
dcB({c}d) A/F/D/F/ EA | dcB({c}d) A/F/D/F/ AB/c/ | df ({f}e/)d/e/f/ d2 d :|
|: (3A/B/c/ | df e/c/d/B/ A/F/D/F/
AB/c/ | df e/c/d/B/ A/F/D/F/ E(3A/B/c/ | df e/c/d/B/ A/F/D/F/ AB/c/ |
df ({f}e/)d/e/f/ d2 d :: (3A/B/c/ |
d/e/d/c/ B/c/d/B/ A/F/D/F/ AB/c/ | d/e/d/c/ B/c/d/B/ A/F/D/F/ E(3A/B/c/ |
d/e/d/c/ B/c/d/B/ A/F/D/d/ AB/c/ |
({e}d/)c/d/f/ ({f}e/)d/e/f/ d2d :: (3A/B/c/ ({e}d/)c/d/f/ e/c/d/B/ A/F/D/F/
AB/c/ |
d/c/d/f/ e/c/d/B/ A/F/D/F/ EA/B/c/ |
({e}d/)c/d/f/ e/c/d/B/ A/F/D/F/ AB/c/ | ({e}d/)c/d/f/ ({f}e/)d/e/f/ d2 d :|
|: A | .d/.e/.d/.c/ .B/.c/.d/.B/
.A/.D/.F/.A/ .d/.f/.a/.A/ | .d/./e.d/.c/ .B/.c/.d/.^d/ .e/.A,/.C/.E/
.A/.c/.e/.A/ |
d/e/d/c/ B/c/d/B/ A/D/F/d/ ^G/A/B/c/
| ({e}d/)c/d/f/ ({f}e/)d/e/f/ d/d’/a/f/ d :: (3A/B/c/ | (d/f/a/d’/) (d/g/b/d’)
(d/f/a/d’/) (d/f/a/d’/) |
(d/f/a/d’/) (d/g/b/d’) (d/f/a/d’/)
(A/c/e/a/) | d/f/a/d’/ d/g/b/d’ d/D/F/D/ A/A/B/c/ | ({e}d/)c/d/f/ ({f}e/)d/e/f/
d/d’/a/f/ d :|
LAIRD OF BEMERSYDE, THE.
Scottish, Slow Strathspey or Air. A Major. Standard tuning. AB. Composed
by “The Strathspey King,” J. Scott Skinner (1843-1927). The Haig's were the
Lairds of Bemersyde, whose motto was “What e're betide, What e're betide, Haig shall be Haig of
Bemersyde!” The tune was perhaps for Field Marshall Earl Haig, the hero of
South Africa and World War I. Cranford (Jerry Holland: The Second Collection), 2000; No. 311,
pg. 112.
X:1
T:Laird of Bemersyde, The
M:C
L:1/8
R:Slow Strathspey or Air
C:J. Scott Skinner
K:A
A>C E>D C<E A2|D>F
B>A G<B e>d|”tr”c>A B<G A<F E>=G|”tr”F>D E<C D>C
B,<EA,/4B,4|
A,>C E>D C<E A2|D>F
B>A G<E e>d|c<a B<g A<f G<e|F>B G<E A3||
d|cd/e/ a>g fe dc|Bc/d/ g>f
e<dcB|AB/c/ f>e d<c BA|G/<B/”tr”B/A/ B/c/B/A/ G<E E>d|
cd/e/ a>g fe dc|Bc/d/ g>f
e<d”tr”cB|AB/c/ FG/A/ (3Bcd g>f|(3edB G<e A3||
LAIRD OF BRODIE, THE (Tighearna Bhrodhi). Scottish, Slow Strathspey. D Major.
Standard tuning. AAB. "This rume supposed to be composed by the roving King
James would spread among all his subjects as his production, but I find the
best sett of it preserved in the
X:1
T:Laird of Brodie, The
T:Tighearna Bhrodhi
L:1/8
M:C
S:Fraser Collection (1874)
Z:AK/Fiddler’s Companion
K:D
F || D>E [DF][DF] D3F | D>FA>F E2 DB, | D>E [DF][DF] D>E F<d | A>FF>D E2 (DB,) |
D>E [DF][DF] D3F | D<d d>A [G3B3] (A/4B/4c/) | d>ef>A B>cd e/4d/4c/4B/4 |
A>FF>A E2 DB, :| d>c d<f B>cd>e | D<d d>A [G3B3] (A/4B/4c/) | d>ef>d B>cd (e/4d/4c/4B/4) |
A>FF>D E2 DB, | d>c d<f B>cd>e | D<d
d>A [G3B3]g | f>ed>c B>c d (e/4d/4c/4B/4) |A<F F>A E2 (DB,)
||
LAIRD
O' COCKPEN. AKA and see "Boys in the Gap [1]," "Cat in the Hopper," "Lord Doneraile," “Straddle the Donkey,” "When She Cam Ben (She Bobbit)," Scottish, Jig and Air. E Dorian (Kennedy): E
Minor (Kerr): G Minor (Howe). Standard tuning. One part (Howe): AABB (Kennedy,
Kerr). Cockpen is located in the east of Edinburghshire, also called
Mid-Lothian. The tune was originally "When She Came Ben She Bobbit"
(or "when she came through the parlour, she curtseyed"), until about
1810 when it became known as "The Laird of Cockpen," after Lady
Nairne's (Caroline Oliphant) words to it. The song was one of the ones selected
by Queen Victoria for a recital by noted singer of Scots songs John Wilson,
during her visit to Taymouth Castle in 1842. The tune can be found in the
“Davies Collection.” Lady Nairne’s lyric goes:
***
The laird o'
Cockpen, he's proud an' he's great,
His mind is ta'en up wi' things o' the State;
He wanted a wife, his braw house to keep,
But favour wi' wooin' was fashious to seek.
***
Down by the
dyke-side a lady did dwell,
At his table head he thought she'd look well,
McClish's ae daughter o' Claversha' Lee,
A penniless lass wi' a lang pedigree.
***
His wig was
weel pouther'd and as gude as new,
His waistcoat was white, his coat it was blue;
He put on a ring, a sword, and cock'd hat,
And wha could refuse the laird wi' a' that?
***
He took the
grey mare, and rode cannily,
An' rapp'd at the yett o' Claversha' Lee;
"Gae tell Mistress Jean to come speedily ben,
She's wanted to speak to the Laird o' Cockpen".
***
Mistress Jean
was makin' the elderflower wine;
"An' what brings the laird at sic a like time?"
She put aff her apron, and on her silk gown,
Her mutch wi' red ribbons, and gaed awa' down.
***
An' when she
cam' ben, he bowed fu' low,
An' what was his errand he soon let her know;
Amazed was the laird when the lady said "Na",
And wi' a laigh curtsie she turned awa'.
***
Dumfounder'd
was he, nae sigh did he gie,
He mounted his mare - he rade cannily;
An' aften he thought, as he gaed through the glen,
She's daft to refuse the Laird o' Cockpen.
***
And now that
the laird his exit had made,
Mistress Jean she reflected on what she had said;
"Oh, for ane I'll get better, it's waur I'll get ten,
I was daft to refuse the Laird o' Cockpen".
***
Next time
that the laird and the lady was seen,
They were gaun arm-in-arm to the kirk on the green;
Now she sits in the ha' like a weel-tappit hen,
But as yet there's nae chickens appear'd at Cockpen.
***
Howe (1000 Jigs and Reels), c. 1867; pg. 122. Kennedy
(Jigs & Quicksteps, Trips & Humours), 1997; No. 98, pg. 24. Kerr (Merry Melodies), vol. 2; No. 306, pg. 34. Celestial
Entertainment CECS001, Brenda Stubbert (Cape Breton, N.S.) - “In Jig Time!”
(1995).
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:Laird o’ Cockpen
M:6/8
L:1/8
R:Air
S:Howe – 1000 Jigs and Reels (c. 1867)
Z:AK/Fiddler’s Companion
D | (G>AG) B2B | AFF F2A | (G>AG) g2 g/g/ | f>dd d2 (d/e/) |
.f.B.d .f.e.d | .c.d.B A2 (B/c/) | d>ed d2c | (B<G) G2
||
LAIRD OF COCKPEN'S
SCOTCH-MEASURE, THE. Scottish. The melody appears in
Henry Playford's 1700 collection of Scottish dance tunes.
LAIRD O' DRUMBLAIR
STRATHSPEY, THE. Scottish, Strathspey or
Schottische. A Major (Alburger, Bain, Brody, Cranford, Emmerson, Phillips,
Skinner): G Major (McCutcheon). Standard or AEae (recommended by Skinner in
1904) tunings. AB (Alburger, Hardie, Hunter, Johnson, Skinner): AA'B
(Emmerson): AABB (Bain, Brody, Cranford, Phillips): AA’BB’ (Perlman). The
mansion of Drumblair lies in the Parish of Forgue, on the north-western borders
of Aberdeenshire in the North West of Scotland. The tune was composed by J. Scott Skinner (1843‑1927) for his friend and
benefactor William F. McHardy of Drumblair, who gave Skinner use of a rent‑free
cottage for many years to support his art. In his autobiography (My Life and Adventures, Wallace Music,
1994) Skinner wrote that McHardy, the Laird, was so impressed with the
composition that for the remaining 15 years of his life he sent Skinner a
thank-you check at Christmas-time.
McHardy could apparently well afford to be magnanimous, for he had made
a fortune of over 100,000 pounds in South America with engineering enterprises
before returning to live at Forgue near Huntly. The tune is considered
one of the finest and most famous of Skinner's 600 compositions, and appears in
his Harp and Claymore collection. It
was one of the tunes included by him later in his career in the romantically
entitled 1921 concert set "Warblings From the Hills." Skinner,
writing in his autobiography My Life and
Adventures (first serialized in The
People’s Journal, 1923), described his inspiration for the tune:
"Suddenly [one night] a tune, 'pat' and complete, flashed into my head in
his honour. I jumped out of bed [looking for music manuscript paper]...but a
search produced nothing better than a piece of soap paper, and on this I
promptly dashed off 'The Laird o' Drumblair.' And the tune was dispatched as it
had been written." “Ye’re no’ gaun tae send that awfy-like paper tae the
Laird,” protested his wife, “He’ll jist licht his pipe wi’ it!” It was sent anyway.
Skinner also rendered the same melodic motif as a reel called “Angus Campbell.” Sources for notated
versions: Jean Carignan (Montreal, Canada) [Brody, Phillips]; Bill Hardie
(Scotland) [Hunter]; Francis MacDonald (b. 1950, Morell Rear, North-East Kings
County, Prince Edward Island) [Perlman]; Winston Fitzgerald (1914-1987, Cape
Breton) [Cranford]. Alburger (Scottish Fiddlers and Their Music),
1982; Ex. 111, pg. 187. Bain (50 Fiddle
Solos), 1989; pg. 13. Brody (Fiddler’s
Fakebook), 1983; pg. 162. Cranford (Winston
Fitzgerald), 1997; No. 77, pg. 34. Emmerson (Rantin’ Pipe and Tremblin’ String), 1971; No. 9, pg. 104. Hardie (Caledonian Companion), 1992; pg. 73.
Hunter (Fiddle Music of Scotland),
1988; No. 134. S. Johnson (A Twenty Year Anniversary Collection), 2003; pg. 13. Perlman
(The Fiddle Music of Prince Edward Island),
1996; pg. 197. Phillips (Fiddlecase
Tunebook), 1989; pg. 33. Skinner (The
Scottish Violinist), pg. 10. Skinner (Harp
and Claymore), 1904; pg. 93. Green Linnet SIF
3011, The Bothy Band – “1975” (fiddler Tommy Peoples renders it as a
strathspey, then a reel). Green Linnet SIF 3037, Silly Wizard - "Golden,
Golden" (1985). June Appal 003, John McCutcheon ‑ "How Can I
Keep From Singing" (1975. Learned from Malcolm Dalglish, who learned it
from a recording of a Scottish accordion player). Philo 2001, "Jean
Carignan" (appears as third tune of "J. Scott Skinner Medley").
Philo 1031, Boys of the Lough‑ "Lochaber No More." Topic 12T280, J. Scott
Skinner “The Starthspey King.”
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:Laird o’ Drumblair, The
M:C
L:1/8
R:Strathspey
N:”(Play with) Fire and force”
C:J. Scott Skinner
X:Harp and Claymore Collection
Z:AK/Fiddler’s Companion
K:A
E | {G}[A2A2] c>A [A<E<]A
c>A | {A}a2 g>a f>ae>c | (3.d.e.f (3.e.f.g (3.a.e.d (3.c.B.A |
(3.B.c.d (3.c.B.A (3.G.F.E (3.d.c.B
| {G}[A2A2] c>A E<A c>A | {A}a2 g>a f>ae>c |
(3.d.e.f (3.e.f.g (3.a.e.d (3.c.B.A
| (3GFE (3dcB {G}[A2A2] A || g | {g}a2 e>a c>aA>a |
c/B/A e>g a>A ca | {^a}b2
f>b d>fB>f | d/cB f>B {^a}g2>B d<b | {g}a2 e<a c>>a
A>>a |
c/B/A e>g a>Ac>A | (3.d.e.f
(3.e.f.g (3.a.e.d (3.c.B.A | GFE dcB {G}[A,2A2A2] [A,EA] ||
“Last”
| GFE DCB, (A,2 A,) || [E8A8] ||
LAIRD OF GULBERWICH, DA. Shetland, Reel. G Major. Standard tuning. AA'B. A modern composition by
the great fiddler and teacher Tom Anderson (Lerwick, Shetland), in honor of his
old friend in Gulberwich, Andrew Ridland. Anderson & Georgeson (Da Mirrie Dancers), 1970; pg. 31.
LAIRD OF MACFARLANE’S, THE.
Scottish, Strathspey. C Major. Standard tuning. AAB. Dr. Samuel Johnson,
in his account of his Scottish travels (A
Journey to the Western Isles of Scotland), mentions that on
***
Where races are thus numerous, and thus combined, none but the Chief of
a clan
is addressed by his name. The Laird of Dunvegan is called MacLeod, but
other
gentlemen of the same family are denominated by the places where they
reside,
as Raasa, or Talisker. The distinction of the meaner people is made by
their
Christian names. In consequence of this practice, the late Laird of
Macfarlane,
an eminent genealogist, considered himself as disrespectfully treated,
if the common
addition was applied to him. Mr. Macfarlane, said he, may with equal
propriety be
said to many; but I, and I only, am Macfarlane.
***
The Laird, renowned as a great
antiquary, died in 1767. Gow (Second
Collection of Niel Gow’s Reels), 1788; pg. 21 (3rd ed.)
X:1
T:Laird of Macfarlane’s, The
M:C
L:1/8
R:Strathspey
N:”Slow”
B:Gow – 2nd Collection of Niel Gow’s Reels, 3rd ed.,
pg. 21 (orig. 1788)
Z:AK/Fiddler’s Companion
K:C
e|c<G “tr”G2 E<C
“tr”C2|e>gd>f e<c “tr”d2|c<G “tr”G2 E<C “tr”C>f|e>gd>e
c/c/c c:||
e|g>age “tr”d>cde|c>GA>E
{B}c>
“tr”g>age {e}”tr”d>cde|c>G
A>E cED>E|C>ED>F EGG>f|e>gd>e c/c/c c||
LAIRD OF MACKINTOSH. Scottish, Strathspey. G Major. Standard tuning. AB (Athole, Gow): AAB
(Hardie, Hunter). The Laird of Mackintosh resides at Castle Moy, and is the
chief of the Clan Chattan. The castle lies in the mountain region of
Inverness-shire, in the hollow of a mountain on the edge of a small lake, Loch
Moy. In 1831 Sir Walter Scott gave that it was “surrounded by a black wood of
Scotch fir, which extends around the lake, and terminates in wild heaths, which
are unbroken by any other object as far as the eye can reach.” During the
period 1704 and 1833 no Mackintosh Chief left a son to follow him, a
circumstance known as “The Curse of Moy,” with the result that the leadership
of the clan passed from kinsman to kinsman, eventually including those residing
in
X:1
T:Laird of MacIntosh, The
M:C|
L:1/8
R:Reel
B:Stewart-Robertson – The
Athole Collection (1884)
Z:AK/Fiddler’s Companion
K:G
B/c/ | d2 Bg dGBG | FDAD FAA B/c/ | d2 Bg dGBG | FDAc BGG B/c/ |
D2 Bg dGBG | FDAD FAA B/c/ | dcBg ecAG | FDFA BGGz ||
dgg>f eaeg | fdef gfga | dggf eaeg | fadf g2 gg/f/ | gbfa egdB | ceBd ABce |
dcBg
dcBG | FDFd G2G ||
LAIRD
OF MACNAB, THE.
AKA – “The Laird of McNab’s Favorite.” Scottish, Air (6/8 time). A Major.
Standard tuning. AABB. Gow notes, “Old.” The McNab clan predominated in central
Highland Scotland around the area of Loch Tay. The name MacNab is derived from
the Gaelic Mac an Abbadh, meaning ‘son of the abbot’, and indeed, the
first MacNabs were lay abbots of the monastery at Glen Dochert before becoming
completely secularized. Gow (Fourth Collection of Niel Gow’s Reels), 2nd
ed., originally 1800; pg. 38.
X:1
T:Laird of MacNab, The
D:Jim Johnstone, Sound of
Z:Nigel Gatherer
L:1/8
M:6/8
K:A
E | A>BA c2d | ecA fga | ecA ded | cAF BGE |
A>BA c2d | ecA fga | ecA edB |
A3 A2 :|
c/d/ | eaa faa | eaa faa | efe edc | B2A GFE |
A>BA c2d | ecA fga | ecA edB | A3 A2 :|]
X:2
T:Laird of McNab’s Favorite
M:6/8
L:1/8
R:Jig
N:”Slow”
B:Gow – Fourth Collection of Niel
Gow’s Reels (1800)
Z:AK/Fiddler’s Companion
K:Amin
A2B e2d|(Bd).g (dB).G|A2B g2e|dBG
[C3E3A3]:||
“tr”a>^ga “tr”a>^ga|=geg
d’bg|a>^ga abc’|b>a{^ga}b a2b|
(ge).c (c’b).e|(d/e/d/)c/B/A/
GAB|(cB).a (BG).g|(dBG) [C3E3A3]||
LAIRD OF SHEN'S
FAVORITE. AKA and see "We're No Very Fou,
But We're Gayly Yet."
LAIRD OF STOW, THE.
Scottish, Strathspey. E Major. Standard tuning. AAB. Composed by Nathaniel Gow
(1763-1831). Irregular parts; the first having the usual eight bars, the
second, twelve. Stow is in the old Midlothian county of Scotland, located on
the Gala Water, several miles north of Galashiels. Gow (Sixth Collection of
Strathspey Reels), 1822; pg. 17.
X:1
T:Laird of Stow, The
M:C
L:1/8
R:Strathspey
N:”Very Slow”
C:Nathaniel Gow (1763-1831)
B:Gow – Sixth Collection of
Strathspey Reels (1822)
Z:AK/Fiddler’s Companion
K:E
(Be) e>d “tr”c2 B2|(g2 f)e
~d>e f2|(B<e) ed “tr”c2B2|g(a/g/) fe (d<b)(g<e)|(Be) e>d
“tr”c2B2|
(g2 f).e d~e f2|(B<e) ed
“tr”c2B2|g(a/g/) fe df e2:||(g2 f).e d”tr”e ;f2|gd (eg) g2f2|(B<e) e>d
“tr”c2B2|
g(a/g/) fe (df) b2|(B<e) e>d
“tr”c2B2|g(a/g/) fd (d<b)(g<e)|(g2 f)e d”tr”e f2|g(d eg) “tr”g2f2|
(B<e) e>d “tr”c2B2|g(a/g/) fe
(df)b2|(B<e) e>d “tr”c2B2|.g(a/g/) fe (d<b)(g<e)
LAIRD OF THRUMS. Scottish, Strathspey. A Major. Standard tuning. AB. Composed by J. Scott Skinner (1843‑1927) and dedicated to
Alex MacPherson of Kirriemuir; the title was Skinner's nickname for his friend,
and Thrums was the old name for Kirriemuir. Hunter (The Fiddle Music of Scotland), 1988; No. 131. Martin (Ceol na Fidhle), vol. 4, 1991; pg. 18. Philo 2001, "Jean Carignan." Topic 12T280, J.
Scott Skinner “The Starthspey King.” Smithsonian Folkways Records, SFW CD
40507, The Beaton Family of Mabou – “
X:1
T:The Laird o' Thrums
C:J. Scott Skinner
M:C
L:1/8
Z:Jack
Campin
Q:1/4=120
K:A
g| (3 agf (3 efg ({g}a2) (e>d) | (c<e)
(A>a) (c>B) (B>g) |
(3.a.g.f (3.e.f.g ({g}a2) (e>c) | (d>f) (B>e)
({cd}c>A) (A>g) |
(3.a.g.f (3.e.f.g ({g}a2) (e>d) | (c<e) (A>a)
({cd}c>B) (B>g) |
(3.a.g.f (3.g.f.e (3.f.e.^d (e>c) | (d<f) (B>e)
({cd}c<)A A ||
c| f2 (c>f) (A>f) (c>f) |(3.c.f.g (3.a.g.f (3.c'.f.g
(3.a.g.f|
({^d}e2) (B>e) (G>e) (B>e) |(3.B.e.f (3.g.f.e
(3.b.e.f (3.g.f.e|
{g}a2 (e>a) (c>e) (A>g) |(3.a.g.f (3.g.f.e
(3.f.e.d (3.e.d.c|
(3.d.e.f (3.B.c.d (3.c.d.e (3.A.B.c|(3.d.e.f (3.e.f.g ({g}a2-) a |]
LAISSE LES BONS TEMPS
ROULER. See "Les Bons Temps."
X: 1
T:
S: S. O Driscoll
N: Close relative to "The Westmeath
Jig" (#128)
M: 6/8
L: 1/8
Q: 280
Z: Transcribed by Bill Black
R: jig
K: D
E | EFG A2 d | =cBc E2 D | EGG EAA | EGG GED |
EFG A2 d | =cBc E2 D | EGG AGE | EDC D2 :|
d | fed edc | edc d2 e | fed cAA | cAG Ace |
dcB
cBA | d2 d cAG | EFG AGE | EDC D2 :|
LAKES OF
LAKES OF KELLARNIE. AKA – “Lakes of Killarney.” Irish, Jig. B Flat Major. Standard tuning.
AABC. Gow indicates the tunes provenance is Irish. There are three Lakes of
Killarney in County Kerry; Lough Leane, the Upper Lake, and Muckross Lake.
Carlin (The Gow Collection), 1986;
No. 344. Gow (Third Collection of Niel Gow’s Reels), 3rd ed.,
1792; pg. 31. The Kane Sisters – “Under the Diamond.”
X:1
T:Lakes of Kellarnie
M:6/8
L:1/8
R:Jig
B:Gow – Third Collection of Niel
Gow’s Reels (1792)
Z:AK/Fiddler’s Companion
K:Bb
B/c/|{b/c/}d.B.B “tr”d.B.B|fd(g
f)db|gcc “tr”c>de/f/|gec “tr”c2 B/c/|({B/c/}d).B.B “tr”cBB|
fdb ba>g|({g}f)(e/d/)c/B/
fdB|”tr”GFB B2:||d/e/|(f/g/)f/d/b (f/g/)f/d/b|gcc “tr”c>de/c/|
(f/g/)f/d/b (f/g/)f/d/b|”tr”GFB
“tr”B2 (d/e/)|(fd).B {B}(fd).B|(fg)g “tr”g>ab|(fd).B (fd).B|
ecc “tr”c2 (d/e/)|(fd).B (fd).B|fga
b2 a/g/|fdB fdB|c(c/d/)e/c/ g2 f/e/||
(d/B/)|(F_A).A (GB).B|A(F/G/A/)F
“tr”B2 (d/B/)|(F_A).A (GB).B|AF/G/A/F/ “tr”B2 B/c/|
dBF dBf|dBB “tr”e(f/e/)d/c/|dBF
dBf|dBB e2 f/e/||
LAKES OF MARLOW, THE. AKA and see "The Rakes of Mallow." A
southwestern Pennslyvania collected title.
LAKES OF PONCHARTRAIN, THE. AKA and see “County
Mayo,” “Lilly of the West.”
Irish, Air (3/4 time). A Major. Standard tuning.
X:1
T:The Lakes of Ponchartrain
M:3/4
L:1/8
K:A
E2|A4 f2|e4 fe|c2 B2 e2|c4 B2|\
A F3 G2|A4 A2|(A6 |A4) e2|
e4 c2|e2 f2 g2|a4 a2|g2 f2 e2|\
c4 B2|c2 d2 e2|(f6 | f4) f2|
e4 c2|e2 f2 g2|a4 a2|g2 f2 e2|\
c4 B2|c2 d2 e2|(f6 | f4) A2|
A4 f2|e4 fe|c2 B2 e2|c4 B2|\
A F3 G2|A4 A2|(A6 |A4) |>|
LAKES OF
See also listings at: Jane Keefer’s Folk Music Index: An
Index to Recorded Sources Alan Ng’s Irishtune.info |
X:1
T:Lakes of
M:2/4
L:1/8
K:D
FA AB|d>e dc|BA Bd|e/f/e/d/ ef|FA
AB|d>e ff/e/|dB Af|e2d2:|
|:fa d>e|fa ag/f/|gb e>f|gb
ba/g/|fa ef|d>e ff/e/|dB Af|e2d2:|
X:2
T: Lakes of
Q: 250
R: polka
Z: transcribed by B.Black
M: 2/4
L: 1/8
K: D
FA AB/c/ | d>e dc | BA Bd | e>d ef |
FA AB/c/ | de f>e | dB Af | e2 d2 :|
fa de | fa ag/f/ | gb ef | gb ba/g/ |
fa
ef | de f>e | dB Af | e2 d2 :|
LAKESIDE ROAD, THE (Botar na/an Loca). AKA and see “Shippool Castle Hornpipe.” Irish,
Hornpipe. G Major. Standard tuning. AABB. O'Neill (Krassen), 1976; pg. 197.
O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1699, pg. 316.
O'Neill (Dance Music of
X:1
T:
M:C|
L:1/8
R:Hornpipe
S:O’Neill – Dance Music of
Z:AK/Fiddler’s Companion
K:G
DF|G2 GF GBdB|cdef gfge|dBGB
dBGB|ABcA GFED|
G2 GF GBdB|cdef gfge|dgec BcAF|G2 GG
G2:|
|:Bc|d2 Bd GdBd|e2 ce Aece|d2 Bd
GdBd|AFDF AFDF|
d2 Bd GdBd|cdef gfge|dgdc BcAF|G2 GG
G2:|
LAKEVALE JIG, THE. Scottish, Jig. A Major. Standard tuning.
AABB'. Composed by
LAKEVIEW DRIVE.
Canadian, Jig. Canada, Cape Breton. D Major. Standard tuning. AABB.
Composed by the late Cape Breton fiddler and composer Jerry Holland
(1955-2009). The melody begins on the subdominant chord. Cranford (Jerry
Holland: The Second Collection), 2000; No. 271, pg. 97. Jerry Holland – “Crystal Clear” (2000).
LALA’S JIG. Canadian, Jig.
LALLA SINCE THE
QUEEN'S COME. Scottish, Strathspey. D Mixolydian.
Standard tuning. AAB. Composed by J. Scott Skinner
(1843-1927). MacDonald (The Skye
Collection), 1887; pg. 52.
X:1
T:Lalla Since the Queen’s Come
M:C
L:1/8
R:Strathspey
S:MacDonald – Skye Collection (1887)
Z:AK/Fiddler’s Companion
K:D
(F<A) (A>=c) (B>G)
A2|F<A A>=c B>G A<d|F<A A>=c B>G A2|E<=c ~c>G E2
=C2:|
A>d (c<d) A<D F2|A>d
(c<d) A<D F<A|A>d c<d A<D F2|E<=c c>G E2 =C>E|
A>d (c>d) A<D F2|A>d
(c<d) A<D F>A|A>d (c<e) (3dcB (3AGF|E<=c c>G E2 =C2||
LAMB ON THE LAWN. Irish, Reel. Composed by
LAMB SKINNET. AKA and see “Lanquenet.” Scottish,
English; Jig. G Major (Raven): A Major (Hunter). Standard tuning. AABB.
Scottish country dance versions are usually in the key of ‘A’ major. The title
is the vulgar term for the card game Lansquenet. See note for “Lanquenet” for
origins. Hunter (Fiddle Music of
X:1
T:Lamb Skinnet
T:Lanquenet
M:6/8
L:1/8
R:Jig
K:G
GBd dBG|c2e e2g|GBd dBG|F2A A2B|GBd
dBG|c2e e2 f/g/|fed ed^c|1 ded =cBA:||2 (d3 d2)||
|:e/f/|gdB gdB|c2e e2g|dBG dBG|F2A
A2 B/c/|dBG dBG|c2e e2 f/g/|dBG cAF|(G3 G2):||
LAMBERT FOLEY. Canadian, Jig.
LAMBERTON RACES. AKA ‑ "Colonel
Renton's Favourite." Scottish, Reel. F Major (Gow, Skye, Surenne): G
Major (Hardings). Standard tuning. AB (Harding, Skye, Surenne): AABB (Athole,
Gow): AABB’ (Kerr). Composed by Nathaniel Gow
(1763-1831). Gow (Second Collection of
Niel Gow’s Reels), 1788; pg. 11 (3rd edition). Hardings All Round Collection, 1905; No.
29, pg. 9. Kerr (Merry Melodies), vol.
4; No. 186, pg. 21. MacDonald (The Skye
Collection), 1887; pg. 139. Stewart-Robertson
(The Athole Collection), 1884; pg.
232. Surenne (Dance Music of
X:1
T:Lamberton Races
M:C
L:1/8
R:Reel
B:Gow – 2nd
Collection of Niel Gow’s Reels, pg. 11
(1788)
Z:AK/Fiddler’s Companion
K:F
F|(FA).c.f af”tr”ge|.f(dcA) BGGA|(FA).c.f af”tr”ge|f(d”tr”c>)B AFF:|
|:B|AcFc
AcFc|”tr”B>c (d/c/).B/.A/ BGGA|(FAc)f af”tr”ge|f(d”tr”c>)B AFF:|
LAMBERT’S JIG [1]. See note for “Rambling
Pitchfork.”
LAMBERT’S JIG [2]. AKA and see “Delaney’s Jig,” “Leitrim Jig [3],” “The Tynagh Jig.” Irish, Jig. D Mixolydian.
Standard tuning. AABB. Source for notated version:
LAMBETH WELLS.
English, Country Dance Air (cut time). G Minor. Standard tuning. AABB. The name
Lambeth is an Anglo-Saxon name derived from the word ‘hythe’ and used for a
place where lambs were shipped across a river; over time ‘lamb hythe’ was
reshaped by local tongues into Lambeth. Lambeth Wells was a fashionable spot
south-west of
LAMBING STORM, THE. Scottish, Reel. G
Minor. Standard tuning. AABB. Composed by David A. Gordon. Martin (Ceol
na Fidhle), vol. 3, 1988; pg. 18.
LAME (YELLOW) BEGGAR, THE (An Bacach Buide). AKA and see "An Bacach Buide."
LAME
X:1
T:Lame
M:6/8
L:1/8
S:O’Neill – Music of
Z:AK/Fiddler’s Companion
K:Ador
dBA A2c | BAB G2e | dBA ABd | e2d
efg | dBA A2c | BAB G2 d | gbg faf | e2d efg :|
|:def g2g|agf g2g|def g2 a|bge
edB|def g2g|agf g2a|bag agf|e2d efg:|
LAME DERMOT (Diarmuid Bacach). Irish, Air (2/4 time). A Major. Standard
tuning. AB. Source for notated version: "...copied from a MS. collection
lent to Mr. Pigot by James Hardiman, the historina of Galway and editor of Hardiman's Irish Minstrels'” (Joyce).
Joyce (Old Irish Folk Music and Songs),
1909; No. 760, pg. 374.
LAME DUCK, THE. Irish, Jig. CAT-WMR004,
Wendy MacIssac - “The ‘Reel’ Thing” (1994). Smithsonian Folkways SFW CD 40126,
Lamprey River Band – “Choose Your Partners!: Contra Dance & Square Dance
Music of New Hampshire” (1999).
LAME FISHERMAN, THE (An Iasgaire Bacac). AKA and see “The Girl with the Laughing Eyes,”
“Paddy Killoran’s [1],” “Sweeney’s Dream.” Irish, Reel. D Major.
Standard tuning. AB (O'Neill/1850): AABB (O'Neill/Krassen). Source for notated
version: Ryan [O’Neill]. Breathnach (CRÉ III), 1985;
No. 108 (appears as “Gan ainm/No title”). O'Neill
(Krassen), 1976; pg. 95. O'Neill (Music of Ireland: 1850 Melodies),
1903/1979; No. 1198, pg. 226.
X:1
T:Lame Fisherman, The
M:C|
L:1/8
R:Reel
S:O’Neill – Music of
Z:AK/Fiddler’s
Companion
K:D
(ABc|d2 FG A2 (3def|gfed fdBc | d2
FG A2 AB | AGEG FDDA | d2 FG A2 (3def |
gfed fdBc|d2 FG A2 de|faef d2 ||
(3efg | afbf afdf | gfed cd (3efg | afbf afdf |
abag fd (3efg|afbg afdf|gfed fdBc |
dAFG A2 de | faef d2 ||
LAME YELLOW BEGGAR, THE. See "The
Lame Beggar."
LAMENT, THE. AKA and see "An Caoine."
LAMENT FOR ABERCAIRNEY. AKA and see "Niel
Gow's Lament for Abercairney."
LAMENT FOR BISHOP
MACDONALD. Canadian, Lament.
X:1
T:Bishop MacDonald in D
M:4/4
L:1/8
Q:120
R:reel
K:D
FG| A2 AF A2 Bc| d>e (3dcB (3AFB
BA | B2 de f2 ed | BA FE FA AF |
M:2/4
L:1/8
Q:120
A2 Bc|
M:4/4
L:1/8
Q:120
| d>e (3dcB (3AFB BA | B2 (3Bcd
F2 G<E2|
M:2/4
L:1/8
Q:120
D2-DG|
M:4/4
L:1/8
Q:120
A2 AF A2 Bc | de dB B2 BA | B2 de f2
ed | BA FE FA AF |
M:2/4
L:1/8
Q:120
A2 Bc|
M:4/4
L:1/8
Q:120
| d>e (3dcB (3AFB BA | B2 Bd F2 E2 |
M:2/4
L:1/8
Q:120
D2-Dg |
M:4/4
L:1/8
Q:120
fa ab a2 fd | fb ba b2 (3abc' | d'2
fa b2 de | f2 ed BA FE |
fa ab a2 fd | fb ba b2 (3abc' | d'2
fa b2 de | f2 e2 d4||
%flute player PG Mulvaney from
harper Elaine Fortin
%from Rankin Family from K Burke?
from Ed Pearlman
% from CB fdlr Paul MacDonald,
whence?
LAMENT FOR CHARLES
MACCABE. Irish, Slow Air (3/4 time). A
Minor. Standard tuning. One Part. Composed by blind Irish harper Turlough
O'Carolan (1670-1738). This tune, according to Donal O’Sullivan (1958),
emanated from the result of a practical joke played upon the bard by Charles
MacCabe, one of his most intimate friends, and who, like O’Carolan, was an
itinerant poet and harper. Not much more is known about MacCabe, however. The
tale of the composting of the lament was told around the year 1830 by
Bartholomew O’Dowd (retold by Donal O’Sullivan, 1958). In the guise of a stranger, MacCabe waylaid
O’Carolan (who was journeying to a patron) on the road near the churchyard of
the
***
There is no pain, no torment, no distress so heavy and grievous
As the death of friends and the parting of comrades.
***
This line has led to alternate
titles for the tune, such as “Parting from a companion” (Petrie, 1855). Edward
Bunting (1773-1843) played the melody on the piano—calling it “The Parting of Friends”—on the
occasion of a gathering of friends and supports for the Irish patriot Wolfe
Tone and his family, on the eve of their departure for exile in
X:1
T:Lament for Charles MacCabe
M:3/4
L:1/8
R:Slow Air
C:O’Carolan
B:Stanford/Petrie – The Complete Petrie Collection of Ancient
Irish Music, No. 1022 (1905)
Z:AK/Fiddler’s Companion
K:Amin
A/G/|A2 cA AG|A2A2 A^c|d2 d^c de|f2
f2 ed|e2e2 ed|
cA A2 A^c|d2 ef ed|d2d2 z^c|d>e
f2 ed|e2e2 ed|
c2d2 cA|A2A2 ag|f2 e2 ed|dc ed cA|GE
D2 EG|A2 A3||
LAMENT FOR
DONALD BÁIN MACCRIMMON.
Scottish, Lament. A lament composed by Malcom MacCrimmon upon the death of his
brother, Donald Báin MacCrimmon, himself a famous piper. See note for “MacCrimmon’s Lament” for more on
this event.
LAMENT FOR DONOCH AN BHAILE-AODHA (Donogh of Ballea). Irish, Slow Air (2/4 time). D
Major. Standard tuning. AB. "From the whistling of Phil Gleeson of
Coolfree: about 1851. The Irish ode, or lament, of which the following is the
air, was sung for me by Phil Gleeson: but there is no need to give it here, as
it will be found in Hardiman's Irish
Minstrelsy, vol. ii., p. 272. It was composed by a well‑known Munster
Gaelic poet of the 18th century, Timothy O'Sullivan, commonly called Tadhg
Gaodhlach, 'Timothy of the Irish Composotions', to commemorate the death of
Donogh Mac Carthy of Ballea Castle near. Carrigaline, 8 miles S.‑E. of
Cork. As to Phil Gleeson's traditional manner of singing the ode‑‑which
he learned of course from older people:‑‑To the note D at the end
of the air he chanted, in monotone, a sort of cronaun consisting simply of the continued repetition of the two
vowel sounds, 'ee‑oo', 'ee‑oo', 'ee‑oo', &c., which was
prolonged ad libitum: the change from 'ee' to 'oo' being nade at intervals of
about a crotchet. Occasionally he ended the cronaun by suddenly sliding his
voice up to the third, fifth, or octave‑‑a common practice in
laments, nurse songs, plough whistles, &c" (Joyce). Joyce (Old Irish Folk Music and Songs), 1909;
No. 36, pg. 21.
X:1
T:Lament for Donoch an Bhaile-Aodha
M:2/4
L:1/8
S:Joyce – Old Irish Folk Music and Songs (1909)
Z:AK/Fiddler’s Companion
N:”Slow”
N:Sung on each of the last three
bars is “ee-oo”.
K:D
d|ff gg|aa ga|f3d|ff fd|fe
dd|d3||d|aa ga|fe/d/ cd|{e}f3 {g/e/e/d/} d|ff fd|
e>dc/A/ FG/E/|E4||d2d2|d2d2|d2d2||
LAMENT FOR EOGHAN RUA. See “Lament for Owen Roe O’Neill.”
Irish, Slow Air. A caoine obtained by collector George Petrie from the playing of
fiddler Frank Keane (Co. Clare, then living in
LAMENT
FOR FATHER MICHAEL MOLONEY [1]. Irish, Air (3/4 time). G Major.
Standard tuning. AB. The original air, composed by John Roche. Roche Collection, 1983, vol. 1; No. 67,
pg. 32.
LAMENT FOR FATHER
MOLONEY [2]. Irish, Air (3/4 time). G Major
('A', 'B', and 'C' parts) & D Major ('D' and 'E' parts). Standard tuning.
ABCDE. Version of #1, later added to by John Roche himself. Roche Collection, 1983, vol. 3; No. 59,
pg. 17.
LAMENT FOR/OF FLORA
MACDONALD, THE. AKA and see “Flora MacDonald’s Lament.”
Scottish, Slow Air (6/8 time). A Major. Standard tuning. AAB. Hunter (1988)
says that it was stated in the Gow collections that it was written by Nathaniel Gow's
first son, Niel Gow, Jr. (who became a physician as well as a keen amateur
musician, but who died at the age of 28), however it may have been an old
(Skye) air which he improved. However, in the Gow’s Sixth Collection
(Edinburgh, 1822) there is no composer attribution with the tune, and it is
identified as a “beautiful Jacobite Air.”
The air was set with words by the Ettrick Shepherd, poet James Hogg.
“Neil Gow, the famous violin player” sent Hogg some “rude verses translated
from the Gaelic,” which inspired the song (MacQuoid, Jacobite Songs and
Ballads, 1888). See also note for "Flora MacDonald..." George
Farquhar Graham (Popular Songs of Scotland, 1887) attributes the tune to
Neil Gow, Jr. Gow (Sixth Collection of Strathspey Reels), 1822; pg. 20.
Hunter (Fiddle Music of
X:1
T:Lament of Flora MacDonald
M:6/8
L:1/8
R:Air
N:”Slow with Expression”
N:”This beautiful Jacobite Air is
published separately as a Song,
N”words by the Errick
Shepherd.” (i.e. James Hogg)
B:Gow – Sixth Collection of
Strathspey Reels (1822)
Z:AK/Fiddler’s Companion
K:A
E|A>GA (FG)A|(Bd)(c/B/)
AGE|c>BA (E<d)c|(c/B/)A~G A2E|
{G}A>GA (FGA)|(Bd)(c/B/) AGE|c:BA
(E<d)c|(c/B/)A~G A2||E|
A>(Bc/d/) (ec).A|.E(Ec)
(dB)G|(Ac)e ~e>dc|B<cd (dc)B|
e>fe (dc)B|e>cA (GF)E|A>GF
(Edc)|(c/B/)AG A>(Bc/d/)|
~e>fe (dcB)|e>cA (GF)E|A>GF
(Ed).c|(c/B/)A~G A2||
LAMENT FOR HUGH
REYNOLDS. AKA – “She’s the dear maid to me.”
Irish, Slow Air (3/4 time). D Dorian. Standard tuning. One part. The song can
be found in Sparling's Irish Minstrelsy.
Hugh Reynolds, of County Cavan, was tried and hanged in 1826 for the abduction
of a woman named Catherine McCabe. The story has come down that Reynolds was
largely innocent, and the he and Catherine had planned to elope. Some time
after the event her parents had them arrested and turned her against Hugh, to
the extent that she gave evidence against him at his trial, when she claimed
she had been abucted. Source for notated version: fiddler Brian MacIntyre
(Virginia, Co. Cavan, Ireland) [Darley & McCall]. Darley & McCall (The Darley & McCall Collection of
Traditional Irish Music), 1914; No. 20, pg. 9. Treoir, vol. 34, No. 4, 2002; pg. 23.
LAMENT FOR KILCASH (Caoine Cill Cair/Cais).
AKA and see "Dungarvan," "Alas,
My Bright Lady," “The Fair at
Dungarvan,” "Nelly, My Love,
and Me," "Rose Connolly,"
"There is a Beech‑tree
Grove," "Were
You Ever in Sweet Tipperary." Irish, Air. A Jacobite song written
about 1710. Kilcash was the old mansion of the
LAMENT FOR KING GEORGE.
Scottish, Air. (Dr.) John Turner – “The Wanderer’s
Lament: Fiddle Music of Scotland.”
LAMENT FOR
LAMENT FOR LOCKERBIE. Composed by Angus Fitchet, born in
LAMENT FOR LUGH DARCY. Irish, Slow Air. Charlie Piggott – “The New Road.”
LAMENT FOR MICHAEL
DELARGY. Irish, Slow Air (4/4 time). D Major
(‘A’ and ‘C’ parts) & G Major (‘B’ part). Standard tuning. ABC. Composed by
fiddler and pianist Josephine Keegan (b. 1935), of Mullaghbawn, south County
Armagh, on the day of the funeral of her friend Michael Delargy (1942-1992),
who made her violin. Delargy, a science teacher in Newry, repaired violins and
made under 20 instruments, uniquely naming them after family members. Keegan’s
violin is Jane Catherine, named after his eldest daughter. Keegan wrote three
other tunes with Delargy in mind, “Michael Delargy Hornpipe,” “Hawthorn Hill,” and “Dublin Road Reel,” which together form
his address: Michael Delargy, Hawthorne Hill,
LAMENT FOR MR. RAMSAY OF BARNTON.
Scottish, Slow Air (whole time). G Major. Standard tuning. AAB. Composed
by Nathaniel
Gow (1763-1831), perhaps in memory of Mr. George Ramsay of Barnton,
Midlothian, who died in 1810. George was the son of a successful Edinburgh
banker (and director of the Royal Bank of Scotland), and was known for his
hunting and coaching exploits. He married, in 1791, Miss Jean Hamilton of
Wishaw (1769-1841), and they resided at the family manor, Gogor House (called
“the most baronial of Edinburgh’s late 16th and early 17th
century mansions”). (see also “Mr.
Hamilton of Wishaw,” composed by Nathaniel for Jean’s brother). Gow (Sixth
Collection of Strathspey Reels), 1822; pg. 25.
X:1
T:Lament for Mr. Ramsay of Barnton
M:C
L:1/8
R:Air
N:”Slow with expression”
C:Nathaniel Gow (1763-1831)
B:Gow – Sixth Collection of
Strathspey Reels (1822)
Z:AK/Fiddler’s Companion
K:G
B>A GF “tr”E2D2|~d>=c Be
(d/B/)(c/A/) (B/G/)(A/F/)|{G}B>A GF {F}”tr”E2 Dg/>e/|(d/B/c/A/ B/G/A/F/)
~G2G,2|
B>A GF “tr”E2D2|~d>=c Be
(d/B/)(c/A/) (B/G/)(A/F/)|{G}B>A GF {F}”tr”E2 Dg/>e/|(d/B/c/A/ B/G/A/F/)
{F}~G2 G,2:||
~d>c Bb/a/ “tr”g2
{fg}d>g|(e/f/g/f/ a/g/f/e/) (d/B/)(g/b/) a/f/g/e/|~d>=c Bb/a/ g2
“tr”(f/e/)(f/g/)|a/d’/^c’/>b/ {b}a/>g/{g}f/>e/ e2 {f^cd}~d2|
d>=c Bg/a/ (b/>g/)(g/<d/)
d/B/c/d/|(e/d/)(c/B/) (c/B/)(A/G/) (G/F/E/D/) (E/F/G/A/)|B>A GF “tr”E2
Dg/>e/|(d/B/c/A/ B/g/A/F/) {F}~G2 G,2|
~d>=c Bb/a/ “tr”g>a/b/4
dg|(e/f/g/)f/ (a/g/)(f/e/) d/B/(g/b/) a/f/g/e/|~d>=c Bb/a/ g2
“tr”f/e/f/g/|a/d’/^c’/>b/ {b}a/>g/{g}f/>e/ de/4f/4 g/4a/b/4^c’/4 d’2|
~d>=c Bg/a/ (b/g/)(g/d/)
.d/(B/c/d/)|e/d/c/B/ {AB}c/B/A/G/ G/F/E/D/ (E/G/F/A/ G/B/A/c/)|”tr”B>A GF
“tr”(E>F/G/4) Dg/e/|.d/(B/c/)(A/ B/)(G/A/)F/ “tr”G2G,2||
LAMENT
FOR MRS. OSWALD OF AUCHINCRUIVE. Scottish, Slow Strathspey. C
Dorian. Standard tuning. AABB. Composed by Nathaniel Gow
(1763-1831). Carlin (The Gow Collection),
1986; No. 107.
LAMENT FOR NIEL GOW. Scottish, Slow Strathspey. G Minor. Standard tuning. AABB. Composed by
Hugh Gilmore. Carlin (The Gow Collection),
1986; No. 108.
LAMENT FOR O’DONNELL. See “Caoineadh Uí
Dhomhnaill."
LAMENT FOR OLIVER GOLDSMITH.
Irish, Slow Air. Composed by Séamus Shannon, a
well-known entertainer in Ireland who plays button and piano accordions as well
as the trombone (!). It was composed as an air
without words. Paul Kinder writes: “The great fingerstyle guitarist Duck Baker was
at the Augusta Irish Week in 1994 and played this tune wonderfully at a slow
airs concert. He also told the following story”:
***
There was an
accordion player in London named Raymond Roland
who used to play at the White Hart in Fulham, among other places, who
played this tune. But I understand it was actually composed by another
accordion player named Seamus Shannon. In fact, the story is told that
Shannon was playing the tune in a pub one night and the publican told
him that he was really making a hash of it. Shannon said "What do you
mean? I wrote the
tune! " Replied the publican, "You may have written
it but you need to get
over to the White Hart and hear Raymond Roland
play it! "
***
Séamus Creagh – “Its No Secret” (learned from Raymond Roland). Martin Connolly – “The Fort of Kincora.”
LAMENT FOR O'REILLY. AKA and see "Tuireamh Uí
Raghallaigh."
LAMENT FOR OWEN ROE O'NEILL.
AKA ‑ "Uaill Cuma Eogan Ruaid Ua Niall." Irish, Slow Air (4/4
time). G Dorian. Standard tuning. AB. Composed by blind Irish harper Turlough
O'Carolan (1670-1738), or at least attributed to him by several authorities,
including Hardiman (Irish Minstrelsy,
London, 1831), Bunting (in General
Collection of the Ancient Irish Music, Dublin, 1796), Clinton (Gems of Ireland, London, 1841) and
Francis O’Neill (Waifs and Strays),
on stylistic terms. Gratten Flood, however, in his History of Irish Music (Dublin, 1905), says that the Owen Roe’s
“glorious” lament was composed soon after his death, in 1649, predating
O’Carolan’s birth by a score of years. Owen Roe O'Neill (1582-1649), or, in
Irish, Eoghan Rua Ó Neill, was a member of the noble O'Neill family of County
Tyrone who as a youth left Ireland for military service on the Continent. He fought in Netherlands and distinguished
himself as an officer in service with the Spanish, but in 1642 at the age of 60
he returned to Ireland and helped to mastermind the rebellion against the
Stuart regime called the Confederation of Kilkenny. O'Neill won an important
victory at Benburb in 1646, but died three years later of an illness at
Cloughouter, County Cavan, just before he was to campaign against Oliver
Cromwell's Roundheads. It has long been maintained in tradition that O'Neill
was in fact poisoned at the hands of a woman who placed the toxin in his shoes
before a banquet. O'Neill danced vigourously at the affair for several hours,
causing the substance to be absorbed into his skin, leading to his death
several days later. Irish,
Slow Air. The caoine, or lament, was obtained by collector George Petrie from
the playing of fiddler Frank Keane (Co. Clare, then living in Dublin), who
learned it from the singing of the women in Co. Clare but could not remember
the words. Hoffman (1877) included a version of it under the title “An
Arranmore Tune” (No. 115) in his collection of arrangements from Petrie’s
collection. The melody has become a fiddler’s showpiece. Complete Collection of Carolan's Irish Tunes,
1984; No. 211, pg. 144‑145. O'Neill (Krassen), 1976; pg. 245 (appears as
"The Lamentation of Owen Roe O'Neill"). O'Neill (Music of Ireland:
1850 Melodies), 1903/1979; No. 626, pg. 111. O’Neill (1913), pg. 118. O’Neill (Waifs and Strays of Gaelic Melody), 1922. Petrie, 1855 (appears as
“Lament for Eoghan Rua”). Green Linnet SIF 091, Paddy
O’Brien – “Stranger at the Gate.” Shanachie 79008, Clannad – “Dúlamán” (appears
as “Cumha Eoghain Rua Uí Néill".
Paddy O’Brien (et al) – “The Big Squeeze” (appears as “Lament for Eoin
Rhua”).
X:1
T:The Lamentation of Owen Roe
O'Neill
M:C
L:1/8
R:Air
S:O'Neill – Music of Ireland (1903) No. 626
Z:AK/Fiddler’s Companion
N:"Slow"
Z:bc/
K:Gm
(GABc) d3c | (Bcd=e) f2(ef) |
(gd)(dc) TB2(AG) | A2(GF) D2z2 |
| (GA)Bc d2cB | (cB)(AG) F2Ac |
(B2AG) (AGAc) | B2A>G G2z2 ||
|| (GABc) d3c | Bcd=e f2ef | g2d2
(edcB) | A2TG>G F2z2 |
| (d>ed).B .c.c.c.A | (B>cB).G
.A.G.F(D | B3)(G A3)(F | ~G>)FD^F G2z2 |]
X:2
T:Lament for Owen Roe O'Neill
C:Turlough Carolan
B:The Life Times amd Music of an Irish Harper
B:by Donal O'Sullivan
N:marked "Andante maestoso"
Z:Transcribed
by Paul de Grae
M:4/4
L:1/8
K:Gdor
GABc d3 c|Bcde f2 ef|gddc B2 {cB}AG|
A2 {BA}GF DCB,A,|GABc d2 cB|
cBAG F2 Ac|cBAG AGAc|B2 AG G4||
GABc d3 c|Bcde f3 d|g3 d _edcB|
A2 GF F_edc|d_edB cccA|BcBG AGFD|
B3 G A3 ^F|GFD^F G4||
LAMENT FOR OWEN
O'ROURKE. Irish, Lament. G Dorian. Standard
tuning. AABB. Composed by Turlough O'Carolan (1670-1738). Complete Collection of Carolan's Irish Tunes, 1984; No. 212, pg.
145.
LAMENT FOR PROPHET. Shetland, Air (4/4 time). G Major. Standard tuning. AB. "A slow
air composed in 1981 for the late Prophet Smith of Bressay" (Anderson).
Anderson (Ringing Strings), 1983; pg.
42. A & M Records 79602 2000-2, Ashley MacIsaac -
“Close to the Floor” (1992).
LAMENT FOR
ROGERS O’NEILL. Irish,
Slow Air (4/4 time). G Minor Standard tuning. AB. O’Neill, in his 1913 work Irish Minstrels and Musicians, identifies
this melody as having been written in 1904 “on the death of a young collegian
of brilliant promise in Chicago.” Rogers O’Neill was the last surviving son of
compiler Captain Francis O’Neill (three younger brothers had all died in
childhood, on the same day, from diptheria) who contracted spinal meningitis
and died at the age of 18. In addition to his academic success, Rogers was also
a promising violinist (Carolan, 1997). O’Neill (1913), pg. 118.
LAMENT FOR SARSFIELD [1]. AKA ‑ "Marbna Sairseul." Irish, Air (4/4 time). G Major. Standard tuning. AB. Patrick Sarsfield was a general in King James’ army in the wars against the forces of William of Orange in the very beginning of the 18th century. He led the ‘flight of the wild geese’ after the defeat of the Irish and French forces, leading 14,000 men into exile on the Continent.
***
I have two brothers and they are in the
army,
The one of them’s in Cork and the other’s in
Killarney
With my ri-fol-de-lay.
***
Stanford (1902) identifies this particular version as the ‘modern’ air, while Ó Canainn (1978) notes the original appears in Neale's Collection of the Most Celebrated Irish Tunes (Dublin, 1726), the first real collection of Irish folk music. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 433, pg. 76. Stanford/Petrie (Complete Collection), 1905; No. 312, pg. 78
X:1
T:Lament for Sarsfield
M:C
L:1/8
R:Air
N:”Distinctly”
S:O’Neill – Music of Ireland (1903), No. 433
Z:AK/Fiddler’s Companion
K:G
BA|G2 GG GG G2|AAAB cBAB|G2 GG
GBdg|fdcA B2 BA|G2 GG G2 GG|
ABcd cBAB|cdef g2 dc|B2 GG
G2z||d|defg edcB|defg e2 d>B|d>ege dBAG|
B2 A>A A2 AB|c2 cd ef g2|B2 AG
G3B|cege d2 BG|A2 GG G2||
LAMENT FOR SARSFIELD
[2]. Irish, Air (4/4 time). G Major. Standard
tuning. One part. Similar, though fragmentary-like, to version #1.
Stanford/Petrie (Complete Collection),
1905; No. 311, pg. 77.
LAMENT FOR SARSFIELD
[3]. AKA and see “Sarsfield’s Lamentation.” Irish,
Slow Air (3/4 time). From the Hibernian
Muse of 1787.
LAMENT
FOR SIR HARRY NIVEN LUMSDEN, BARONET OF ACHINDOIR. Scottish, Air ("Slow and Pathetic"). B Flat Major. Standard
tuning. AABB. Composed by William Marshall
(1748-1833) of Keithmore, near Fochabers, Banffshire. Sir Harry Niven Lumsden
had the good fortune to inherit the estate of Clova from a rich uncle (Cowie, The Life and Times of William Marshall,
1999). Lumsden married Harriet Christian Leith, daughter of Alexander Leith-Hay
(1758-1838) of Rannes and Leith Hall, “General Sandie”. Hunter (Fiddle Music of Scotland), 1988; No. 54.
S. Johnson (A Twenty Year Anniversary Collection), 2003; pg. 33. Marshall, Fiddlecase Editon, 1978; 1822 Collection, pg. 60. Lismore LILP 5017, Ron Gonnella – “Fiddler’s Fancy” (1975).
Rounder Records, John MacDougall - “Traditional Fiddle Music of Cape Breton,
vol. 2: The Rovers Return (various artists).
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:Lament, for Sir Harry Niven
Lumsden, Baronet of Achindoir
M:6/8
L:1/8
S:Marshall – 1822 Collection
Z:AK/Fiddler’s Companion
K:Bb
B/c/|d>cB F<DF|B,<BB B2
d/e/|f>ed d<cB|C<cc c2d|e2 f/g/4a/4 b>ag|
f<Bd f2e|d>cB F<DF G<BB
B2 :: D/C/|B,DF Bdf|~F>GF F2F B2F d2B|
(Ac)d e2f |g>fe def|gab
f2e|d>cB F<DF| G<BB B2:|
LAMENT FOR SIR ULICK
BURKE. Irish, Lament. A Dorian. Standard
tuning. One Part. Composed by blind Irish harper Turlough O'Carolan
(1670-1738). Complete Collection of
Carolan's Irish Tunes, 1984; No. 206, pg. 143.
LAMENT FOR STAKER
WALLACE, THE. Irish, Slow Air (3/4 time). G
Major. Standard tuning. AAB. See note under title “The Death of Staker Wallace [1].”
Ó Canainn (Traditional Slow Airs of
Ireland), 1995; pg. 14. Green Linnet SIF‑1110,
Brian Conway ‑ "My Love is in America: The Boston College Irish
Fiddle Festival" (1991).
LAMENT FOR TERENCE
MACDONOUGH. AKA and see "Young Terence MacDonough."
Irish, Lament (3/4 time). G Minor. Standard tuning. AB. Composed by blind Irish
harper Turlough O'Carolan (1670-1738). Donal O’Sullivan (1958) notes structural
similarities with “Carolan’s Cottage.”
O’Sullivan has an extensive background note on this tune, covering more than
two whole pages. Terence MacDonough (?-1713) of
X:1
T:Lament for Terence MacDonough
M:3/4
L:1/8
R:Air
S:John & William Neal – Collection of the Most Celebrated Irish
Tunes (
K:Gmin
GA|B2 {B}AGAB|G4 GA|B2 B/c/d Bd|c4
fe|d2 defe|dcdefd|
{d}c2 BAGF|F4 GA|B2 AG ga|g4 a2|ba
agfg|f4 dc|
B2B2 Bc|A2A2 Bc|d2G2 GA|G4||GF|D2G2
GA|G4 GF|
D2B2 Bc|B4 AG|F2f2 fg|{g}f2 edcB|g2
agfe|d4 {e}dc|
B4 dc|{B}A4 c2|dcd=efg|f4 dc|B2B2
Bc|A2A2 Bc|d2G2 GA|G4||
LAMENT FOR THE BARON
OF LOUGHMORE. Irish, Lament. The composition of
John (the) Scott, a Scottish harper living in Ireland and brother to two other
celebrated harpers, Harry and Rory "albanach" or Scott (Flood, 1906).
LAMENT FOR THE BARON
OF BALTRIM. Irish, Lament. The composition of
John (the) Scott, a Scottish harper living in Ireland and brother to two other
celebrated harpers, Harry and Rory "albanach" or Scott (Flood, 1906).
LAMENT FOR THE BATTLE
OF AUGHRIM. See “The Battle of Aughrim [1].” Irish.
This air appears in the appendix to Walker’s Historical Memoirs of the Irish Bards (1786).
LAMENT FOR THE DEAD. Irish, Slow Air (4/4 time). D Dorian. Standard tuning. One part. Joyce
had the tune from the Pigot Collection. Joyce (Old Irish Folk Music and Songs), 1909; No. 695, pg. 348.
X:1
T:Lament for the Dead
M:C
L:1/8
N:”Slow”
S:Joyce – Old Irish Folk Music and
Songs (1909), No. 695
Z:AK/Fiddler’s Companion
K:Ddor
A | f2 ed e3A | f2 e>d d3A | f2
ed e2 dc | d>c A4 Ac | d2 c>d eged |
c2 A>G G2 GE | A2 A>B c2 de |
d>edc A3 ||
LAMENT FOR THE DEATH
OF HIS BROTHER. AKA and see "Nathaniel
Gow's Lament for the Death of His Brother." Scottish, Slow Strathspey
(?){6/8 time}. A Minor. Standard tuning. AAB. Composed by Nathaniel Gow
(1763-1831). Nathaniel, the third son of Niel (1727-1807), outlived brothers
William, Andrew, and John. Carlin (The
Gow Collection), 1986; No. 109.
LAMENT
FOR THE DEATH OF THE REV. AIRCHIE BEATON. Scottish, Slow Air (4/4 time). G
Major. Standard tuning. AAB. Composed by John M. Mason, a lawyer, fiddler and
conductor (of the Kilmarnock and Ayr Strathspey and Reel Society and lately the
Scottish Fiddle Orchestra in Troon), and a native of the Orkney Islands. The
Rev. Airchie Beaton was Minister of Dundonald Parish Church in Ayrshire and a
champion of Gaelic culture, who died suddenly in 1971 at a Gaelic event. Hunter
(Fiddle Music of Scotland), 1988; No.
7. Martin (Ceol na Fidhle), vol. 2,
1988; pg. 19. Green Linnet SIF‑1084, Eugene
O'Donnell ‑ "The Foggy Dew" (1988). Rounder RO 7023, Natalie MacMaster - “No Boundaries” (1996).
X:1
T:Lament for the Death of Reverend
Archie Beaton
M:C
Q:180
L:1/8
K:G
Bc|d3 d {e}dc {Bc}BA|{F}G2 B2 D3
G|{EF}E2 {F}GE {DE}D3 B,|{B,}A,6 (Bc)|
d3 d {e}dc {Bc}BA|{F}G2 B2 D3
G|{EF}E2 {d}cA {G}F3 D|{D}G6 :|
{C}B,A,|G,3 B, D3 D|{Bc}B3 A {F}G3
E|{DE}D2 {F}GE {DE}D3 B,|{B,}A,6 {C}B,A,|
G,3 B, D3 D|{Bc}B3 A {F}G3 E|{DE}D2
{F}GB, {A,B,}A,3 B,|{A,}G,6 {C}B,A,|
G,B,DG Bdga|{ga}b3 a {ga}g3 e|{^c}d2
{ga}ge {^c}d3 B|{B}A6 (Bc)|
d3 d {de}dc {Bc}BA|{F}G2 B2 D3 G|E2
{d}cA {G}FDCA,|{A,}G,6 z2|
LAMENT FOR THE EARL OF
WIGTOWN (Cumha Iarla
Wigtown).
Scottish, Slow Air. The likely subject of the title is the son of John, Lord of
Fleming, whose name also was John and who was created the first earl of
Wigtown. John died in 1619.
LAMENT FOR THE FOX. Irish, Air (3/4 time). D Major/Mixolydian. Standard tuning. ABB’. Ó
Canainn (Traditional Slow Airs of Ireland),
1995; No. 69, pg. 61.
LAMENT FOR THE
HIGHLAND CLEARANCES. AKA and see "Lord Lovat's Lament."
LAMENT FOR THE
SPAILPÍN. AKA and see “Caoinead an Spailpín.”
LAMENT FOR THE TOBACCO
VALLEY. American. Great
Meadow Music GMM 2003, “Rodney Miller’s Airdance” (2000).
LAMENT FOR THOMAS
FLAVELL, A. AKA and see “Billy Byrne of Ballymanus.”
LAMENT FOR UNA
MACDERMOT. AKA and see “Caoine for
Winifred McDermot, Roscommon.” Irish, Slow Air (6/8 time). E Flat Minor.
Standard. One part. Stanford/Petrie (Complete
Collection), 1905; No. 1020, pg. 259.
X:1
T:Lament for Una MacDermot
M:6/8
L:1/8
R:Air
B:Stanford/Petrie – The Complete Petrie Collection of Ancient
Irish Music, No. 1020 (1905)
Z:AK/Fiddler’s Companion
K:Dmin
A|.d.d.d .d.d.d|f2e e2e|fed
ed^c|d.d.d d=cz|d<de f2e|d<d=c d2 A/A/|cdA GF=C|DDD D2||
LAMENT FOR WILL STARR. Scottish, Lament. E Flat Major. Standard tuning. AAB. A composition by
Angus Fitchett, born in Dundee in 1910 and a leading country dance band leader
and fiddler during the mid‑20th century in Scotland. In 1921 he saw the
great J. Scott Skinner perform at the Caird Hall, and his own recording career
began in 1931 (for Beltona). Another popular composition of his is “J. B. Milne.”
X:1
T:Lament for Wll Starr
M:C
L:1/8
Q:60
Z:G. Blair
C:A.Fitchet
R:Slow Air
K:Eb
^F|G>E CE/G/ A>F D2|Gc cd/e/
d>=B G2|A>F DA G>E CD|EG G,=B, C2-C:||
[A,D]|[G,E]>G BG Ac F2|Gc cd/e/
d>B G2|A>F DA G>E CD|EG G,=B, C2-C [A,D]|
[G,E]>G BG Ac F2|[=A,F]>A
cd/e/ dB B2|g>f ed e>=B c_B/A/|GF/E/ GG, C2-C||
LAMENT OF FLORA MACDONALD. See "Lament for Flora
MacDonald."
LAMENT OF THE ARAN FISHERMAN. Irish, Air (3/4 time). G Major. Standard tuning. AB. Verses set to the tune mourn the drowning of a fisherman. Source for notated version: from the singing of County Kerry native Seamus Moriarty, noted by Francis E. Walsh of San Francisco [O’Neill]. O’Neill (Waifs and Strays of Gaelic Melody), 1922.
X:1
T:Lament of the Aran Fisherman
M:3/4
L:1/8
S:Seamus Moriarty,
Z:Paul Kinder
R:Air
K:G
"Andante con Expression"GA|B2 e2 (3fe^d|e E3 GA|B3 {cB}A AG|G4 Bc|
d2 Bd ef|g2|fe f>^d|e2 =dB A>G|E4||
Bc|d2 Bd ef|g2 fe f>^d|e>=d BA BG|E4 (3EGA|
B2 e2 f^d|e E3 GA|B2 {cB}AG A>G|G4||
LAMENT OF THE FAIRY
GODDESS. AKA and see "Cumha an De-Bhean Si."
LAMENT OF THE WOMEN IN
THE BATTLE, THE (Gol na mBan san
Ar). Irish,
Slow Air (3/4 time). G Major. Standard tuning. One part. The air appears in the
appendix to Walker’s Historical Memoirs
of the Irish Bards (1786) and Thompson’s Hibernian Muse (1786), though in the latter collection in appears
under the title “An Irish Dump” (dump meaning here a lament or sad tune). Ó
Canainn (Traditional Slow Airs of Ireland),
1995; No. 116, pg. 99.
LAMENT
OF WILLIAM McPETER THE OUTLAW. Irish, Slow Air or Lament (3/4
time). F Major. Standard tuning. One part. Stanford/Petrie (Complete Collection), 1905; No. 1026,
pg. 261.
X:1
T:Lament of William McPeter the
Outlaw
M:3/4
L:1/8
R:Air
B:Stanford/Petrie – The Complete Petrie Collection of Ancient
Irish Music, No. 1026 (1905)
Z:AK/Fiddler’s Companion
K:F
f2|e2d2 c>A|G2G2 A>G|F2F2G2|A4
c2|d2d2 c>A|
A>G G2 A>G|F2 FD FG|A4
f>e|(e>d) d2 cA|AG G2 AG|
F2 FD FG|A4 FG|(Af) f2 gf|e2d2 cA|c2
dc AG|G2F2F2|F4||
LAMENT ON CON O'LEARY'S WIFE'S DEATH. Irish, Slow Air (3/4 time). D
Dorian. Standard tuning. One part. Source for notated version: a MS of Mr. T.L.
O'Callaghan, bandmaster of Reformatory (Philipstown, King's Co., Ireland)
[Darley & McCall]. Darley & McCall (Darley
& McCall Collection of Irish Music), 1914; No. 39, pg. 17.
LAMENT
ON THE DEATH OF REV. ARCHIE BEATON. AKA and see “Lament for the Death of the
Reverand Airchie Beaton.”
LAMENT TO CARRY YOU HOME.
Canadian, Slow Air or Lament (3/4 time). Canada, Cape Breton. A Major. Standard
tuning. AA'BB'. Composed by Gardiner Mines, Cape Breton, piano player and
step-dancer Dawn Elizbeth MacDonald, a student at Saint Francis Xavier
University in Antigonish, Nova Scotia.
Cook (Night in the Kitchen
Collection), 1996; pg. 13.
LAMENTATION
FOR FATHER CHARLES O'RODICAN. Irish, Air (4/4 time). D Minor.
Standard tuning. ABBC. Source for notated version: Hugh O'Beirne, professinal
fiddler from Ballinamore, Co. Leitrim, 1846. Joyce (Old Irish Folk Music and Song), 1909; No. 612, pg. 315.
LAMENTATION
FOR JAMES MORAY OF ABERCARNEY. See “Niel Gow’s Lamentation for James
Moray Esq. of Abercarney.”
LAMENTATION FOR JAMES
MURPHY (Seumas Ua Morochoe). Irish, Slow Air (3/4 time). D
Mixolydian. Standard tuning. AB. Source for notated version: "Paddy
Conneely, the Galway piper," via Forde (Joyce). Joyce (Old Irish Folk Music and Song), 1909;
No. 461, pgs. 257‑258.
LAMENTATION FOR JOHN
MURRAY (9th Earl
of Dunmore). Scottish, Slow Air (whole time). D
Mixolydian. Standard tuning. AABB. Composed by Dr. John Turner; musician,
composer, performer, teacher and director of the Jink and Diddle School of
Scottish Fiddling, held yearly in Valle Crucis, North Carolina. Johnson (A Twenty
Year Anniversary Collection), 2003; pg. 4. Turner (Melodies
in the Scottish Style), 1984.
LAMENTATION FOR
McGRIGOR OF RORO (MacGriogair a Ruaro). See “Mac Griogair a Ruaro.”
LAMENTATION
FOR THE FALLEN HEROES OF WATERLOO. Scottish, Slow Air or Lament (4/4
time). E Flat Major. Standard tuning. AB. Gow (1817) notes: “Communicated by Mrs.
McNiel of Collonsay.” The battle of Waterloo was fought on June 18th,
1815, some two years prior to the printing of Gow’s 4th Repository, and, in the context of the
times, the heroic event was still quite topical (see also the Gow’s
“Lamentation for the Fallen Heros of Waterloo”). Gow included two other tunes
in the same collection that refer to the battle, “The Highland Brigade at Waterloo”
and “The Royal
Highlanders Welcome from Waterloo.” Gow (Complete Repository),
Part 4, 1817; pg. 4.
X:1
T:Lamentation for the Fallen Heroes
of
M:C
L:1/8
S:Gow – 4th Repository (1817)
Z:AK/Fiddler’s Companion
N:”Pathetic”
Q:60
K:E_
B|(G<e) e>d c>B G2|(Ge)
{e}d>c {c}BG F2|G<G ~F>E FG e2|c>G (Bc) GF E2||
Ge e>d c>B G2|Ge ~ed/e/ fG
F2|G<G FE FG e2|c>G ~Bc/E/ G~F E||
LAMENTATION OF AUGHRIM, THE. Irish, Air (3/4 time). D Major. Standard tuning. AB. At the battle of Aughrim, July 12th 1691, fought near Ballinasloe, County Galway, General St. Ruth in command of the Irish forces, and 7,000 of his troops were killed. Source for notated version: copied from McCullough’s Collection of Irish Airs, Dublin, 1821 [O’Neill]. O’Neill (Waifs and Strays of Gaelic Melody), 1922.
X:1
T:Lamentation of Aughrim, The
M:3/4
L:1/8
S:McCullough's Collection of Irish Airs, Dublin 1821
Z:Paul Kinder
R:Air
K:D
"Andantino"DE|F2 A2 B>A|d2 d2 (3def|e2 d2 f>d|c>B B2 AF|A2 A2 FA|B4 AF|
D3 D ED|D4 D>E|F2 d3 c|B2 A2 F>E|E2 D2 E>D|D4||
fg|f2 e2 ga|g2 f2 ba|gf ed cd|d2 c2 A2|
Bc de fg|a2 f2 g2|f2 d'2 c'2|d'4||
LAMENTATION OF DEIRDRE FOR/OVER THE SONS OF USNEACH. See "Fada an
la gan clann Uisneach." Irish, Slow Air (3/4 time). G Major. Standard
tuning. One part. Edward Bunting classified this tune as “very ancient,” by
which he meant pre-Christian, and associated it with Fenian cycle of bardic
tradition. Derek Bell, Chieftains harper, considers the tune to be the “oldest
extant piece of Irish music.”
***
The story of Deirdre and the sons of Usneach (sometimes Uisneach) is an ancient
Irish love tragedy. Deirdre was the daughter of Felimid, and when she was born
the druid Cathbad made a prophecy that she would grow to be very beautiful, but
would bring great sorrow and suffering the the people of Ireland. Promised to
King Conor Mac Nessa, she was reared apart from men until she became of age and
could be taken to wife, but her upbringing was happy enough, with every luxury
she could want afforded her. By chance, however, she one day met Naoise, son of
Usneach and a warrior in the king’s army, and the two fell instantly in love.
They resolved to elope, and, in the company of Naoise’s brothers, they fled, hotly
pursued by the vengeful king’s warriors. A great battle was fought leaving
hundreds of warriors dead, but they continued on still pursued. Finally, the
lovers were hounded out of Ireland and were forced to take refuge in Scotland.
There was no peace for them there, however, for the King of Scotland had heard
of Deirdre’s beauty and resolved to have her for himself, and the sons of
Usneach fought yet another battle. In the aftermath, they were driven out of
Scotland and returned to Ireland. Conor Mac Nessa pretended peace and invited
Deirdre and Naoise to a feast, but the king treacherously slew Naoise and
forced Deirdre to submit to him. Her grief was enourmous, her cries pitiful,
and such was her pain that she resolved to be reunited with Naoise—she dashed
her head against a rock, destroying her beauty as well as her life.
***
Words to
St. Patrick’s Lorica were set to this tune, resulting in the hymn called “St.
Patrick’s Breastplate.” Petrie (1855) notes that his version was “Set in Mayo.”
Stanford/Petrie (Complete Collection),
1905; No. 1019, pg. 259.
X:1
T:Lamentation of Deirdre for the
sons of Usnach, The
B:The Complete Collection of Irish
Music as noted by
B:George Petrie, edited by Charles
Villiers Stanford; no. 1019.
R:air
M:3/4
Z:transcribed by Paul de Grae
L:1/8
K:G
GA|B3 AGE|DE G3 A/B/|c3
cBG|AGEDEG|A2‑A2 Bc|
d2 g>e dB|A/G/E D3 D/E/|G{B}AGE
DE|GABG ~A2|G2‑G2||
LAMENTATION OF
O’REILLY’S BRIDE. Irish, Slow Air (3/4 time). G
Dorian. Standard tuning. AB. Joyce (Old
Irish Folk Music and Songs), 1909; No. 474, pg. 263.
X:1
T:Lamentation of O’Reilly’s Bride
M:3/4
L:1/8
R:Slow Air
S:Joyce – Old Irish Folk Music and Songs (1909)
Z:AK/Fiddler’s Companion
K:G Dorian
(3DEF | GBAGFG | Aefgfd | dcBG GE |
F2F2 (3DEF | GBAGFG | Aefgfd | dcBG GG | G4 ||
(3def | g2 gfde | f>ggagf | dcBG
GE | F2F2 (3DEF | GBAGFG | Aefgfd | dcBG GG | G4 ||
LAMENTATION OF OWEN
ROE O'NEILL, THE. AKA and see "Lament for Owen Roe O'Neill."
LAMENTATION
OF SIR RICHARD CANTILLON. Irish, Slow Air or Lament (3/4
time). F Major. Standard tuning. AA. Sir Richard Cantillon was an Irish
expatriate banker and economist who became a multi-millionaire as the result of
his financial manipulations during the Mississippi System of John Law, between
1718-1720. His most famous work was Essai
Sur La Nature Du Commerce En Général, a book that has been called ‘the
first systematic treatise on economics’. Cantillon came from a Kerry family
disposed in the Cromwellian era and spent much of his life in France, where he
was banker to the Stuart Court in exile. The First Earl of Egmont noted in his
diary for Tuesday, the 14th of May, 1734:
***
I was most disagreeably surprised at my arrival in town to hear that my
brother
Percival was this morning at four o’clock burnt out of his house and had
lost all
his furniture, except his plate, some pictures, and some books. The Fire
began,
as he told me at the next house, lately taken by Mr. Cantillon, the rich
banker
whom I knew at Paris, who was but lately come to the house, and was
burnt in
his bed, of which there are varying reports, some saying he came drunk
home at
twelve at night, and fired his curtains, others that he read himself to
sleep and the
candle fired his bed, others that his servants murdered him and the
fired the house
to conceal their crime. He was a debauched man, and his servants of bad
reputa-
tion so being very rich it is though they were tempted to commit this
fact, for
which informations were taking when I visited by brother on this great
loss,
amounting as he tells me to £700. I desired him to go to my house in
Pall Mall.
***
Cantillon was described in the Monthly Intelligencer (The Gentleman’s
Magazine) as ‘a French Wine-Merchant in Albermarle Street’ who was found
smothered in his bed, and his head almost burnt or cut off. Apparently,
Cantillon kept huge sums of money in his home (£200,000 insists the Intelligencer) which went missing. The
servants were arrested and three (Isaac Burridge, Roger Arnold and Elizabeth
Pembroke) were tried for the crime but acquitted. Suspicion settled on a French
cook who had been let go three weeks before the murder, who had disguised
himself and escaped overseas with a seemingly valuable cargo, never to be
found. Source for notated version: “Madden” [Stanford/Petrie]. Stanford/Petrie
(Complete Collection), 1905; No.
1025, pg. 261.
X:1
T:Lamentation of Sir Richard
Cantillon
M:3/4
L:1/8
R:Air
B:Stanford/Petrie – The Complete Petrie Collection of Ancient
Irish Music, No. 1025 (1905)
Z:AK/Fiddler’s Companion
K:F
cB|A2G2FA|A4 cd/e/|fg/f/ edcA|{A}G4
Ac|
d2 df dc/A/|A2G2 Ac>A|G2F2F2|F4:|
LAMH DEARG ABU. Irish. The tune is at least as old as the latter 16th century,
according to Gratten Flood (1906).
LAMONT'S REEL. AKA and see "The Barrow Castle,"
"Belles of Tipperary [2],"
"The Blea‑berry Blossom,"
"Connacht Lasses,"
"The Connacht Star,"
"The Dandy Girl/Lass/Lasses,"
"The Four Courts of Dublin,"
"Green Fields to America,"
"The Kerry Star," "Jackson's Welcome to Cork [1],"
"Johnny Shooting in
the Glen," “Mel Roddy’s Tune”
(northeast Kings County, PEI), “Miss Mona(g)han('s Reel),”
"O'Connell in Clare," “Shannon’s Shores,” "Stormy Weather [1]," "The White‑haired Piper.”
LAMOTT’S JIG. Scottish (?), Jig. G Major. Standard tuning. AABB. McGlashan (Collection of Scots Measures), c. 1780; pg. 22.
X:1
T:Lamott’s Jig
M:6/8
L:1/8
R:Jig
B:McGlashan – Collection of Scots Measures (c. 1780)
Z:AK/Fiddler’s Companion
K:G
G,|B,/C/DD E/F/GG|B/c/dd e/f/ge|f3
d2g/f/|ega bef|gBc dDF|G3 G,2:|
|:e/f/|g>fe dBG|c>d/c/B/
AEA|F3 D2 E/F/|GFE DB,D|ECE FDF|G3 G2:|
LAMOTT’S RIGADON. Scottish (?), Country Dance Tune (6/8 time). D Minor. Standard tuning.
AAB. The ‘A’ part is four measures while the ‘B’ part is six measures long. McGlashan (Collection of Scots Measures), c. 1780; pg. 23.
X:1
T:Lamott’s Rigadon
M:6/8
L:1/8
R:Jig
B:McGlashan – Collection of Scots Measures (c. 1780)
Z:AK/Fiddler’s Companion
K:Dmin
d/^c/|d2A F>GA|D2D D2 f/e/|f2c
A/B/c/B/A/G/|(F3 F2):|
|:f/e/|f2 c A>GF|G>AG G2A|DEF
EFD|A3 d2e|fed Ad^c|(d3 d2):|
LAMPLIGHTER. American, Jig (9/8
time). D Major. Standard tuning. AB. The tune was played as a Retreat in the
army during the American Civil War (retreat does not mean a withdraw in face of
the enemy, but rather the end of the day’s assigned duties with the coming of
dusk). Bruce & Emmett’s Drummers’ and Fifers’ Guide, 1862; pg. 40.
X:1
T:Lamplighter
M:9/8
L:1/8
R:Retreat
N:Lively
S:Bruce & Emmett’s Drummers & Fifers Guide (1862)
Z:AK/Fiddler’s Companion
K:D
e | A=ce
efd edB | A^ce edB d3 | A^ce efd edB | Bg=c BAG A2A | A=ce efd edB |
A^ce edB d3
| A=ce efd edB | Bg=c BAG A2 || d | efg agf g<ed | efg agf g2d |
efg agf g<ed | BAG GAB d2e | efg
agf g<ed | efg agf g2d | efg agf g<ed | BAG GAB d2 ||
LAMPLIGHTER'S HORNPIPE
[1]. AKA and see "Merry Soldier." American, Canadian,
Scottish; Hornpipe. USA; New York, Maine. A Major (most versions): G Major (Shaw).
Standard tuning. One part (Burchenal): AB (Bronner, Silberberg): AABB (most
versions): AA'BB' (Kerr). The first
strain is similar to the first strain of "Key West Hornpipe." It was
cited as having commonly been played for country dances in Orange County, New
York, in the 1930's (Lettie Osborn, New
York Folklife Quarterly), and Bronner (1987) says it is more popular with
old‑time fiddlers in New York State than the literature on tune
collecting shows. He thinks its features suggest an 18th century British Isles
derivation (a safe guess). Burchenal (1918) uses the tune for two New England
contra dances she prints alongside, one called the "Boston Fancy" and
the other the "Lamplighter's Hornpipe;" Tolman and Page, in the
"Country Dance Book" also have a dance they call the
"Lamplighter's Hornpipe" which is similar to the dance given as
"Lamplighter's Hornpipe" in Elias Howe's 1858 Ball‑Room Hand Book (pg. 85). Presumably, this is the same
dance Howe later printed with the tune in his 1000 Jigs and Reels (c. 1867). Tony Parkes and Steve Woodruff
(1980) find the tune in Elisha Belknap's (Framingham, Mass.) 1784 manuscript,
though it may have been added around the year 1800, and remark that both dance
and tune were very popular in the mid‑19th century. Bronner (1987)
indicates the tune was often an alternate for dances which call for
"Durang's Hornpipe," while Briggs suggests it for "Jefferson and
Liberty," an easy contra dance. The tune was listed in the repertoire of
Maine fiddler Mellie Dunham (the elderly Dunham was Henry Ford's champion
fiddler in the mid‑1920's). Sources for notated versions: Les Weir, 1976
(New York State; learned from his father) [Bronner]; Ruthie Dornfeld, Ron West
[Phillips]; Laurie Andres [Silberberg]. Bronner (Old-Time Music Makers of New York State), 1987; No. 28, pg. 117.
Burchenal (American Country Dances, Vol.
1), 1918; pg. 39 (appears as "Boston Fancy" [1]) and pg, 49. Cole
(1000 Fiddle Tunes), 1940; pg. 93.
Ford (Traditional Music in America),
1940; pg. 85. Howe (1000 Jigs and Reels),
c. 1867; pg. 82. Jarman (Old Time
Fiddlin' Tunes); No. or pg. 28. Kerr (Merry
Melodies), Vol. 2; No. 342, pg. 38. Miller & Perron (New England Fiddlers Repertoire), 1983;
No. 108. Phillips (Traditional American
Fiddle Tunes), Vol. 2, 1995; pg. 204 (two versions). Ryan’s Mammoth Collection, 1883; pg. 128. Ruth (Pioneer Western Folk Tunes), 1948; No.
21, pg. 9. Sandvik (Folke‑Musik i
Gudbrandsdalen), 1919 & 1948; pg. 79. Shaw (Cowboy Dances), 1943; pg. 389. Silberberg (Tunes I Learned at
Tractor Tavern), 2002; pg. 86. Sweet (Fifer’s
Delight), 1954/1981; pg. 64. White's
Unique Collection, 1896; No. 107, pg. 19. Alcazar
Dance Series FR 203, Rodney Miller ‑ "New England Chestnuts"
(1980). Fretless 132, "Ron West: Vermont Fiddler." MCA Records MCAD
4037, “The Very Best of Don Messer” (1994).
X:1
T:Lamplighter’s Hornpipe
M:C|
L:1/8
K:A
|:ec ec ea gf|ec ec ea gf|e2 ce fe dc|d2B2B2cd|ec ec ea gf|
ec ec ea gf|ef de cA BG|E2A2A2cd:|
|:ed cd e2fe|dc Bc d2 ed|cA cA dc BA|GA Bc B2cd|ed cd e2 fe|
dc
Bc d2ed|ca Ac BA GB|A2c2A2cd:|
LAMPLIGHTER'S HORNPIPE
[2]. AKA and see "Hand Organ Hornpipe."
LAMRAIS UA GABAIG. AKA and see "Larry O'Gaff."
LAMRAIS UA GRUGAIN. AKA and see "Larry Grogan."
LAMSHAW'S
FANCY. English,
Reel. England, Northumberland. G Major. Standard tuning. AABB. There were two
Lashaws that the title might refer to: ‘Old’ William Lamshaw (1712-1798) and
‘Young’ William Lamshaw (1782-1896), who was the grandson. Lamshaw was an
innkeeper at Morpeth and one of the Town Waits (hired musicians on the
municipal payroll). He became the Duchess of Northumberland’s piper in 1775 and
was musical tutor to the famous Northumbrian piper John Peacock. Lamshaw the younger was piper to the Duke of
Northumberland. Bruce & Stokoe (Northumbrian Minstrelsy), 1882; pg. 177. Raven (English Country Dance Tunes), 1984; pg.
183.
X:1
T:Lamshaw’s Fancy
M:C
L:1/8
R:Reel
S:Bruce & Stokoe – Northumbrian
Minstrelsy (1882)
Z:AK/Fiddler’s Companion
K:G
D|DGBG dGBG|EAcA eAcA|DGBG dGBG|B/c/d Ac BGG:|
|:f|gdBd
GdBd|g/f/e/d/ ce Aece|g/f/e/d/ Bd GdBd|e/f/g dc BGG:|
LAMSON'S HORNPIPE. American, Hornpipe. F Major. Standard tuning. AABB. Cole (1000 Fiddle Tunes), 1940; pg. 101. Ryan’s Mammoth Collection, 1883; pg.
136.
X:1
T:Lamson’s Hornpipe
M:2/4
L:1/8
R:Hornpipe
S:Ryan’s Mammoth Collection (1883)
Z:AK/Fiddler’s Companion
K:F
c | f/e/f/g/ a/f/d/B/ | c/d/e/f/ g/a/b/g/
| b/a/b/g/ a/g/a/f/ | e/c/f/d/ c(d/e/) | f/e/f/g/ a/f/d/B/ |
c/A/d/f/ e/f/e/d/ | c/A/B/d/
c/A/G/B/ | AFF :: C | F/E/F/D/ E/F/G/A/ | B/A/G/A/ B/c/d/e/ |
g/f/e/d/ c/d/e/c/ | d/B/G/F/
E/F/G/A/ | B/A/B/d/ c/f/e/d/ | c/b/A/f/ e/A/d/c/ | B/G/E/F/ G/A/B/c/ | AFF :|
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