The Fiddler’s
Companion
© 1996-2008 Andrew Kuntz
_______________________________
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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.
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.
X:1
T:
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. AAB (Athole, Gow, Little): AABB' (Kerr).
***
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
X:1
T:
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. AABB'. Kerr (Merry Melodies), vol. 3; No. 100, pg. 12.
X:1
T:
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||
|
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. 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. AB. Composed by James Hogg (b. 1770, in the
***
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. 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
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
|
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 "
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,
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]. Irish, Jig. A Mixolydian. Standard
tuning. 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, pg. 331.
LARK IN THE MORNING
[5] (An Fuiseog Air
Maidin). Irish,
Double Jig. A Dorian. Standard. 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), 1903/1979; No. 1020, pg. 190.
X:1
T:Lark in the Morning [5]
M:6/8
L:1/8
R:Jig
S:O’Neill – Music of
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
|
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 (
X:1
T:Lark on the
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}
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
X:1
T:Lark
on the
M:C|
L:1/8
R:Hornpipe
S:Kerr – Merry Melodies, vol. 4, No. 300 (c. 1880’s)
Z:AK/Fiddler’s Companion
K:A Minor
(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
LARKIN’S ADVANCE. AKA – “Keeper Hill March.”
Irish, March. G Major. Standard tuning. AA’BB’. Composed by Nenagh,
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.
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,
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
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:|
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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,” "Little Fanny's Fancy," "Lynn's Favourite," "Lynny's Favourite," "