The Fiddler’s Companion

© 1996-2009 Andrew Kuntz

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LAR

 

 

 

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]

 

 

 

LARDNERS' [1]. AKA and see "Prairie Hornpipe," "Coming Down From Denver," "Cowboys [2],” “The Halfway House,” “The Turnpike." American, Reel. USA; New England, Pa. A Major. Standard tuning. AABB. "This reel furnishes a very apt illustration of a feature often encountered in American traditional dance music: namely, the interchange of parts. The first and second parts of (this tune) can hardly be discussed together as if they were the indivisible components of a traditional tune, because they are not often found together. While the first half of this tune occurs pretty frequently in our instrumental tradition, it seems to have no steadfast association with any one second strain. A set of this tune in its entirety, however, and fairly close to Yaugher's, appears under this same name in Cole's, p. 19. Since Yaugher is acquainted with that collection, it is not impossible that he drew the name from this source instead of learning it locally. The Yaugher version given here is undoubtedly traditional, nevertheless, since it shows a number of variant readings from the set in Ryan’s Mammoth/Cole's 1000. The second strain of (this tune) occurs in Cole's, pg. 7, as the second part of 'The Turnpike Reel'. Our first strain‑‑joined with diverse second parts‑‑often appears in popular dance music collections, and in local tradition, under the title of 'Cowboys'...A tune with a first part resembling that of 'Lardner's Reel' is in Cole's 1000, pg. 112, 'Leviathan Hornpipe'" (Bayard). The title appears in a list of traditional Ozark Mountain fiddle tunes compiled by musicologist/folklorist Vance Randolph, published in 1954. Irish variants include the hornpipe “Halfway House” and “The Turnpike Reel.” Source for notated version: Irvin Yaugher Jr. (Fayette County, Pa., 1943; learned by ear from other local fiddlers) [Bayard]. Bayard (Hill Country Tunes), 1944; No. 20. Cole (1000 Fiddle Tunes), 1940; pg. 19. Harding’s Original Collection, 1928; No. 107. Harding's All‑Round Collection, 1905 & 1932; No. 178 (appears as "Prarie Hornpipe"). Jigs and Reels, pg. 19. Miller & Perron (New England Fiddlers Repertoire), 1983; No. 69. Robbins, No. 9. Ryan’s Mammoth Collection, 1883; pg. 44.

X:1

T:Lardner’s Reel

M:C|

L:1/8

K:A

|:A2 Ac BA GB|Ac eg a2 ga|bg eg ag fe|dc BA GB EG|

A2 Ac BA GB|Ac eg a2 ga|bg eg ag ae|fd BG A2 E2:|

|:E2 GE BE GB|A2 cA eA cA|B2 ^dB fB dB|e2 ge bg eg|

A2 GA B2 AB|c2 Bc d2 ed|c2 BA E2 G2|A4 A2:|

 


LARDNER'S REEL [2]. American, Reel. USA, southwestern Pa. A Major. Standard. AA'B (irregular in the 'B' part). Not related to version #1. Source for notated version: Irvin Yaugher (Fayette County, Pa., 1946; who said or the tune, "The old‑fashioned way of playing it".) [Bayard]. Bayard (Dance to the Fiddle), 1981; No. 114, pg. 65.

                       

LARGO BAY. Scottish, Strathspey. A Major. Standard. AABB. The bayside town of Largo is situated on the Firth of Forth, in Fife.  Kerr (Merry Melodies), vol. 3; No. 99, pg. 12.

X:1

T:Largo Bay

M:C

L:1/8

R:Strathspey

S:Kerr – Merry Melodies, vol. 3, No. 99  (c. 1880’s)

Z:AK/Fiddler’s Companion

K:A

c<e e>a f>ec>A|G<E B>E c>EB>d|c<e e>a f>ec>A|F<B G>e c<A A>d:|

|:(3cBA E>A F>AE>d|(3cBA E>A F<B B>e|(3cBA E>A F>AE>c|(3def (3efd c<A A>d:|

                       

LARGO LAW [1]. Scottish, Strathspey. A Major. Standard tuning. AAB (Athole, Gow, Little): AABB' (Kerr). Largo is a small parish containing two villages, Upper Largo and Lower Largo, situated on the Firth of Forth, in Fife. Largo Law is the hill located behind them, and can clearly be seen from Edinburgh, across the Firth. The conical shaped hill, the remains of a volcanic plug, rises some 965 feet above sea level. Alexander Selkirk, whose adventures inspired Defoe’s great Robinson Crusoe, came from Largo.

***

Largo Law has attracted many legends about hidden treasure or ancient gold mines. One tale is told of a shepherd, braver than his companions, who accosted a ghost who haunted the vicinity of Largo Law, to ask him why he roamed the land of the living.  The shade was enticed to reveal where the shepherd might find the treasure that bound the ghost (for this might also release him from his wanderings), but under two conditions: the Auchendowie cock must not crow and the herder of Belmain must not blow his horn.  The shepherd hastened to make sure the conditions were met, slaying all the cocks within earshot of the hill, and approaching the local herder, one Tommie Norrie, an by threats or cajoling, impugned him not to sound his horn. At the time appointed by the shade the shepherd drew near on the slopes of Largo Law, as the church bells tolled eight times. The shade turned to reveal its secret, but just as it was about to speak a horn blast sounded from down in the valley…Tommy Norrie had either betrayed his promise or forgotten his assignment. The shade, instead of divulging treasure, uttered a curse. “Woe to the man that blew that horn,” it said “For out of that spot he shall never be borne.” Indeed, Tommy Norrie dropped dead on the spot and his body remained immobile, despite attempts to remove it for proper burial. In the end the townspeople were forced to build a cairn around the body just where it lay.

***

Carlin (The Gow Collection), 1986; No. 409. Gow (Complete Repository), Part 3, 1806; pg. 24. Kerr (Merry Melodies), vol. 2; No. 27, pg. 6. Little (Scottish and Cape Breton Fiddle Music in New Hampshire), 1984; pg. 11. Stewart-Robertson (The Athole Collection), 1884; pg. 28. Rounder 7011, "The Beatons of Mabou: Scottish Violin Music from Cape Breton" (1978). Rounder 7059, Alex Francis MacKay with Gordon MacLean – “Gaelic in the Bow” (2005).

X:1

T:Largo Law

L:1/8

M:C|

R:Strathspey

B:The Athole Collection

Z:AK/Fiddler’s Companion

K:A

c|A<c e>f A>Bc>e|f<a e>c B/B/B B>c|A<c E>F A>Bc>e|f/e/f/g/ ac A/A/A A:|

e|a>ef>c e/e/e a>e|fac>c B/B/B B>g|a>ef>c e/e/e a>e|f<a e>c A/A/A A>e|

a>ef>c e/e/e a>e|f<a e>c B/B/B B>c|A<c E>F A>Bc>e|f/e/f/g/ a>c A/A/A A||

 

LARGO LAW [2]. Scottish, Reel. A Major. Standard tuning. AABB'. Kerr (Merry Melodies), vol. 3; No. 100, pg. 12.

X:1

T:Largo Law [2]

M:C

L:1/8

R:Reel

S:Kerr – Merry Melodies, vol. 3, No. 100  (c. 1880’s)

Z:AK/Fiddler’s Companion

K:A

c>A A/A/A A2 ce|feae feae|c>A A/A/A A2 cA|GEBE GEBd:|

|:ceAe ceAe|ceeg agae|1 ceAe ceAe|dcBA GBed:|2 agfe dcBA|GEBE GEBd||

                       

LARGO'S FAIRY DANCE. AKA and see "Daunse ny Farishyn," "Fairy Dance," “Fairy Reel [1],” "The Jolly Banger," "La Ronde des Vieux." Scottish, Reel. C Major (Emmerson, Gow): D Major (Hardie, Hunter, Skinner). Standard tuning. AB (Hardie): AAB (most versions): AABB’ (Skinner). A piece for the eightsome reel composed by Nathaniel Gow (1763-1831) for the Fife Hunt in 1802, by which organization he was employed for their balls. Largo is a small parish in Fife containing two villages, Upper Largo and Lower Largo, and a hill, Largo Law. The original “Largo’s Fairy Dance” was a medley consisting of two Gow-composed tunes, “The Fairy Dance” and “The Fairies Advance,” according to Nigel Gatherer. According to David Johnson, Gow seems to have then set the melody as an introduction and march for keyboard in D Major, which was published on a single sheet about 1805 (such sheets often contained sets for dancing). It was again published in reel form in C Major in the Gow's Fifth Collection of Strathspey Reels of 1809. A tune "as popular today as the day it was written" (Collinson, 1966), it is Nathaniel's most famous reel (though modern fiddlers invariably play it in D Major, rather than the C Major of the 1809 printing). A famous set of variations were composed by J. Scott Skinner, appearing first in his Harp and Claymore (1904) collection. Emmerson (1971) identifies a sub‑group of Scots reels with the characteristic quarter note/two eighths notes/quarter note/two eighths notes per measure rhythm, including this tune as well as "De'il Among the Tailors," "Rachel Rae," and "The Wind that Shakes the Barley" (he says this last tune is "substanitally" a set of "Fairy Dance." The Hardie family, notes Bill Hardie, "have traditionally played this reel as a follow-lup to 'The Smith's.'" The melody entered North American tradition and can be found in America under the title "Old Molly Hare" and similar variants, and in Canada as "La Ronde des Vieux." On the Isle of Man it is called “Daunse ny Farishyn.” Breathnach (1985) believes it was composed “under the influence of “The Wind that Shakes the Barley.” Alburger (Scottish Fiddlers and Their Music), 1983; Ex. 83, pgs. 133‑134 (original tune), and Ex. 108, pg. 185 (Skinner variations). Carlin (The Gow Collection), 1986; No. 268. Emmerson (Rantin’ Pipe and Tremblin’ String), 1971; No. 51, pg. 141. Gow (5th Collection of Strathspey Reels), 1809; pg. 19. Hardie (Caledonian Companion), 1986; pgs. 16-17 (includes J. Scott Skinner's variations). Hunter (Fiddle Music of Scotland), 1988; No. 219 (includes variations arranged by James Hunter, based on Scott Skinner’s). Skinner (Harp and Claymore), 1904; pgs. 88-89 (includes variation sets composed by Skinner). Green Linnet GLCD 3105, Aly Bain - “Lonely Bird” (1996. Variations by the late Ronald Cooper and others by Scott Skinner).

See also listings at:

Alan Snyder’s Cape Breton Fiddle Recording Index

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

Alan Ng’s Irishtune.info

X:1

T:Fairy Dance, The

C:Nathaniel Gow

S:Peter Hardie's MSS, via Scottish Country Dance Book 3

Z:Nigel Gatherer

M:4/4

L:1/8

K:D

f2 fd f2 fd|f2 fd cAec|f2 fd gfed|1cABc d2 de:|]2cABc defg|]

a2 af b2 ba|gfge a2 ag|fefd B2 ge|cABc defg|

a2 af b2 ba|gfge a2 ag|fefd B2 ge|cABc d2 z2|]


                       

LARICKILLE. Scottish, Strathspey. D Major. Standard tuning. AABBCCDD. John Glen (1891) finds the earliest printing of the tune in Alexander McGlashan's 1780 collection. McGlashan (Collection of Strathspey Reels), c. 1780/81; pg. 8.

X:1

T:Larickille

M:C

L:1/8

R:Strathspey
S:McGlashan – Strathspey Reels (c. 1780)

Z:AK/Fiddler’s Companion

K:D

E|D2 F>D A>DF>D|E/E/E F>A B>ABd|D/D/D F>D A>DF>D| E>FED A, B,2 B,:|

|:d>edB d>AA>d|B>cd>e f>BB>c|d>e e/d/c/B/ A<F d>B| A<F E>D B,2 B:|

|:E|D>AF>A D>AF>A|E/E/E F>A B>ABd|D>AF>A A>DF>D| A,A G/F/E/D/ B2 B:|

|:B|d>e e/d/c/B/ d>AA>d|B/A/B/c/ d/c/d/e/ f>BB>c|d>e e/d/c/B/ A>BdB| A<F E>D B,2 B:|

                       

LARK [1], THE (Codiad Yr Ehedydd). Welsh, Air. A harp air attributed to the Welsh harper David Owen (Davydd y Gareg‑wen), who composed between 1720‑1752. It was set with variations by Edward Jones ‘Bardd y Brenin’ in his book The Musical and Poetical Relics of the Welsh Bards (1784). The tune is widely used for penillion singing, according to Robin Huw Bowen, the style which demands that the singer sing verses after the harp has started, sing in a different metre and phrasing, yet end at the same time! Flying Fish FF70610, Robin Huw Bowen – “Telyn Berseiniol Fy Ngwlad/The Sweet Harp of My Land” (1996).

 

LARK [2], THE. Scottish, Slow Air (6/8 time). C Major. Standard tuning. AB. Composed by James Hogg (b. 1770, in the Ettrick Valley in Selkirkshire), the 'Ettrick Shepherd' or 'Jamie the Poeter' (as he was known locally). Hogg inherited the poetic mantle of Robert Burns who was his idol, and was encouraged and aided in his art by Sir Walter Scott. His love of music was inherited from his mother who was a gifted singer and an authority on Scots ballads and legends. Hogg himself published a few collections of songs and ballads (notably "Jacobite Relics of Scotland"), and was, since the age of 14, also an accomplished fiddler.

***

Bird of the Wildernes

Blythesome and cumberless

Sweet be thy matin o'er moorland and lea,

Emblem of happiness

Blessed is thy dwelling‑place

Oh! to abide in the desert with thee.

***

Neil (The Scots Fiddle), 1991; No. 48, pg. 65.

                       

LARK IN THE BLUE SUMMER SKY, THE. Irish, Air (6/8 time). G Mixolydian. Standard tuning. AB. "Not intended for a jig" (Joyce). Joyce (Old Irish Folk Music and Songs), 1909; No. 190, pg. 94.

X:1

T:Lark in the blue summer sky, The

M:6/8

L:1/8

R:Air

N:”Moderate: time well marked”

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

Z:AK/Fiddler’s Companion

K:G

d/c/|BGG DGG|BdB c2 B/c/|ded def|A/G/F/G/A/B/ c2 d/c/|BGG DGG|

BdB c2 B/c/|ded def|AGG G2||B/c/|def gag|fde f2d|gdB cBc|

dBG F2 d/c/|BGG DGG|BdB c2 B/c/|ded def|AGG G2||

                       

LARK IN THE BOG, THE. Irish, Jig. Globestyle Irish CDORBD 085, Star of Munster Trio - “The Rushy Mountain” (1994. Reissue of Topic recordings). Talcon Records KG240, Paddy Cronin – “The House in the Glen” (197?).

                       

LARK IN THE CLEAR AIR [1]. Irish, Air (irregular time). D Major. Standard tuning. One part. English words by this title were written by poet Samuel Ferguson to a tune taken from the Petrie collection, "An tailiur." The song was popularized by the tenor John Cormack. John Loesberg (1979) remarks that the tune was featured for many years as an introduction to Cairan Mac Mathuna's radio program Mo Cheol Thu.

***

Dear thoughts are in my mind and my soul soars enchanted,

As I hear the sweet lark sing in the clear air of the day;

For a tender beaming smile, to my hope has been granted,

And tomorrow she shall hear, all my fond heart would say.   (Samuel Ferguson, 1810-1886, Dublin)

***

Source for notated version: Northumbrian bagpiper Billy Pigg (1902-1968) [Miller & Perron]. Miller & Perron (Irish Traditional Fiddle Music), 1977; vol. 3, No. 71. Miller & Perron (Irish Traditional Fiddle Music), 2nd Edition, 2006; pg. 142. Leader LEA 4006, Billy Pigg – “The Border Minstrel” (1972).

 

LARK IN THE CLEAR AIR [2]. AKA and see "The Funny Tailor." Irish, Long Dance (6/8 time).

                       


LARK IN THE MORNING [1]. AKA and see “House in the Glen [1].” Irish, Double Jig. D Major (Brody, Mallinson, Miller & Perron, Moylan, Phillips, Spandaro, Tubridy): D Mixolydian (Mitchell). Standard tuning.  AAB (Mitchell): AABB (Mitchell, Phillips, Spandaro): ABCC’D (Moylan): AABBCCDD (most versions): AABB’CC’D (Mitchell). See also "An Buachaillín Buí," "Come in the Evening," "Galloway Tom [2]," "Galway Tom [1]," "Galway Town," "The Goats’ Horn(s)," "The Kelso Races," "The Little Yellow Boy," "The Spotted Cow," "The Thrush's Nest," "The Welcome," "A Western Lilt," “The Yellow Little Boy.” Largely due to the influence of Co. Sligo/New York fiddler James Morrison’s recording, this tune has been associated with “The Wandering Minstrel” and the two are often played together, as they were by source O’Leary. Willie Clancy declared he had the tune from his mother, Ellen Killeen, a singer and concertina player from Ennistymon. Martin Mulvihill gives this tune for the longdance The Seige of Ennis. The tune has been identified as a variant of “Hills of Glenorchy.” “Lark in the Morning” can be heard in the mid-1990’s film “The Devil’s Own” during the house-party scene in honor of Harrison Ford’s film daughter’s Confirmation. The fiddler is none other than New York’s famous late fiddler Paddy Reynolds, shown for an instant. Chicago flute player Kevin Henry, originally from County Sligo, announced from the stage (East Durham, 2005) that the tune was played at ‘American Wakes’ in Ireland, just prior to a community member’s emigration. Sources for notated versions: accordion player Johnny O’Leary (Sliabh Luachra region of the Cork-Kerry border) [Moylan]; piper Willie Clancy (1918-1973, Miltown Malbay, west Clare) [Mitchell]; New Jersey flute player Mike Rafferty, born in Ballinakill, Co. Galway, in 1926 [Harker]. Allen’s Irish Fiddler, 5. Breathnach (CRÉ I), 1963; No. 27. Brody (Fiddler’s Fakebook), 1983; pg. 164. Harker (300 Tunes from Mike Rafferty), 2005; No. 226, pg. 69. Mallinson (Essential), 1995; No. 76, pg. 33. Martin & Hughes (Ho-ro-ghedllaedh), 1990; pg. 45. Miller & Perron (Irish Traditional Fiddle Music), 1977; vol. 1, No. 41. Miller & Perron (Irish Traditional Fiddle Music), 2nd Edition, 2006; pg. 26. Mitchell (Dance Music of Willie Clancy), 1993; No. 78, pg. 74; No. 111, pgs. 94-95 & No. 112, pg. 95. Moylan (Johnny O’Leary), 1994; No. 186, pg. 107-108. Mulvihill (1st Collection), 1986; No. 23, pg. 123. Phillips (Where’s the Crack?), 1989; pg. 34. Spandaro (10 Cents a Dance), 1980; pg. 23. Tubridy (Irish Traditional Music, Book Two), 1999; pg. 35. Canadian Broadcasting Corp. NMAS 1972, Natalie MacMaster - "Fit as a Fiddle" (1993). Copely DWL‑9‑617, Jack Wade‑ "Ceili Music From Ireland." Shanachie Records, Noel Hill – “The Irish Concertina.” Danny O’Donnell – “Ón tSean-Am Anall.”

See also listings at:

Alan Snyder’s Cape Breton Fiddle Recording Index

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

Alan Ng’s Irishtune.info

X:1

T:Lark in the Morning [1]

M:6/8

L:1/8

R:Jig

K:D

dB|AFA AFA|BGB BdB|AFA AFA|fed BdB| A2A AFA|BGB BAB|def afe|fdB B :|

|:AB|def a2a|baf afe|def afe|fdB BAB|def a2a | baf a2f | ~g3 ~f3 | edB B :|

|:AB|d2f fef|fef fef|d2f fef|edB BAB|d2f fef|fef fed  |faf gfe | fdB B :|

|:AB|Add fdd|ede fdB|Add fdd|edB BAF|Add fdd|ede fed | faf gfe | fdB B :|

 

LARK IN THE MORNING [2]. Irish, Jig. E Minor. Standard tuning. AABB. Bayard identifies this as one of the "Hillside" tune family; see his note for that tune. Cole (1000 Fiddle Tunes), 1940; pg. 58. Ryan’s Mammoth Collection, 1883; pg. 88. Welling (Welling’s Hartford Tunebook), 1976; pg. 23. Fretless Records 101, "The Campbell Family: Champion Fiddlers."

X:1

T:Lark in the Morning [2]

M:6/8

L:1/8

R:Jig

S:Ryan’s Mammoth Collection (1883)

Z:AK/Fiddler’s Companion

K:E Minor

(B/A/) | GEE EGA | BAB BdB | AFD DFA | AFA ABc | BEE EGA |

BAB Bee | dBB BAB | GEE E2 :: e | eBe efg | fdd (d2.e) | dAd ded |

BAA (A2.e) | eBe efg | agf gfe | dBB BAB | GEE E2 :|

 

LARK IN THE MORNING [3] (An Fuiseog Air/San Maidin). AKA and see “Daugherty’s Jig,” “Road to Sligo [1],” “The Trip to Sligo [1],” “When I Parted.” Irish, Double Jig or Set Dance. E Minor. Standard tuning. AABB. Not version #2. "Bardic poets were much enamoured of intricate wordplay based on tables of correspondences and relationships known as 'ogham'. There were many kinds of ogham: tree ogham, castle ogham, fruit ogham, fish ogham, bird ogham, etc. In bird ogham, the lark is associated with the letter U (Gaelic uiseog = a lark), also with the day of the summer solstice and with the colour of resin. This ogham was probably based on the observation that the lark flies highest towards the sun, singing as he ascends, upon the day when the sun is highest in the heavens" (Williamson, 1976). O’Neill (Irish Minstrels, 1913) states there was a special dance performed to this “special tune of ancient lineage,... “the rarest and certainly not the least interesting in its class, for it possesses marked individuality all its own.” In Irish Folk Music he says he has “a recollection of hearing it alluded to as an old Set-Dance.” O’Neill obtained the melody from Quebec native James Carbray (who was then living in Chicago), who had picked up some tunes from a Kerry fiddler named Courtney (a longtime resident of Canada), via Chicago fiddler John McFadden who gave it to Sergeant James O’Neill, Francis O’Neill’s collaborator. In Irish Folk Music O’Neill states that McFadden’s playing partner, piper Sergeant Early, picked up the tune from an Edison record Carbray made while in Québec. The melody printed in O’Neill is usually now-a-days called “The Trip to Sligo.” See also a version in the c. 1847 music manuscript of Ellis Knowles, a musician from Radcliffe, Lancashire, England, entitled “When I Parted.” O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1019, pg. 190 (1st setting). O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 240, pg. 54. O’Neill (Waifs and Strays of Gaelic Melody), 1922; No. 109. Williamson (English, Welsh, Scottish and Irish Fiddle Tunes), 1976; pg. 76.

X:1

T:Lark in the Morning [3]

M:6/8

L:1/8

R:Jig

S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 240

Z:AK/Fiddler’s Companion

K:E Minor

B,|[B,2E2]c BGE|D2d AFD|[B,2E2]c BAF|GFE e2 e/f/|

gfe dcB|A/B/AG FED|EFG ABc|BGF E2:|

|:B|eBe g<be|dAd f<af|eBe g<be|f<af g<be|

f<af gfe|dcd AFD|EFG ABc|BGF E2:|

 

LARK IN THE MORNING [4]. AKA and see “Drocketty’s March.” Irish, Jig. A Mixolydian. Standard tuning (fiddle). AB. "This closely resembles the well‑known pipe and march tune called 'Drogheda'" (Joyce). Source for notated version: Captain Pratt, Co. Cork (Joyce). Joyce (Old Irish Folk Music and Song), 1909; No. 659, p. 331.

 

LARK IN THE MORNING [5] (An Fuiseog Air Maidin). Irish, Double Jig. A Dorian. Standard tuning (fiddle). AABB. Source for notated version: Chicago Police Sergeant James O’Neill, a fiddler originally from County Down and Francis O’Neill’s collaborator [O’Neill]. O'Neill (Music of Ireland: 1850 Melodies), 1903; No. 1020, p. 190.

X:1

T:Lark in the Morning [5]

M:6/8

L:1/8

R:Jig

S:O’Neill – Music of Ireland (1903), No. 1020

Z:AK/Fiddler’s Companion

K:A Dorian

c/d/|eAA A^GA|cde fed|eAA A^GA|cde ged|eaa g^fg|cdc BA^G|ABc def|ecB A2:|

|:c/B/|A2e ecA|G2 g dB^G|A2 e ece|dcB A2 a/b/|c’ba gfe|dBg dB^G|ABc def|ecB A2:|

 

LARK IN THE MORNING [6]. Irish, Reel. E Minor?  See the related “Silver Spear.” Living Folk LFR‑104, Allan Block ‑ "Alive and Well and Fiddling."

                       

LARK ON THE STRAND [1] (“An Fhuiseog ar an Tra” or “An Fhuiseog ‘sa Dumhach”). AKA and see "Droim Chonga," "Mulally's (Jig)," "The Old Woman Lamenting Her Empty Purse," "Paddy Hughes' Jig," "The Stolen Purse [1]." Irish, Double Jig. G Major. Standard tuning. AABB. The ‘A’ part struggles delightfully between G major and E dorian. Breathnach (1963) states this is a County Sligo version and title (“the original” according to “the people of Sligo”) and identifies a “not very good setting” also printed in Irish Folk Dance Music (No. 137). Similar to “The Stolen Purse.” Sources for notated versions: accordionist Sonny Brogan (So. Sligo/Dublin, Ireland) [Breathnach]; Brendan Mulvihill (Baltimore, Md.) [Mulvihill]; New Jersey flute player Mike Rafferty, born in Ballinakill, Co. Galway, in 1926 [Harker].. Breathnach (CRÉ I), 1963; No. 7, pg. 5. Harker (300 Tunes from Mike Rafferty), 2005; No. 33, pg. 71. Mulvihill (1st Collection), 1986; No. 33, pg. 71. Columbia CAL503-1, Paddy O’Brien (195?). Gael-Linn CEF 045, “Paddy Keenan” (1975).

See also listings at:

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

Alan Ng’s Irishtune.info

X:1

T:Lark on the Strand [1]

M:6/8

L:1/8

R:Jig

S:Mulvihill – 1st Collection  (1986), No. 33

K:G

ABA AGA|BGE ~G3|ABA GBd|egd edB|ABA AGA|

BGE G2D|GBA G2B|dBG BdB::GBd {a}gfg|gba gdB|

GBd g2d|egd edB|GBd {a}gfg|gba {a}gfg|aba {b}agf|egd edB:|

 

LARK ON THE STRAND [2]. AKA and see “Blooming Meadows [3],” “The Primrose Glen,” “Wicky Sears.” Irish, Double Jig. G Major/E Dorian. Standard tuning. AABB. A different setting than Breathnach’s. Breathnach does print this tune in his CRE I (No. 5) as “Primrose Glen” which he maintains is the correct title. Source for notated version: Paddy O’Brien (County Offaly) [Mulvihill]. Cranitch (Irish Fiddle Book), 1996; pg. 57. Mulvihill (1st Collection), 1986; No. 86, pg. 83. Shanachie 78005, De Danann – “Hibernian Rhapsody.”

X:1

T:Lark on the Strand [2]

R:double jig

S:From the only known extant recordings of Frank Cassidy playing by himself.

A:Teelin, Co. Donegal

Z:Larry Sanger.  Transcription of first time through tune.

Z:The d# notes in the A part of the tune are played in between d# and e.

M:6/8

K:G

DE/F/||GEF (3GFG A|{Bc}BAG ABd|{ef}ede gdg|{ef}edB dBA|

JGEF (3[G,G]FG A|{c}BAG ABd|e^de gdB|AGF GBA|

G/G/EF (3GFG A|B/B/AG ABd|ede gdg|{ef}edB dBA|

GEF (3GFG A|B/B/AG ABd|{f}e^de gdB|{B}AGF Gef||

{a}gfg ef^g|afd {f}edB|Add {f}e^d=d|{f}ed^c def|

{a}gfg {b}a^ga|bag f/g/a f|edc B/c/d A|BGF [G,G]ef|

{a}gfg e/e/f^g|afd {f}edB|Add {f}e^d=d|{f}ed^c def|

{a}gfg {b}a^ga|bag f/g/a f|edc B/c/d A|BGF GEF||

 

LARK ON THE STRAND [3]. Scottish, Hornpipe. A Minor. Standard tuning. AA’BB’CC’. Kerr (Merry Melodies), vol. 4; No. 300, pg. 32.

X:1

T:Lark on the Strand [3]

M:C|

L:1/8

R:Hornpipe

S:Kerr – Merry Melodies, vol. 4, No. 300  (c. 1880’s)

Z:AK/Fiddler’s Companion

K:Amin

(EA,) A,2 EA,FA,|EA,A,A, A,2 (Bc)|dcBA GABc|1 B2B,2B,2 (CD):|2 A2A2A2B2||

|:c2 ed c2 dB|cAdB AGFE|GABc dcBA|GABG E3d|1 c2 ec B2dB|cAdB GFED|

GABc dBGB|A2A2A3B:|2 c2 ac c2 gc|B2(dB) AGFE|GABc dBGB|A2A2A2(fg)||

|:a2A,2 A,B,CD|ECDB, A,2(fg)|agfe dcBA|GABc B2B2|agfe dcBA|

dcde fgag|ecAc dBGB|1 A2A2A2(fg):|2 A2A2A2z2||

                                   

LARK ON THE STRAND [4]. AKA and see “The Carraroe (Jig).” Irish, Jig. D Major.

                                   

LARKIN’S ADVANCE.  AKA – “Keeper Hill March.” Irish, March. G Major. Standard tuning. AA’BB’. Composed by Nenagh, County Tipperary, accordion player Paddy O’Brien. The alternate title, “Keeper Hill,” is the translation of the Irish Slieve Kimalta. Keeper Hill, near Nenagh, is the highest mountain in the Silvermines area of County Tipperary, and the most northerly and most westerly summit in the range. 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. 279, pg. 88 (appears as “Keeper Hill March”).

X:1

T:Larkin's Advance

R:march

C:Paddy O'Brien (Nenagh)

Z:Tracy Kingsley

M:4/4

K:G

g>e|dGBd ~G2 A>B|AGFG ~D2 G>A|BDGB d^c=cB|~A2 A>B ~A2 g>e|

dGBd ~G2 A>B|AGEG ~D2 G>A|Bdge fdfa|~g2 g>f g2:|

B>d|g>fga bgdB|cGce ~d2 BA|G>FGA Bdge|d^c=cB ~A2 Bc|

dedc BGD=F|EGce ~d2 d>c|Bdge fdfa|~g2 g>f g2:|

"Version 2  arr T Kingsley"

g>e|dGBd g2 A>B|AGEG D2 G>A|BDGB dBcB|A2 A>B A2 g>e|

dGBd g2 A>B|AGEG D2 G>A|Bdge fdfa|g2 g>f g2:|

B>d|gfga bgdB|cGce d2 B>A|GFGA Bdge|dBcB A2 B>c|

dedc BGDG|EGce d2 d>c|Bdge fdfa|g2 g>f g2:|

                                   

LARKIN’S BEEHIVES. AKA – “Dominic Rooney’s.” Irish, Reel. G Major. Standard tuning. AABB. Composed by Paddy O’Brien (Nenagh, Co. Tipperary). Source for notated version: Dominic Rooney via flute player Mike Rafferty (b. 1926, Ballinakill, Co. Galway) [Harker]. Harker (300 Tunes from Mike Rafferty), 2005; No. 15, pg. 5. Larraga LR090098, Mike and Mary Rafferty – “The Old Fireside Music” (1998).

X:1
T:Larkin's Beehives
T:Dominic Rooney's Reel
R:reel
C:Paddy O'Brien
S:Mike Rafferty
N:This is Mike Rafferty's setting
B:transcribed by Joanie Madden for the Comhaltas convention
B:in Parsippany, NJ, 1999
D:Mike and Mary Rafferty, the Old Fireside Music #15
Z:Lesl
M:C
L:1/8
K:G
{c}BGBd edge|dzBG AGE2|{c}BGBd edge|dBAc BGGz|
{c}BGBd edge|dzBG AGEd|{c}BBGB ABGB|dBAc BGGz:||
{c}BGBd eg~g2|e~a2f {a}gedB|GBdB eBdB|ABGB AzGA|
{c}BGBd eg~g2|e~a2f {a}gedc|BzGB ABGB|dBAc  BGGz:||

                       

LARK’S MARCH, THE. AKA and see "Bob Thompson's Favourite," "The Coravat Jig [1]," “The Geese in the Bog [2],” "The Green Meadow [2]," "The Humours of Limerick [2]," "Jackson's Walk to Limerick," "Jackson's Trip to Limerick," "Jackson's Coola," “The Lark’s March,” “Mist on the Meadow,” “Morrison’s Fancy,” "The Mountain Lark [5]," "The Piper's Frolic," “Tom Broderick’s Jig,” "Tuhy's Frolic," "Twice Tricked,” "Wiseman's Favourite." Irish, Jig. “The Lark’s March” was Seamus Ennis’s name for the melody, which also goes (along with other tunes) by the title of “Geese in the Bog.” Ennis told a story about the tune to fiddler Caoimhin Mac Aoidh once during a visit in Galway. It seems that two pipers were in a competition, with the first piper to run out of tunes being the looser. Both musicians played through the night and as the sun was dawning both had played their entire repertoires, with the result that the one who played first had to concede, though only if the second could discharge one more tune. The second struggled to come up with just one more and was feigning thought to buy time when he spied a lark wading through the dewy grass looking for a morsel. It began its morning song, which inspired the piper to play an imitation, and with that he won the competition. Due to the fact that Seamus Ennis told a somewhat similar story for the tune “The Gold Ring,” and recorded both tunes (along with the stories) on his Leader album, there has been some confusion resulting between the tune titles; thus “The Lark’s March” is sometimes erroneously called “The Gold Ring.” Source for notated version: flute player Matt Molloy [Bulmer & Sharpley]. Bulmer & Sharpley (Music from Ireland), 1976, vol. 4; No. 62. Green Linnet GLCD 1155, Martin Hayes - “Under the Moon” (1995). Leader LEA2003, Seamus Ennis.

See also listings at:

Alan Snyder’s Cape Breton Fiddle Recording Index

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

Alan Ng’s Irishtune.info

                                   

LARK’S NEST. AKA and see “Banks of Inverness,” “Croppies’ March,” “Croppy’s Retreat,” “Freedom for Ireland,” “Heather on the Hill [1].” See also tune as part of “The Seige of Ennis [1]” and “Walls of Limerick.”

           

LARRISEY’S. AKA and see “The Kilmovee Jig.”

                       

LARRY AND ELEANOR PARKS. Canadian, March (cut time). Canada, Cape Breton. A Major/Mixolydian. Standard tuning. AABB’.  Composed by fiddler Brenda Stubbert (b. 1959, Point Aconi, Cape Breton). The tune becomes “double-tonic” at the cadences. Cranford (Brenda Stubbert’s), 1994; No. 29, pg. 11. Brenda Stubbert - “Tamerack ‘er Down” (1985).

                                   


LARRY BOURN. AKA ‑ "Tor(r)y Burn Lasses." English, Reel. G Major. Standard tuning. AAB. Kennedy (Fiddlers Tune Book), vol. 2, 1954; pg. 12. Raven (English Country Dance Tunes), 1984; pg. 160.

X:1

T:Larry Bourn

M:C|

L:1/8

K:G

G2 BG BddB|c2 ec egge|G2 BG Bddg|edcB A2G2:|

g2 bg agfd|edef gdBd|g2 bg agfd|edef g2 ga|

bagf gfed|edef gdBd|cBcd efge|dBGB A2G2||

           

LARRY DOWNS' REEL. AKA and see “Calum Fhionnlaith,” “Jerry Holland(’s Reel) [2],” “Malcolm Finlay(‘s Reel).” American (?), Reel. E Major. Standard tuning. AABB. As “Malcolm Finlay” this tune is a Cape Breton, Nova Scotia, standard. Cole (1000 Fiddle Tunes), 1940; pg. 37. Ryan’s Mammoth Collection, 1883; pg. 63. CAT-WMR004, Wendy MacIssac - “The ‘Reel’ Thing” (1994).

X:1

T:Larry Downs’

M:2/4

L:1/8

R:Reel

S:Ryan’s Mammoth Collection (1883)

Z:AK/Fiddler’s Companion

K:E

(3E/F/E/ (G/B/) e/g/b/g/|(3f/f/f/ (f/e/) g/f/e/c/|(3E/F/E/ (G/B/) e/g/b/g/|f/e/(g/f/ e2|

(3E/F/E/ (G/B/) e/g/b/g/|(3f/f/f/ (f/e/) g/f/e/c/|(3E/F/E/ (G/B/) e/g/b/g/|f/e/g/f/ e2:|

|:g/e/b/e/ g/b/e/g/|f/e/g/e/ f/e/c/e/|g/e/b/e/ g/b/e/g/|f/e/g/f/ e>e|g/e/b/e/ g/b/e/g/|

f/e/(g/e/)c2|B/E/G/B/ E/G/B/g/|f/e/g/f/ e2:|

                       

LARRY GROGAN('S) [1] (Lamrais Ua Grugain). AKA ‑ "Larry O'Grogan." AKA and see also “Bliven’s Favorite,” "Bobbing for Eels," "The Bottle of Punch," "The Butchers of Bristol [1]", "By your leave, Larry Grogan," "Coppers and Brass [2]", “The County Limerick Buckhunt," "Finerty's Frolic," "Fishing for Eels," “Green Sleeves [3]," "Groom," "Hartigan's Fancy," “The Humors of Ennistymon [1]," "The Humours of Milltown [2]," "Ioc an Reicneail,” "Jackson's Bottle/Jug of Punch/Brandy," "The Lasses of Melrose," “Lasses of Melross,” “Linn’s Favourite,” "Little Fanny's Fancy," "Lynn's Favourite," "Lynny's Favourite," "The Old Man's Jig," "Pay the Reckoning," "Pingneacha Rua agus Pras," “Queen of the Rushes,” "The Waves of Tramore," “Willie Clancy’s.” Irish, Double Jig. G Major (Cole, Kennedy, Roche): G Major/Mixolydian (Levey, O'Neill, O’Farrell, Seattle/Vickers): C Major (Harding). Standard tuning. AABB (most versions): AAB (Seattle/Vickers): AABCCD (Kennedy). A two-part version of a melody belonging to a large tune family, perhaps ancestrally derived from “Greensleeves.” “Coppers and Brass” and “Waves of Tramore” et al. are related tunes. Lawrence Grogan was an 18th century "gentleman piper" and composer, to who is attributed the tunes "Ally Crocker" (c. 1725) and "Girl I Love." Grogan was from Johnstown Castle, County Wexford, and was the first performer on the improved Irish pipes called Uilleann or (archaically) Union of whom there is historical record (O’Neill, 1913). Like many country gentlemen of his day, he was supposed to have been devoted to hunting and horseracing. He was apparently an associate of Jack Lattin, another gentleman-musician, who danced himself to death on a wager (see note for “Jacky Lattin”). See also note for “Allie Croker” for more on Grogan. “Larry Grogan” appears to have first been printed in 1742 by the London publisher I. Johnson, introduced in Wright’s Compleat Collection of Celebrated Country Dances, vol. 2. It was picked up by Walsh for his Compleat Country Dancing-Master, Volume the Sixth (London, 1754), James Oswald for the Caledonian Pocket Companion (London, 1760), Robert Bremner for his Delightful Pocket Companion for the German Flute (London, 1763), and Neil Stewart for Select Collection of Scots, English, Irish and Foreign Airs, Jiggs and Marches (Edinburgh, 1788). The air was employed in several ballad operas, starting with Jack the Gyant Queller (1749), Kane O’Hara’s Midas (1764), and Arne’s Love in a Village (1795). The popular melody can be found in a number of musicians’ copybooks of the late 18th and early 19th centuries, on both sides of the Atlantic, including William Vickers (Northumberland, 1770), John Fife (Perthshire, 1780), and Thomas Hammersley (London, 1790). In North America it was penned by several different flute players: Henry Beck (1786), John Hoff (Lancaster, Pa, 1797-99), Micah Hawkins (New York, 1794) and Thomas Molyneaux (Shelburne, Nova Scotia, 1788). A lone American fiddler’s manuscript also contains it; that of Linnaeus Bolling (Buckingham County, Va., c. 1785). New York published Edward Riley printed it in his Flute Melodies, vol. 1 (1814), and “Larry Grogan” was printed on several songsheets of the era.

***

Aird (Selection of English, Scotch, Irish and Foreign Airs), 1782, vol 1; No. 155. Aird (Selection of English, Scotch, Irish and Foreign Airs), 1796, vol. 4; pg. 11. Breathnach (CRÉ I), 1963; No. 4. Cole (1000 Fiddle Tunes), 1940; pg. 61. Harding's All‑Round Collection, 1905; No. 126, pg. 40. Kennedy (Jigs & Quicksteps, Trips & Humours), 1997; No. 100, pg. 25. Levey (Dance Music of Ireland, 2nd Collection), 1873; No. 62, pg. 27. O’Farrell (Pocket Companion, vol. III), c. 1808; pg. 38. O'Neill (Krassen), 1976; pg. 37. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 879, pg. 163. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 132, pg. 37. O’Neill (1913), pg. 182. Oswald (Caledonian Pocket Companion), 1780?, vol. 2, pg. 98. Peoples (Fifty Irish Fiddle Tunes), 1986; No. 45. Roche Collection, 1983, vol. 1; No. 111, pg. 47. Ryan’s Mammoth Collection, 1883; pg. 92. Seattle (William Vickers), 1987, Part 2; No. 297. Walsh (Caledonian Country Dances), 1737, vol. 2; pg. 23.

See also listings at:

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

Alan Ng’s Irishtune.info

X:1

T:Larry Grogan [1]

M:6/8

L:1/8

R:Jig

S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 132

Z:AK/Fiddler’s Companion

K:G

d/c/|BGB BGB|AFA ABc|ded cAF|GBd g2d/c/|

BGB BGB|AFA ABc|d/e/fd cAF|GAG G2:|

|:d/e/|=f3 edc|Bcd dBG|=f3 e^fg|A>BA A2 d/e/|

=f3 edc|Bcd dBG|B/c/dB cAF|GAG G2:|

 

LARRY GROGAN [2]. Irish, Air (6/8 time). G Major. Standard tuning. AB. Source for notated version: "Patrick MacDowell, distinguished sculptor" (1799‑1870) {Joyce}. Joyce (Old Irish Folk Music and Songs), 1909; No. 522, pg. 282.

                       

LARRY LAVIN'S CHOICE (Roga Lamrais Ui Labain). Irish, Reel. D Major. Standard tuning. AB (O'Neill/1850): AA'BB' (O'Neill/Krassen). O'Neill (Krassen), 1976; pg. 161. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1551, pg. 286.

X:1

T:Larry Lavin’s Choice

M:C|

L:1/8
R:Reel

S:O’Neill – Music of Ireland (1903), No. 1551

Z:AK/Fiddler’s Companion

K:D

dB | A2 FA ABdf | edfd edBd | A2 FA ABdB | AFEG FDDB | A2 FA ABdf |

edfd edBd | A2 FA ABdB | AFEG FD D2 || FadA BAdA | Beed cA A2 |

FAdA BAdF|GFEG FD D2|FAdA BAdA|Beed cA A2|FAAc BAdB|AFEG FD D2||

                       


LARRY LYNCH'S HORNPIPE (Crannciuil Lamrais Ui Loingsig). Irish, Hornpipe. A Major. Standard tuning (fiddle). AABB. Source for notated version: Chicago Police Sergeant James O’Neill, a fiddler originally from County Down and Francis O’Neill’s collaborator [O’Neill]. O'Neill (Krassen), 1976; p. 194. O'Neill (Music of Ireland: 1850 Melodies), 1903; No. 1688, p. 314.

X:1

T:Larry Lynch’s Hornpipe

M:C|

L:1/8

R:Hornpipe

S:O’Neill – Music of Ireland (1903), No. 1688

Z:AK/Fiddler’s Companion

K:A

E2|A2 c>A E>Ac>A|G>AB>G A2 c2|d>fe>c d>cB>A|G>AB>G E>fd>B|

A2 c>A E>Ac>A|G>AB>G A2c2|d>fe>d c>AB>G|A2c2A2:|

|:c>d|e>Ac>e a>gf>e|G>AB>c d>EF>G|A>EA>c d>cB>A|G>AB>G E2 c>d|

e>Ac>e a>gf>e|f>Bd>f b>ag>f|e>ac>f e>dB>G|A2 c2 A2:|

                       

LARRY McDONAGH’S REEL. Irish, Reel. G Major. Standard tuning (fiddle). AB. Collected by Paddy Ryan from flute player Larry McDonagh (1911-1984) from Ballinafad, County Sligo. Ryan says that McDonagh and his brother Michael Joe (1904-1988), a fiddler, had a large repertoire of tunes and a unique style of playing that preceded the Coleman/Morrison era. A third brother, Paddy, also played the flute but had given up playing by the time Ryan recorded the brothes. All three lived their entire lives in a cottage on the side of the Curlew Mountains, near Ballinafad, south Sligo. Treoir, vol. 32, No. 3, 2000; p. 19. Cló Iar Chonnachta CICD 165, John Wynne & John McEvoy – “Pride of the West” (2007). Comhaltas Ceoltoiri Éireann CL53, “The MacDonaghs of Ballinafad and Friends Play Traditional Music of Sligo.”

X:1

T:Larry McDonagh’s Reel

M:4/4

L:1/8

R:Reel

S:Treoir (2000)

K:G

G2 GA B2 BA | B2 BG AGEF|G2 GA B2 BA|GABG AGEF|GFGA B2 BA |

BcBG AGEF | GFGA BcdB | GABG A2 G2 || gfgd edgd | edgd BABd |

gfgd egfa | gedB c2 BA | G2 gd edgd | edgd BABd | gfgd ed^cd | eaaf gedB ||

                       


LARRY O'GAFF [1] (Lamrais Ua Gabaig). AKA and see "Bundle and Go [2]," “Daniel O’Connell,” "Hob or/a Nob," "Making Babies by Steam," "O'Gaff's Jig." Irish (originally), American, Canadian; Double Jig. USA; New England, Maine, New York, Pa. Canada, Prince Edward Island. A Major (Bronner): D Major (Bayard, Flaherty, Levey, Silberberg, Stanford/Petrie): G Major (Allan, Bayard, Brody, Cole, Kennedy, Kerr, Perlman, Phillips, Sweet, Tolman): F Major (Hardings). Standard tuning (fiddle). AB (Bayard, Bronner, Silberberg, Stanford/Petrie): AAB (Kerr): AABB (most versions): AABB' (Flaherty, O'Neill). The "Larry O'Gaff" title for the tune comes from a nonsensical stage‑Irish song whose words are only rarely reported (they can be found in a folk version in Creighton's "Songs and Ballads from Nova Scotia"), and it appears the melody normally was used as an instrumental piece. The tune/song is firmly ensconced in the late minstrel/early vaudeville stage. It is usually associated with Northeastern players in the United States. The older title was probably "Hob or Nob" posits Bayard (1981), which was the title of an old British dance. Bronner (1987) suggests a connection with "The Campbells Are Coming" and "Miss McLeod's Reel," which his source (central N.Y. fiddler Les Weir) also called "Hob or Knob". He thinks that the popularity of "Larry O'Gaff" may come from its ability to replace the aforementioned tunes at country dances. In fact, by 1858 it was reported not as a jig but as a country dance in Howe's Ball‑Room Hand Book. David Taylor (1992) remarks at the similarity of the piece with the Irish jig "Daniel O'Connell," and says that the two tunes, though commonly played in different keys, are often confused. He further notes "Bundle and Go," which is listed as an alternate title for "Larry O'Gaff" by Roche, is and alternate title (though an unusual one) for his "Daniel O'Connell." "O'Gaff" was cited as having commonly been played for country dances in Orange County, New York, in the 1930's (Lettie Osborn, New York Folklore Quarterly). The title appears in the repertoire list of Maine native Mellie Dunham, an elderly fiddler who was Henry Ford's champion dance musician in the mid‑1920's. Words to the ‘A’ part of the tune begin:

***

It was early on Monday, I mean late on a Sunday,

We went to the wedding of Darvey McGraw.

***

See also Joseph Allard’s “Gigue de la débauche,” for a French-Canadian version. The tune is also the vehicle for the songs “Humours of Whiskey” and “Making  Babies by Steam.”

***

Sources for notated versions: Grant Rogers (Delaware County, New York, 1976) [Bronner]; Hiram Horner (fifer from Westmoreland and Fayette Counties, Pa., 1963), Amasiah Thomas (Jefferson County, Pa., 1952), Mary Ann Rogers (elderly fiddler from Greene County, Pa., 1930's), Samuel Losch (Juniata County, Pa., 1930's), Lorin Simmons (fiddler from Prince Edward Island, 1930's) [Bayard]; accordion player Joe Fallon (b. 1935, Collooney, County Sligo) [Flaherty]; Jehile Kirkhuff (Pa.) [Phillips]; Joseph Doucette (b. 1910, DeBlois Road, West Prince County, Prince Edward Island) [Perlman]; set dance music recorded at Na Píobairí Uilleann in the 1980’s [Taylor]. Adam, 1928; No. 55. Allan's Irish Fiddler, No. 26, p. 7. American Veteran Fifer, 1927; No. 7. Bayard (Dance to the Fiddle), 1981; No. 558A‑D, pp. 497‑498 and Appendix No. 34. Brody (Fiddler’s Fakebook), 1983; p. 164. Bronner (Old Time Music Makers of New York State), 1987; No. 35, p. 132. Cazden (Dances from Woodland), 1945; p. 22. Cazden (Folk Songs of the Catskills), 1955; p. 30. Cole (1000 Fiddle Tunes), 1940; p. 59. DeVille, 1905; No. 51. Flaherty (Trip to Sligo), 1990; p. 98. Greenleaf, No. 186 (1st part of a quadrille). Hardings All‑Round Collection, 1905; No. 105, pg. 33. Jarman (Old Time Fiddlin' Tunes), 1951; No. or p. 17. Kennedy (Jigs & Quicksteps, Trips & Humours), 1997; No. 101, p. 25. Kerr (Merry Melodies), vol. 1; No. 10, p. 36. Levey (Dance Music of Ireland, 2nd Collection), 1873; No. 5, p. 2. Miller & Perron (New England Fiddlers Repertoire), 1983; No. 32. O'Neill (Music of Ireland: 1850 Melodies), 1903; No. 869, p. 161. O'Neill (Dance Music of Ireland: 1001 Gems), 1907; No. 128, p. 36. Perlman (The Fiddle Music of Prince Edward Island), 1996; p. 127. Phillips (Traditional American Fiddle Tunes), vol. 2, 1995; pg. 370. Ryan’s Mammoth Collection, 1883; p. 89. Silberberg (Tunes I Learned at Tractor Tavern), 2002; pg. 88. Stanford/Petrie (Complete Collection), 1905; No. 373, p. 94. Sweet (Fifer’s Delight), 1965/1981; p. 32. Taylor (Music for the Sets: Yellow Book), 1995; p. 4. Tolman (Nelson Music Collection), 1969; p. 4. White's Excelsior Collection, 1907; p. 74. Audat 477‑9048, Graham Townsend ‑ "Down Home Fiddlin.'" Century 36464, Albert Cyr‑ "Old Time Fiddling," 1969. Edison 50653 (78 RPM), John H. Kimmel (accordionist from N.Y.C.), 1920 (appears as third tune of "Haste to the Wedding Jigs"). F&W Records 4, "The Canterbury Country Orchestra Meets the F&W String Band." Folk Legacy FSA‑27, Sandy Paton (1965). Folkways FA 2381, "The Hammered Dulcimer as played by Chet Parker" (1966). Fretless 122, Roma McMillan‑ "Old Time Fiddling 1976." Gael-Linn CEF 161, “Michael Coleman 1891-1945” (1992). Gennett 6101 (78 RPM), Uncle Steve Hubbard and His Boys, c. 1928. Green Linnet GLCD 1165, Joe Burke & Charlie Lennon – “The Bucks of Oranmore” (1996). John Edwards Memorial Foundation JEMF‑105, Camile Dubois ‑ "New England Traditional Fiddling" (1978). Smithsonian Folkways SFW CD 40126, Two Fiddles  – “Choose Your Partners!: Contra Dance & Square Dance Music of New Hampshire” (1999).

See also listings at:

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

Alan Ng’s Irishtune.info

X:1

T:Larry O’Gaff [1]

L:1/8

M:6/8

K:G

g2G BAG|ded dBG|cec BdB|ABc def|g2G BAG|ded dBG| cec BdB| AGA G3 :|

|: d2g gfg | gfg afd | d2a aga | aga b2a | gba gfe | dge dBG | cec BdB | AGA G3 :||

X:2

T:Larry O'Gaff

T:Making Babies by Steam

M:6/8

L:1/8

C:Traditional

S:Andy McGann

R:Jig

K:D

c | dDD FED | AdB AFD | G3 F2E | DFA B2c |

dDD FED | AdB AFD | GBG FAF | ECA, D2 :||

F | ABc d3 | dcd ecA | Bcd egf | ede f2e |

dfe dcB | AdB AFD GBG FAF | ECA, D2 :||

X:3

T:Larry O’Gaff

M:6/8

L:1/8

R:Jig

S:Stanford/Petrie (1905), No. 373

Z:AK/Fiddler’s Companion

K:D

(3A/B/c/ | d>DD FED | A>BA AFD | GBG FAF | GEF GAB/c/ | d>DD FED |

ABA AFD | GBG FAF | E>DD D2 || A| ABc dcd | efe ecA | Ace ede |

fdd d2 A/B/4c/4 | d>DD FED | ABA AFD | GBG FAF | E>DD D2 ||

 

LARRY O'GAFF [2] (Lamrais Ua Gabaid). Irish, Double Jig. D Major. Standard tuning (fiddle). AABB (Roche): AABB' (O'Neill). Very similar to version #1, with some octave transpositions and a slightly varied ‘B’ part. Source for notated version: Chicago Police Sergeant James O’Neill, a fiddler originally from County Down and Francis O’Neill’s collaborator [O’Neill]. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 870, pg. 162. Roche Collection, 1983, vol. 1; No. 117, p. 49 (appears as "Bundle and Go").

X:1

T:Larry O’Gaff [2]

M:6/8

L:1/8

R:Jig

S:O’Neill – Music of Ireland (1903), No. 870

Z:AK/Fiddler’s Companion

K:D

(3A/B/c/ | dDD fed | aba afd | gbg faf | ede A2 (3A/B/c/ | dDD fed |

aba afd | gbg faf | ede d2 :||: A | Add dcd | dfd ecA | Ace ede |

fde d2d | dfe dcB | AdB AFD| GBG FAF|1 EDE D2 :|2 EFG Abc ||

 

LARRY O’GAFF [3].  Irish, Jig. D Major. Standard tuning (fiddle). AA’BB’. O’Malley’s tune (which he says was “influenced by flutist Noel Rice”) sounds like an amalgamation of “Larry O’Gaff” and “Knights of St. Patrick.” O’Malley (Luke O’Malley’s Collection of Irish Music, vol. 1), 1976; No. 95, p. 48.

X:1

T:Larry O’Gaff [3]

M:6/8

L:1/8

R:Jig

S:Luke O’Malley’s Collection of Irish Music, vol. 1, No. 95  (1976)

Z:AK/Fiddler’s Companion

K:D

dDD FED|ABA AFD|GBG AFA|EFG ABc|dcd faf|

dcd AFD|GBG FAF|1 EGE D2 (3A/B/c/:|2 EGE D2b||

a^ga faf|Adf agf|gfg ege|Ace gfe|a^ga faf|Adf agf|

gfg bge|dAF D2b|a^ga faf|Adf agf|gfg ege|Ace gfe|

dcd ede|fef gfg|a^ga b=ge|dAF D2z||

                       

LARRY O’GAFF REEL. AKA and see “Island Boy.”

                       

LARRY O'GROGAN. AKA and see "Larry Grogan [1]."

                       

LARRY O LASHEM. AKA and see "Paddy's Trip from Dublin," “Rocking the Cradle [2],” "There are Sounds of Mirth," "Come all you good fellows," "Kissing and Drinking," “The Parson in/on His Boots,” "The Priest and/in his Boots [1]," "The Tivoli," "Bounce upon Bess."

 

LARRY O’LEE.  American (?), Jig. G Major. Standard tuning. AABB. Source for notated version: the late 18th century manuscript copybook of Henry Livingston, Jr.  Henry Livingston purchased the estate of Locust Grove, Poughkeepsie, New York, in 1771 at the age of 23. In 1775 Livingston was a Major in the 3rd New York Regiment, which invaded Canada in Montgomery’s failed attempt to wrest Montreal from British control. An important land-owner in the Hudson Valley, and a member of the powerful Livingston family, Henry was also a surveyor and real estate speculator, an illustrator and map-maker, and a Justice of the Peace for Dutchess County. He was also a musician and presumably a dancer, as he was elected a Manager for the New York Assembly’s dancing season of 1774-1775, along with his 3rd cousin, John Jay, later U.S. Chief Justice of Governor of New York.

X:1

T:Larry O’Lee

M:6/8

L:1/8

R:Jig

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

Z:AK/Fiddler’s Companion

K:G

|: D | D>EF G>AB | ced cBA | BGE (DE)G | B>cA G2D | D>EF G>AB |

c>ed cBA | BGE (DE)G | BcA G2 :: c | B2c d2d | e>dc dBG | Bcd efg |

G>AG FED | cec BdB | A>GA BGE | GFE Ddc | B>cA G2 :|

                       

LARRY O'NIEL'S CLOG. American, Clog. A major. Standard tuning. AABB. Cole (1000 Fiddle Tunes), 1940; pg. 117. O’Malley (Luke O’Malley’s Collection of Irish Music, vol. 1), 1976; No. 147, pg. 74. Ryan’s Mammoth Collection, 1883; pg. 156.

X:1

T:Larry O’Niel’s

M:C|

L:1/8

R:Clog

S:Ryan’s Mammoth Collection (1883)

Z:AK/Fiddler’s Companion

K:A

e2 | a>c’a>e c>ae>c | A>ec>A E2c2 | d>fB>d c>eA>c | B>^AB>c B2e2 |

a>c’a>e c>ae>c | A>ec>A E2c2 | d>fB>d c>eA>c | B>EG>B A2 :|

|: A2 | G>EB>G E>GB>E | A>Ec>A E>Ac>A | d>Bc>A B>GAF> | e>^de>f e>d=d>B |

A>ce>c a>ec’>e | B>eg>e b>gd’>c’ | b>ag>f e>dc>B  A2c2A2 :|

                       

LARRY REDICAN'S BOW. AKA and see “Gavin’s.” Irish, Reel. D Major. Standard. AA’BB’. Composed by the late Larry Redican, multitalented musician from Long Island, New York, noted for his unusual and distinctive bow trebles. Sources for notated versions: Phillip Duffy (b. London, 1966, since to County Sligo) [Flaherty]; the Gavins of Ballina [O’Malley]. Black (Music’s the Very Best Thing), 1996; No. 186, pg. 98. Flaherty (Trip to Sligo), 1991; pg. 34 (appears as “unknown”). O’Malley, No. 13. Green Linnett GLCD 1987, Seamus Connolly - "Notes From My Mind" (1988). Rounder Records, Tim Britton – “Light Through the Leaves” (appears as “Redigan.” Learned from Jimmy Devine in Philadelphia).

X:1

T:Larry Redican’s Bow

M:4/4

L:1/8

R:Reel

K:D

D2FD A,DFD | E2GE B,EGE | Ddcd BAFD | E2EF EDB,C, | D2FD A,DFD |

E2GE B,EGE | Ddcd BAFD |1 EDC,E D2A,B, ||2 EDC,E DEFA :||

B2BA B2Bc | d2cd BAF^G | A2cA EAcA | ABce aecA | B2BA B2Bc |

d2cd BAFE | DEFA dfec |1 dBAF EFGA ||2 dBAF EGFE :||

X:2

T:Larry Redican's Bow

C:Larry Redican

R:reel

Z:Transcribed by Paul de Grae

M:4/4

L:1/8

K:D

D2 FD A,DFD|E2 GE B,EGE|Dddc B2 AF|E2 ED EGFE|

D2 FD A,DFD|E2 GE B,EGE|FAdA BdAF|1GECE D2 FE:|

2GECE D3 A||

B3 A B2 Bc|dBBA BdcB|A2 fc eAcB|ABce fecA|

B2 (3cBA B2 Bc|dBBA B2 Bc|dBBA BAFB|ABce faec||

B3 A B2 Bc|dBBA BdcB|A2 fc eAcB|ABce fecA|

B2 (3cBA B2 Bc|dBBA B2 Bc|(3dcB (3cBA BAFD|

E2 EF GECE||

X:3

T: Larry Redican's Bow

S: T. DeMarco

Z:Transcribed by Bill Black

Q: 350

R: reel

M: 4/4

L: 1/8

K: D

D2 FD A,DFD | E2 GE B,EGE | Ddcd BAFD | EDEF EDB,C |

D2 FD A,DFD|E2 GE B,EGE|Ddcd BAFD|1 EDCE DA,B,C:|2 EDCE DEFA ||

B2 BA B2 Bc | d2 cd BAFG | A2 (3cBA eAcA | ABce afec |

B2 BA B2 Bc | d2 cd BAFE | DEFA dfec |1 dBAF EFGA :|2 dBAF E4 ||

           

LARRY REDICAN’S (JIG). AKA and see “The Legacy [2],” “Skiver the Quilt [1],” “The Tailor’s Wedding.” Bulmer & Sharpley (Music from Ireland), vol. 3, No. 48. Green Linnet Records, Jack and Charlie Coen – “The Branch Line” (1992. Reissue of Topic Records album recorded in 1977).

           

LARRY REDIGANS/REDICAN'S (REEL) [1]. AKA – “Rattigan’s.” Irish(-American); Reel. G Major (Flahery, Miller, Mulvihill/Mulvihill): F Major (Mulvihill/Greenall). Standard tuning. AB (Cranitch, Flaherty, Mulvihill): AA’BB (Miller). A c. 1960 composition of  Irish-American fiddler and banjo player, Larry Redican (1908‑1975). Though he was born in Dublin, Redican’s parents hailed from Boyle, Co. Sligo, and were both flute players. Redican, however, chose the fiddle and studied with Frank O'Higgins in Dublin before he emigrated to the United States in 1928. He worked for much of his life for the cosmetics company Estee Lauder in New York. Redican was a member of the New York Céili Band. Shares similarities with "The Early Breakfast," "Miss Lyon’s Fancy," "Over the Hill," “Rags and Tatters,” "Up Against the Boughalauns." Sources for notated versions: flute player and piper Charlie Lavin (b. 1940, Cloonshanville, near Frenchpart, County Roscommon) [Flaherty]; Brendan Mulvihill (Baltimore, Md.) [Mulvihill]; Liam Greenall (Liverpool, England)[Mulvihill]. Bulmer & Sharpley (Music from Ireland), vol. 1; No. 45 (appears as “Rattigan’s”). Cranitch (Irish Fiddle Book), 1988; No. 155 (appears as “Rattigan’s”). Flaherty (Trip to Sligo), 1990; pg. 151 (appears as “Rhattigan’s”). Miller (Fiddler’s Throne), 2004; No. 190, pg. 120. Mulvihill (1st Collection), 1986; No. 91, pg. 24 and No. 234, pg. 63. Green Linnett SIF1035, Brian Conway & Tony De Marco - "The Apple in Winter" (1981. Learned by Brian Conway from Donegal fiddler Denny McLoughlin, "while on a bus ride to Listowel, County Kerry for the 1973 Fleadh Cheoil"). Jimmy Keane (et al) – “The Big Squeeze.”

See also listings at:

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

Alan Ng’s Irishtune.info

X:1

T:Larry Redican's # 1

C:Larry Redican

R:reel

M:4/4

L:1/8

Z:Philippe Varlet

K:G

D|G2BG DGBd|g2fg edBA|G2BG DGBG|ABAG FDEF|

(3GFE (3FED EDB,A,|G,gfg edBA|G2BG DGBd|cAFA G3 :||

B|dggf gfed|eaag ~a3 g|fd~d2 ad~d2|faaf gedc|

BG~G2 EGDF|Ggfg edBA|G2BG DGBd|cAFA G3 :||

 

LARRY REDICAN’S (REEL) [2]. Irish, Reel. G Major. The tune may or may not be a composition of Larry Redican. Rounder Records/Britton 3, Tim Britton - “Light Through the Leaves” (learned from Jimmy Devine).

X:1

T:Larry Redican's # 2

R:reel

M:4/4

L:1/8

Z:Philippe Varlet

K:G

G2BG dGBG|A2cA eAcA|Ggfg edBG|~A3 B AGEF|

G2BG dGBG|A2cA eAcA|Ggfg edBG|1 ADFA GDEF :|2 ADFA GABd||

~e3 d ~e3 f|(3gfe fd edB^c|defd AdfA|d2fd Adfd|

~e3 d ~e3 f|gefd edBA|GA (3Bcd gaba|1 gedB A2Bd :|2 gedB A2BA||

 

LARRY REDICAN’S [3]. AKA and see “Forget Me Not [1],” “Martin Rocheford’s [1].” Irish, Reel.

LARRY REDICAN’S [4]. AKA and see “Killfadda Reel.” Irish, Reel.

 

LARRY REDICAN’S [5].  AKA and see "Barry's Fancy," “The Clogger’s Quilt,” "Kathleen's Fiddle," "Micho Russell's Favorite [1]," "Rattigan's,"  "St. Andrew's," "The Swallow [2]." Irish, Reel. F Major. Standard tuning. AABB. Recorded by Andy McGann, Joe Burke and Felix Dolan as “Kathleen’s Fiddle.” Cló Iar-Chonnachta CICD 173, Brian Conway – “Consider the Source” (2008).

See also listings at:

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

Alan Ng’s Irishtune.info

           

LARRY REDICAN’S SLIP JIG. Irish, Slip Jig (9/8 time). G Major. Standard tuning. AABB. A composition of  Irish-American fiddler and banjo player, Larry Redican (1908‑1975). Though he was born in Dublin, Redican’s parents hailed from Boyle, Co. Sligo, and were both flute players. Redican, however, chose the fiddle and studied with Frank O'Higgins in Dublin before he emigrated to the United States in 1928. He worked for much of his life for the cosmetics company Estee Lauder in New York. Redican was a member of the New York Céili Band. Source for notated version: Chicago musician Jimmy Keane [Black]. Black (Music’s the Very Best Thing), 1996; No. 258, pg. 139. Green Linnet SIF 1072, Mick Moloney – “Kilkelly.”

X:1

T: Larry Redican's Slip Jig

S: Jimmy Keane

Q: 325

R: slip jig

Z:Transcribed by Bill Black

M: 9/8

L: 1/8

K: G

GFG Bdd cee | GFG BdB cAF | GFG DGG DGF | EDE AGF G3 :|

AGE EDB, DEG | dBA GBd e2 g | dBA BAG EDB, | DB,A, A,B,D E3 :|

           

LARRY REYNOLD’S. Irish, Reel. A Dorian. Standard tuning. AABB. Composed by Falmouth, Massachusetts, musician and writer Bill Black. Black (Music’s the Very Best Thing), 1996.

X:1

T: Larry Reynolds'

C: © B.Black

Q: 350

R: reel

M: 4/4

L: 1/8

K: Ador

e2 ce aece | gfge dBGB | AGAB c2 BA | GABA GEDG |

E2 AE cEAE | D2 GA BAGA | c2 AB cBAG | EDEG A4 :|

eBcd eaaf | g2 fg edcB | c2 ec acec | B2 eB gBeB |

eaa^g aba=g | ecdB cBAG | AGAB c2 BA | GEDB, A,4 :||

                       

LARRY REYNOLD’S FANCY.  Canadian, Jig. Canada, Cape Breton. F Major. Standard tuning. AABB. Composed by the late Cape Breton fiddler and composer Jerry Holland  (1955-2009) for Boston Irish musician Larry Reynolds, stalwart of the city’s Comhaltas organization. Paul Stewart Cranford says that New Hampshire fiddler Jack Perron crafted an old-fashioned music box that plays the tune, so much did he like it. Cranford (Jerry Holland: The Second Collection), 2000; No. 282, pg. 101. Jerry Holland – “Crystal Clear” (2000).

 


LARRY THE BEER DRINKER. AKA and see “The Beer Drinker,” “Jackson’s Stranger [1],” “Paddy “Go Easy”,” "Wallop the Spot." Irish, Jig. D Major. Standard tuning. AABBCC. The tune appears under the “Jackson’s” title in O’Farrell’s Pocket Companion. Source for notated version: [Flaherty]. Flaherty (Trip to Sligo), 1990; pg. 153.

X:1

T:Larry the Beer Drinker

T:Paddy Go Easy

T:Jackson's Stranger

Z:Transcribed by Paul de Grae

B:O'Neill's DMI, 298, and Waifs & Strays, 177

S:Baily's Corner session, slightly different to book versions

R:jig

M:6/8

L:1/8

K:D

F|DFF {G}FEF|AFE F2 E|DFF {G}FEF|AFE E2 F|

DFF FEF|DFA d2 d|cBA BAF|AFE E2:||:f|

ecA ABA|ecA A2 f|ecA Ace|fdB B2 c|

ecA cBc|Ace a2 a|fec ecB|1cAA A2:||2cAA ABc|

:dFF FEF|DFE FAc|dFF FEF|AFE E2 A|

d2 F FEF|DFA d2 d|cBA BAF|1AFE EFA:|2AFE E2||

X:2
T:Larry the Beer Drinker
R:double jig
S:The McNamara Family, "Leitrim's Hidden Treasure"
Z:Larry Sanger
M:6/8

L:1/8
K:D
|:DAF FEF|AFE ~F2E|DAF FEF|AFE {G}E2F|
DAF FEF|AFA ded|cBA {d}BAF|1 {d}AFE {G}E2F:|2 AFE E2f||
ecA ~ABA|ecA Agf|ecA Ace|fdB {d}B2f|
ecA cBc|Ace ~a3|fec ~BcB|1 AFE {G}E2f:|2 AFE E2e||
d2F FEF|AFE F2e|dAF FEF|AFE {G}EFc|
dAF FEF|DFA ded|cBA {d}BAF|1 {d}AFE {G}E2e:|2 AFE E2F||

                       

LARRY'S FAVORITE. AKA and see “Down the Broom.” Irish, Reel. A Dorian. Standard tuning. AABBCC. ‘Composed’ by Paddy O’Brien, however, the tune is the two-part reel “Down the Broom” with an extra part added.

X:1

T:Larry's Favourite

C:Paddy O'Brien

S:Kevin Rowsome

M:4/4

K:ADor

AG|E.A.AG .A.ABd|eAA2 BAGE|G2DG EGDE|GABd edBG|\

E.A.AG .A.ABd|eAA2 BAGE|GABd gedB|AcBG A2::\

Bd|eaag egfg|eAA2 edBe|d2BG AGEF|GABd g2fg|\

eaag egfg|eAA2 BAGE|GABd gedB|AcBG A2::\

Bd|eaag a2ga|bgg2 abge|dggf g2eg|dBB2 GABd|\

eaag a2ga|bgg2 abge|dBB2 gedB|AcBG A2:|

                       

LARRY'S WALTZ. American, Waltz. USA, New Hampshire. G Major. Standard tuning. AA'BB. Composed in December, 1977, by composer, pianist and accordionist Bob McQuillen (Peterborough, New Hampshire), in honor of friend Larry Haddock. Matthiesen (Waltz Book II), 1995; pg. 29. Alcazar Dance Series FR 203, Rodney Miller ‑ "New England Chestnuts" (1980).

 

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 [COMMENT1]This was Font/Pitch 1,10 - Off.

 [COMMENT2]This was Font/Pitch 1,10 - On.