The Fiddler’s Companion

© 1996-2009 Andrew Kuntz

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[COMMENT1] [COMMENT2] 

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."

                       

LAFAYETTE. Old-time, Breakdown. D Major. D Major. Standard tuning. AB. The melody was popularised on the Grand Ole Opry by fiddler Kirk McGee. Jon Pankake (who wrote the liner notes for Folkways FW3 1007) interviewed McGee in 1965, and was told that “Lafayette” was “an old Civil War tune,” although McGee did not mention a source for his version. Source for notated version: North-west fiddler Ole Winn via Scott Marckx [Silberberg]. Silberberg (Tunes I Learned at Tractor Tavern), 2002; pg. 81. Folkways FW3 1007, Kirk McGee (fiddle) & Arthur Smith (banjo) - “Milk ‘em in the Evening Blues” (1968). Whipporwill 1001, Jim Wood & John Hartford – “The Bullies Have all Gone to Rest” (1998. Learned by John Hartford from the playing of Opry fiddler Earl White, who had it from Kirk McGee).

                       

LAFAYETTE PLAYBOYS' WALTZ. Cajun, Waltz. D Major. Standard tuning. One part. Many Cajun and Texas bands have called themselves the Playboys, though this title refers to Cajun accordionist Aldus Roger's (1915-1999) Lafayette (Louisiana) Playboys. Roger, who learned the accordion at age eight by watching other Cajun musicians, led the group for over 20 years, all the while working as a carpenter during the day. His main influences were his father, Francis, and the famous Cajun musician Lawrence Walker. Roger had hits with a cover version of Hank Williams “Jambalaya” and “Lafayette Two-Step,” and recorded the “KLFY Waltz,” “Channel 10 Two Step,” “Mardi Gras Dance,” among others (he hosted his own music program on KLFY-TV 10, out of Lafayette).

***

Aldus Roger and the Lafayette Playboys.

***

A related song is Shirley Bergeron's "Old Home Waltz." Source for notated version: Aldus Roger, Phillip Alleman (La.) [Francois]. Francois (Yé Yaille Chère!), 1990; pgs. 396-397. La Louisiane Records LL-LP114, Aldus Roger.

                       

LAFAYETTE TWO-STEP (Two-Step de Lafayette). Cajun, Two-Step (4/4 time). USA, southwestern Louisiana. A Major. Standard tuning. AA(Vocal)AAAABB(Vocal)BB. Related songs include Dennis McGee's "Jeunes Gens de la Campagne" and Joseph Falcon's "Allons a Lafayette." Source for notated version: Aldus Roger, Fernest "Man" Abshire (La.) [Francois]. Francois (Yé Yaille Chère!), 1990; pgs. 398-399. La Louisiane Records LL-LP107, Aldus Roger.

                       

LAFAYETTE'S WELCOME QUICKSTEP. AKA and see "Buena Vista."

                       

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 County Tipperary fiddler Seán Ryan (d. 1985) as “The Glen of Aherlow.” The “Lafferty’s” title is the one Kevin Burke used on recordings, although Martin Byrne also used the title on his “Paddy in the Smoke.” It comes from the recording of the tune by Clare fiddlers Paddy Caney and P.J. Hayes (on “All Ireland Champions—Violin”), a name that honors the pianist on the record, Bridie Lafferty. Source for notated version: a recording by Paddy Canney and P.J. Hayes [O’Malley]. Bulmer & Sharpley (Music from Ireland), 1976, vol. 3; No. 3 (appears as “Reddigan’s”). O’Malley (Luke O’Malley’s Collection of Irish Music, vol. 1), 1976; No. 42, pg. 21. Ryan (The Hidden Ireland), No. 28. Green Linnet SIF‑1110, Kevin Burke ‑ "My Love is in America: The Boston College Irish Fiddle Festival" (1991). Green Linnet GLCD 1200, Lunasa – “Otherworld” (1999).

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 northern Ireland which runs through Belfast, but it also refers to the locality of East Donegal/West Tyrone; the word itself refers to ‘low-lying ground’.

                       

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 Highlands and sung to Gaelic words." This tune "has a note accompanying the music, which supposes this air the composition of the roving King James. The set here given of it appears to be of the modelling of the Nairnshire musical gentlemen alluded to in (the note to 'Ewie Wi' the Crooked Horn'), and addressed to their neighbour, the Laird of Brodie. The editor could name many of our strathspeys and Scotch melodies modelled by the same gentlemen" (Fraser). Fraser (The Airs and Melodies Peculiar to the Highlands of Scotland and the Isles), 1874; No. 178, pg. 73.

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

K:Gmin

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 Mull many people are named Maclean. He remarks:

***

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>E D2|”tr”g>age “tr”d>cde|(cG) “tr”A>G c>d c>e|

“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 Jamaica, Canada, and even later on, Zimbabwe. “The Curse of Moy” is a poem by Mr. Morrit of Rokeby, included in Scott’s Minstrelsy of the Scottish Border. Carlin (The Gow Collection), 1986; No. 385. Gow (Complete Repository), Part 3, 1806; pg. 16 (appears as “The Laird of Mackintosh’s Strathspey”). Hardie (Caledonian Companion), 1986; pg. 13. Hunter (Fiddle Music of Scotland), 1988; No. 80. Stewart-Robertson (The Athole Collection), 1884; pg. 175.

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 – “Cape Breton Fiddle and Piano Music” (2004).  

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."

                       

LAKE ARTHUR STOMP [1]. AKA and see "Arnaudville Two-Step," “Two-Step d’Arnaudville.” Cajun, Two-Step (4/4 time). USA, southwestern Louisiana. A Major. Standard tuning. One part (Greenblatt): BAA (Francois). Credit for composition of this tune, an instrumental, is claimed by Varise Connor who said he first started playing it in 1925, though he said he had heard a man play a tune "somewhat like that" previous--"but it sure wasn't like the way I played it." Lake Arthur is located in Louisiana. The "Arnaudville Two-Step", by Johnny Richard, Ray Cormier and "Boy" Fruge, is "Lake Arthur Stomp" with lyrics added. Dennis McGee’s “One Step De Mamou,” recorded in October, 1929, in New Orleans for Vocalion Records, is a version (and perhaps a precursor), as is “Two Step de Marais Bouleur” (Marais Bouleur is the name of a Louisiana town) Source for notated version: Varise Connor (La.) Francois. Francois (Yé Yaille, Chère!), 1990; pgs. 196-197. Greenblatt (The Cajun Fiddle Tune Book), 1985; pg. 33.

 

LAKE ARTHUR STOMP [2]. Cajun. Recorded by Ed Juneau and dis-similar to version #1.

                       

LAKE ARTHUR WALTZ. See "Port Arthur Waltz."

                       

LAKE CHARLES TWO-STEP. See "Two-Step de l'Anse aux Pailles."

                       

LAKE ERIE. Old-Time, Breakdown. USA, Kentucky. A Major. A fiddle tune from the repertoire of Cumberland Plateau, Kentucky, fiddler John Sharp.

                       

LAKE OF COOLFINN, THE. AKA - "Lakes of Col Flynn." AKA and see "Willie Leonard." Irish, Air (3/4 time). D Major. Standard tuning. One part. "I took down this very characteristic air and one verse of the ballad, from Peggy Cudmore of Glenosheen Co. Linerick. The ballad is well known in both the south and the west; and it appears obvious that it relates a real event‑‑the accidental drowning of poor young Willie Leonard. There are many places in Ireland called Coolfin; but in which of them 'The Lake of Coolfin' is situated I cannot tell. The ballad, as I received it, is a singular mixture of vigour and imbecility; in some parts vivid and true to nature; in others, vulgar, feeble and prosy. I have retrenched, added something of my own, changed many of the lines, and restored the rhythm where it was necessary. But I have retained as much of the old ballad as possible" (Joyce). Cazden (et al, 1982) remarks that this tune shows contour and focal points matching his Catskill Mountain (New York) collected 6/8 time "The Bounty Jumper" and relatives. He also prints the title as "Lakes of Col Flynn." Joyce (Old Irish Folk Music and Songs), 1909; No. 417, pgs. 227‑228.


                       

LAKE ON THE MOUNTAIN. Canadian, Jig. Composed by the late Ontario fiddler Graham Townsend. Central New York fiddler Chad Miller reports the tune has become a regional ‘standard’ of sorts, stemming from a performance by Graham and Eleanor Townsend (Ontario) at a Fiddler’s Picnic in Osceola, NY.

                       

LAKE SHORE. Irish, Jig. D Major. Standard tuning. AABB. From the playing of banjo and accordion player Sean O Driscoll, originally from Blarney, who lived in Minneapolis and lately in County Cork. Sean O’Driscoll – "Sticking Out A Mile.”

X: 1

T: Lake Shore

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 :|

                       

LAKE ST. JEAN GALLOPE. AKA and see "The Keel Row." French‑Canadian, Reel. F Major. Standard tuning. AABB. Carlin (Master Collection), 1984; No. 106, pg. 65.

                       

LAKES OF COL FLYNN, THE. See "The Lake of Coolfinn."

                       

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 SLIGO, THE. AKA and see "Lass o' Gowrie [1]," "Loch Erroch Side," “Loch Ericht Side,” "I'm O'er Young to Marry Yet [3]," “Over the Hills to Glory,” "Rocky Road to Dublin [4]” (Pa.), “Tom Billy’s (Polka) [2].” Irish, March or Polka (2/4 time). D Major. Standard tuning. AABB. Sligo is noted for its many picturesque lakes, including Lough Allen, Lough Key, Lough Gara. Lough Gill and Lough Arrow. The tune is related to "The Lass of Gowrie," "Over the Hills to Glory," "I'm O'er Young to Marry Yet," and the strathspey "Loch Erroch Side," according to Bayard (1981) who believes they were all descended from one air. The title “Lakes of Sligo” for the polka is derived from a song recorded in Boston in the 1950’s by Connie Foley, accompanied by button accordion player Joe Derrane’s trio. Source for notated version: concertina player Chris Droney [Bulmer & Sharpley]. The Company of Fifers and Drummers, '76, 1974; pg. 11 and pg. 30 (2nd part). Black (Music’s the Very Best Thing), 1996; No. 248, pg. 132. Bulmer & Sharpley (Music from Ireland), 1976, vol. 4, No. 80. Cranitch (Irish Fiddle Book), 1988/1996; pg. 70. Mallinson (100 Polkas), 1997; No. 54, pg. 21. Mulvihill (1st Collection), 1986; No. 49, pg. 129. O’Brien (Jerry O’Brien’s Accordion Instructor), 1949. Sweet (Fifer’s Delight), 1965/1981; pg. 58. Tubridy (Irish Traditional Music, Book Two), 1999; pg. 8. Cló Iar Chonnachta CICD 165, John Wynne & John McEvoy – “Pride of the West” (2007). Coleman Center CD CC004, Seamus Quinn & James McDonagh – “The Mountain Road” (1999. Various artists. “A Compilation of tunes popular in South Sligo”). Dublin Records, “The Fabulous Kilfenora Ceili Band” (2004. Originally recorded 1959)  Lough Records LOUGH009CD, Boys of the Lough – “Twenty” (2005). 

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 Sligo

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 Sligo

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 Ireland: 1001 Gems), 1907/1986; No. 897, pg. 154.

X:1

T:Lakeside Road, The

M:C|

L:1/8

R:Hornpipe

S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 897

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 Cape Breton fiddler Dan R. MacDonald. Little (Scottish and Cape Breton Fiddle Music in New Hampshire), 1984; pgs. 40‑41. MacQuarrie Collection.

                       

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. Canada, Cape Breton. B Minor. Standard tuning. AABB’. Composed by the late fiddler and composer Jerry Holland (1955-2009, Inverness, Cape Breton). Cranford (Jerry Holland’s), 1995; No. 213, pg. 61.

                       

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 County Tipperary fiddler Seán Ryan (d. 1985). See also the related “Corner House [1],” “Down the Broom” and “Trip to Birmingham.” Ryan (The Hidden Ireland), 29.

 

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 Scotland), 1988; No. 298. Raven (English Country Dance Tunes), 1984; pg. 116. Parlophone Records CE12698, Jimmy Shand (78 RPM). Tradition 2118, Jim MacLeod & His Band ‑ "Scottish Dances: Jigs, Waltzes and Reels" (1979).

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. Canada, Cape Breton. D Major (‘A’ part) & A Major (‘B’ part). Standard tuning. AA’BB’. Composed by fiddler Jerry Holland (Inverness, Cape Breton). Cranford (Jerry Holland’s), 1995; No. 221, pg. 64.

                       


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 Scotland), 1852; pg. 101.

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:  New Jersey flute player Mike Rafferty, born in Ballinakill, Co. Galway, in 1926 [Harker]. Harker (300 Tunes from Mike Rafferty), 2005; No. 207, pg. 64. Larraga LR093098, Mike and Mary Rafferty – “The Old Fireside Music” (1998. Appears as “Leitrim Jig”).

 

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 London where concerts were occasionally given in past centuries. Watson (A Rolick of Recorders and Other Instruments), 1975; No. 13, pg. 16.

                       

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 CROWLEY (Crauliag Bacac). Irish, Jig. A Dorian ('A' part) & G Major/E Minor ('B' part). Standard tuning. AABB. See also the similar “Cordal Jig.” O'Neill (Krassen), 1976; pg. 28. O'Neill (Music of Ireland: 1850 Melodies), 1979; No. 821, pg. 153.

X:1

T:Lame Crowley

M:6/8

L:1/8

S:O’Neill – Music of Ireland (1903), No. 821

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 Ireland (1903), No. 1198

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. Canada, Cape Breton. D Major. Standard tuning.

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 village of Fenagh, County Leitrim, giving him the country greeting “God bless ye!” Carolan replied likewise and asked about the news of the area, at which MacCabe replied that the only news of import was the passing of “a jovial and pleasant strolling harper who amused the old and young, the rich and the poor of this neighbourhood.” Of course, O’Carolan inquired his name, and was distressed when the stranger told him it was Cathaoir an tsiansa—Charles the pleasant.  Shocked, O’Carolan asked if he could be led to MacCabe’s resting place, and was duly led to the pretended grave by the disguised MacCabe himself. When they arrived O’Carolan asked to be left alone for a bit, but that he should be attended to when he called.  MacCabe retired a short distance and heard O’Carolan grieving and weeping, and then heard him spontaneously compose his “Lament for Charles MacCabe.” According to one account (Walker, Historical Memoirs of the Irish Bards, Dulbin, 1780), MacCabe then revealed himself to the bard, and “rallied the good-natured bard on his giving such a sincere proof of his affection for one who had so often made him the butt of his wit.” He offered to show the harper to his grave, and upon reaching the spot O’Carolan spontaneously composed this lament. In the end, however, it was MacCabe who wrote the elegy for O’Carolan upon his death. O’Sullivan (1958) finds printed versions of the words to O’Carolan’s lament to be generally unsatisfactory and variously problematic, even incorporating some of MacCabe’s elegy for O’Carolan. He quotes one such line in Irish, which translates as:

***

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 America. During the hearing Mrs. Tone burst into tears, and it must have made an impression on her, for she alluded to O’Carolan’s song in an interview in New York nearly half a century later. Source for notated version: “(The Irish collector) Forde” [Stanford/Petrie]. Complete Collection of Carolan's Irish Tunes, 1984; No. 209, pg. 144. S. Johnson (The Kitchen Musician No. 3: Carolan), 1983 (revised 1991, 2001); pg. 13. O’Sullivan (Carolan: The Life, Times and Music of an Irish Harper), 1958; No. 209. Stanford/Petrie (Complete Collection), 1905; No. 1022, pg. 261.

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 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. Petrie, 1855. 

 

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 Scotland), 1988; No. 31.

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 Butler family (an old Norman family, long assimilated by the gaels) and the home of Lady Iveagh, the heroine of the song. It was set to its tune in 1745 by a Father Lane, who had been sponsered and educated for the priesthood by the Lady, who died in July 1744. O’Neill (1913) records that Kilcash is also the ancient seat of the Ormondes, a few miles northeast of Clonmel. Several songs were written to the melody, including “The Fair at Dungarvan.”

                       

LAMENT FOR KING GEORGE. Scottish, Air. (Dr.) John Turner – “The Wanderer’s Lament: Fiddle Music of Scotland.”

                       

LAMENT FOR LIMERICK. AKA and see "Lochaber No More," "Limerick's Lamentation [1]."

 

LAMENT FOR LOCKERBIE. Composed by Angus Fitchet, born in Dundee in 1910 and a leading country dance band leader and fiddler during the mid‑20th century in Scotland.

                       

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, Dublin Road, Newry. Keegan (The Keegan Tunes), 2002; pgs. 90-91 (piano arrangement).

                       

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 PATRICK SARSFIELD. See “Lament for Sarsfield.”


 

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 Sligo was an interesting man indeed—a soldier, lawyer, man of affairs, patron, and poet himself. An able Counsellor-at-law, the MacDonough represented the borough of Sligo in King James’s Irish Parliament of 1689. He was the only Catholic Counsel admitted to the Irish bar in his day. He fought for King James at the end of the 17th century, attaining the rank of Captain in Colonel Henry Dillon’s regiment of infantry. He was captured at the siege of Derry in 1689, but after the end of hostilities in 1691 MacDonaough resumed his practice at the bar, and attained great renown. He was much mourned at his death, not the least by numerous Irish poets and bards from whom several poems expressive of the grief survive, for not only was he a fellow-poet, but as a patron his house was “a seminary to the Bards of Ireland.” “Lament for Terence MacDonough” first appears in John and William Neal’s Collection of the Most Celebrated Irish Tunes (Dublin, c. 1724). Complete Collection of Carolan's Irish Tunes, 1984; No. 210, pg. 144. O’Sullivan (Carolan: The Life, Times and Music of an Irish Harper), 1958, No. 210, pg. 222.

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 (Dublin, 1724)

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, San Francisco

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 Waterloo

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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