The Fiddler’s Companion
© 1996-2010 Andrew Kuntz
_______________________________
HOME ALPHABETICAL
FILES REFERENCES
LAS - LAZ |
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] |
LASAIRTEINIG, AN. AKA and see "The
Lightening Flash."
LASLY'S MARCH. AKA and see "Leslie's/Lesley's March [1]."
LASS AMONG THE ACTNACH. AKA – “Lass among the Aclenoch.” Scottish, Strathspey. A Minor.
Standard tuning. AB. John Glen (1891) finds the earliest printing of the tune
in Alexander McGlashan's
collection. McGlashan (Collection of
Strathspey Reels), c. 1780/81; pg. 27.
X:1
T:Lass among the Aclenoch
M:C
L:1/8
R:Strathspey
S:McGlashan – Strathspey Reels (c. 1780)
Z:AK/Fiddler’s Companion
K:A Minor
E|G<G c>G A2 A>d|c>G
c>G A>G E2|D>E G>c A/A/A A2|c>ded c>A A2|
G<G c>G A2 Ad|c>GA>G
c>G E2|D>EG>c A/A/A A2|c>ded cA A||
a|g<e e>a g>e
d<e|c>Gc>B A>G E2|D>EG>c A/A/A A2|c>de>d c>A Aa|
g<e e>a g>e d<e|cGA>G
c>G E2|D>EG>c A/A/A A2|c>ded cA A2||
LASS AND THE MONEY IS
ALL MY OWN, THE. English, Jig. England,
Northumberland. G Major. Standard tuning. AABB. Bruce & Stokoe (Northumbrian Minstrelsy), 1882; pg. 172.
X:1
T:Lass and the Money is All My Own, The
M:6/8
L:1/8
R:Jig
S:Bruce & Stokoe – Northumbrian
Minstrelsy (1882)
Z:AK/Fiddler’s Companion
K:G
e|dBG GAB|c2B A2G|dBG GAB|A2B c2e|dBG GAB|
cBA A2G|BdB AcA|G2G G2:|
|:d|ece dBd|ece dBd|efg dBG|A2B c2e|def gfe|dcB A2F|
BdB
AcA|G2G G2:|
LASS
FROM COLLEGELAND, THE. AKA and see "An Cliabh
Mona," "The Basket of Turf,"
"The Unfortunate Rake [1]," "The Wandering Harper," "The Disconsolate Buck," "The Wee, Wee Man," "Bundle and Go [1]."
LASS GIN YE LOE ME TELL ME NOW. Scottish, Air and Jig. D Major. Standard tuning. AABB. The melody was a popular vehicle for songs in Scotland, including “Will ye na can ye na let me be” (The Merry Muses of Caledonia) and James Tytler’s (1747-185) “I ha'e laid three herrin' in sa't” (Scots Musical Museum), in addition to the title song “Lass gin ye lo’e me, tell me now” (Scots Musical Museum). Tytler’s song begins:
***
I hae laid a herring in saut,
Lass, gin ye lo’e me, tell me now,
I hae brew’d a forpit o’ maut,
An’ I canna come ilka day to woo.
I hae a calf that will soon be a cow,
Lass, gin ye lo’e me, tell me now,
I hae a stook, and I’ll soon hae a mowe,
An’ I canna come ilka day to woo.
***
Inspired by
this song, James Hogg, the Ettrick Shepherd, penned this version (titled “Lass,
an’ ye lo’e me, tell me now”):
***
Afore the muircock begin to craw,
Lass, an' ye lo'e me, tell me now,
The bonniest thing that ever ye saw,
For I canna come every night to woo."
The gouden broom is bonny to see,
An' sae is the milk-white flower o' the haw,
The daisy's wee freenge is sweet on the lea,
But the bud of the rose is the bonniest of a'.
***
However,
the original song appears to have been English in origin, first printed in Melismata,
Musical Phansies Fitting the Court, Citie, and Countree. To 3, 4, and 5 Voyces (London),
printed by William Stansby, for Thomas Adams, 1611. It appears under the title
“Wooing Song of a Yeoman of Kent’s Sonne” and is in the Kentish dialect:
***
Icj have house and land in Kent,
And if you'll love me, love me now;
Two-pence half-penny is my rent, -
Ich cannot come every day to woo.
Chorus. Two-pence half-penny is his rent,
And he cannot come every day to woo.
***
In America
the melody appears in print in William Williams’ New and Complete Preceptor
for the Fife (Utica, 1826) and Benjamin Carr’s Caledonian Muse
(Philadelphia, 1798). It was included in several fiddlers’ manuscripts on both
sides of the Atlantic; not surprisingly, in John Fife’s Perthshire,
Scotland, copybook dated 1780-1804,
flute player Thomas Molyneaux’s copybook of 1788 (Nova Scotia), and Daniel
Henry Huntington’s flute manuscript (Onondaga, New York, 1817). Aird (Selections
of Scotch, English, Irish and Foreign Airs), vol. II, c. 1785; No. 10, pg.
4. Johnson (Scots Musical Museum, vol. 3), 1790; pg. 253. Mattson &
Walz (Old Fort Snelling... Fife),
1974; pg. 70.
X:1
T:Lass Gin
Ye Lo’e Me Tell Me Now
M:6/8
L:1/8
S:Aird,
vol. II (1785)
Z:AK/Fiddler’s Companion
K:D
F2A A2d |
B>dA B3 | A>Bd d2e | f2g a3 | F2A A2d |
B>dA
B>dg | f<ag {g}f2e | d<BA A3 :|
|: f>ef
g2g | a>ga b3 | B2e e>fg | fed d2c | FGA A2d |
B>dA B>dg | f<ba g<fe |
dBA A3 :|
LASS IF I COME NEAR
YOU. Scottish. Bayard (1981) calls this
tune a "special development" of "Boyne Water."
LASS IN THE PARLOUR, THE (An Gearrchaile sa Pharlús). AKA and see “Tickle the Wig.” Irish, Slip Jig. A
Mixolydian. Standard tuning (fiddle). ABB. Source for notated version: from a
manuscript in the possession of Sliabh Luachra fiddler James Buckley
[Breathnach]. Breathnach (CRÉ V),
1999; No. 61, p. 31.
LASS OF BALLINTRA(Y)
[1] {Cailín Bhaile an
tSratha}. AKA and
see "The Mountain Dew." Irish,
Reel. G Major. Standard tuning (fiddle). AB. Sources of notated versions: c.
1889 from "Mr. M. Flanagan of the Hibernian Military School, Phoenix Park,
Dublin, a good player of the Union pipes. Mr. Flanagan picked them up in North
Kildare" [Joyce]; piper Pat Brophy/Patrick Ó Broithe (Ireland)
[Breathnach]. Breathnach (CRÉ I),
1963; No. 91, p. 40. Joyce (Old Irish
Folk Music and Songs), 1909; No. 356, pg. 164.
X:1
T:Lass of Ballintra [1]
M:C
L:1/8
R:Reel
S:Joyce – Old Irish Folk Music and Song (1909), No. 356
Z:AK/Fiddler’s Companion
K:G
A|GFGe dGBd|edBG AGEF|GFGe dGBd|gbaf
gedB|GFGe dGBd|
edBG AGEF|GFGe dGBd|gbag eg g2||dg
g2 bagb|agbg agef|
dg g2 bagb|c’bag eg g2|dg g2
bagb|afbg afeg|bagf gfed|egfa gedB:||
X:2
T:Lass of Ballintray (1) (The)
M:C|
L:1/8
R:Reel
B:Treoir (1985)
K:G
~G3B dGBd|edBG AGED|~G3B dGBd|gbag
gedB|
~G3B dGBd|edBG AGED|~G3B dGBd|gbag
ef g2:|
|:d~g3 b~g3|agbg ageg|d~g3 b~g3|gbag
ef g2|
d~g3 b~g3|agbg ageg|bgaf gfed|(3efg
fa gedB:||
LASS OF BALLINTRAE [2]. AKA – ‘The Bonny Lass of Ballintrae.” Scottish, Reel. F Major. Standard
tuning (fiddle). AB (Surenne): AAB (Gow, Stewart-Robertson). The tune appears
in Joseph Lowe’s 1844 collection where it is attributed to Captain Fraser
(perhaps musician and collector Captain Simon Fraser, although it does not seem
to appear in any of Fraser’s collections). See also the related Irish reel “Flags of Dublin.” Gow (Complete Repository), Part 4, 1817; p.
22. Stewart-Robertson
(The Athole Collection), 1884; p. 206
(appears as “Bonny Lass of Ballintrae”). Surenne (Dance Music of Scotland), 1852; p. 52.
X:1
T:Lass of Ballintrae [2]
M:C|
L:1/8
R:Reel
S:Gow – 4th Repository (1817)
Z:AK/Fiddler’s Companion
K:F
d|cFAc dfef|cFAF GDDd|cFAc dfeg|afce
f3:|
c|fcfa gceg|(f/g/a) g>f ecce|fcfa
gcgb|afce f3c|
fcfa gceg|(f/g/a) g>f
eccf|(d/c/B) fd cFAc|dfeg f3||
LASS OF BALLINTRA [3], THE.
Irish, Reel. D Major. Standard tuning (fiddle). AABB. Composed by the late
pianist Liam King of Belfast and Dublin [McGuire and Keegan]. McGuire & Keegan (Irish Tunes by the 100, vol. 1), 1975; No. 44, p. 12.
X:1
T:Lass of
Ballintra, The [3]
M:C|
L:1/8
R:Reel
K:G
(3ABc |
dcdA FDDF | GBed cABc | dcdA FADF | GFEF GABc |
dcde fdec |
dcAB =cAGE | FEDE FGAd | cAGE FD D2 :: c |
d2 fd Adfd
| Gbed cABc | d2 fd adfd | gfed ceAc | defd gece |
dcAB (3=cBA GE | FEDE FGAd | cAGE FD
D2 :|
LASS OF CARRACASTLE, THE. AKA and see “Miss Langford.” Irish, Reel. C
Major. Standard tuning (fiddle). AABB. Composed by Paddy Sweeney. Treoir.
X: 1
T: Lass of Carracastle
S: Treoir
C: Paddy Sweeney
M: 4/4
L: 1/8
Z: Transcribed by Bill Black
Q: 350
R: reel
K: C
E |: G2 cA G2 EG | (3ABc GE FDDF | EC C2 EG G2 |
(3ABc df eccA |
GAcA G2 EG | cGEG FDDF | EC C2 EG G2 | (3ABc df
ec c2 :|
egge f2 de | fedc BG G2 | (3efg eg f2 ef | gfgf
eccd |
egge f2 de | fedc BGGB | AGAc BcdB | cegf ec c2
:|
W:
P: transposed to D
K: D
F |: A2 dB A2 FA | (3Bcd AF GEEG | FD D2 FA A2 |
(3Bcd eg fddB |
ABdB A2 FA | dAFA GEEG | FD D2 FA A2 | (3Bcd eg
fd d2 :|
faaf g2 ef | gfed cA A2 | (3fga fa g2 fg | agag
fdde |
faaf
g2 ef | gfed cAAc | BABd cdec | dfag fd d2 :|
LASS OF CARRIE MILLS. AKA and see "The Lass o' Corrie
Mill."
LASS OF CARROWCASTLE
[1], THE. AKA and see “Miss Langford.”
LASS OF CARROWCASTLE
[2], THE. AKA and see “George White’s Fancy/Favorite."
LASS O' CORRIE MILL, THE. AKA and see “Carlisle Lasses.” Scottish, Strathspey.
F Major. Standard tuning. AB (Cranford, Fiddler
Magazine): AA'BB' (Kerr). The tune appears in Feldman and O’Doherty’s
Northern Fiddler as “Neil Gow’s
Strathspey,” from the playing of Donegal fiddler Danny O’Donnell. It has also
been recorded by Cape Breton fiddlers such as Winston Fitzgerald (on a 78 RPM),
and Buddy and Natalie MacMaster. Fiddler
Magazine, vol. 3, No. 2, Summer 1996; pg. 10. Sources for notated versions:
Natalie MacMaster (Port Hastings, Cape Breton, Nova Scotia) [Fiddler Magazine];
Winston Fitzgerald (1914-1987, Cape Breton) [Cranford]. Cranford (Winston Fitzgerald), 1997; No. 155, pg.
62. Kerr (Merry Melodies), vol. 1;
Set 27, No. 1, pg. 17. Canadian Broadcasting Corp.
NMAS 1972, Natalie MacMaster - "Fit as a Fiddle" (1993). Rounder
Records 7052, Buddy MacMaster – “The Cape Breton Tradition” (2003).
X:1
T:Lass o’ Corrie Mill, The
M:C
L:1/8
R:Strathspey
S:Kerr – Merry Melodies, vol. 1, No. 1, set 27 (c. 1880’s)
Z:AK/Fiddler’s Companion
K:F
F>GA>F (E<G) F2|A>Fc>F
(A<c) c2|d>f c>f B>f A>f|(3agf (3efd (3cdB (3ABG|
F>GA>F (E<G)
F2|A>Fc>F (A<c) c2|d>f c>f B>f A>f|(3agf (3def A<F F2||
A>Bc>B (A<f) f2
|e>fg>e (f<a) a2|(b>a)(a>g (g>f)(f>e)|(3agf (3edc (3dcB
(3ABG|
A>Bc>B (A<f)
f2|e>fg>e (f<a) a2|(b>a) (a>g) (g>f) (f>e)|(3agf (3efg
a<f f<a||
LASS OF CUMBERLAND, THE. English, Air (4/4 time). C Minor. Standard
tuning. One part. The air appears in 180
Loyal Songs (printed in 1685 and 1694), Apollo's
Banquet, and all editions of Pills to
Purge Melancholy. Chappell (1859) also states it is in a 1670 manuscript at
one time in the Music School Collection, Oxford. Several ballads were written
to the air including "Cumberland Laddy; or, Willy and Nelly of the
North," "The Creditors' Complaint against the Bankers; or, The Iron
Chest the Best Security," "The Honour of great York and Albany,"
and "The Northern Lad; or, The Fair Maid's Choice." Chappell (Popular Music of the Olden Time), vol.
2, 1859; pg. 24.
LASS O' DALLOGILL, THE. AKA – “Lass of Dallowgill.” AKA and see "North Skelton Sword Dance."
English. Topic TSCD 669, Arthur Marshall (et al) –
“Ranting and Reeling: Dance Music of the north of England” (1998. North
Yorkshire accordion player Marshall was born in 1896).
LASS OF DUNCE, THE.
English, Jig. G Major. Standard tuning. AB. The melody appears in the
1842 music manuscript collection of Cumbrian musician John Rook. Perhaps meant
as a companion piece to the well-known “Lads of
Dunse.”
X:1
T:Lass of Dunce, The
M:6/8
L:1/8
R:Jig
S:John Rook manuscript (Cumbria,
1842)
K:G
b/c’/|d’bg afd|g2d d2f|ece dBd|A2A
A2 b/c’/|d’bg afd|
g2d d2f|BGB AFA|G2G G2||B/c/|dBd
ece|dBd g2g|
dBd ece|f2A A2 b/c’/|d’bd’ c’ac’|bgb
afa|gfe dcB|g2G G2||
LASS OF DUNDEE, THE. English, Reel. G Major. Standard tuning. AABB.
Hall & Stafford (Charlton Memorial
Tune Book), 1974; pg. 19. Howe (1000
Jigs and Reels), c. 1867; pg. 162.
T:Lass of Dundee
M:4/4
L:1/8
Z:AK/Fiddler’s Companion
K:G
|: d | g2 bg agfe | dgBg edBd | g2
bg ageg | dBgB AGG :|
LASS OF ELGIN, THE. Scottish, Reel. The melody appears in the Gillespie Manuscript of Perth, 1768.
LASS O' GLENSHEE. See "The
Kerryman's Visit to Dublin."
LASS O' GOWRIE [1]. AKA and see “Battle of Garvagh,” "I'm O'er Young To Marry Yet
[3]," "Lakes of Sligo,”
"Loch Erroch Side," "Over the Hills to Glory," “Rocky Road to Dublin [4],” “Tom Billy’s (Polka) [2].”
Scottish, English; Reel. Scotland, Lowlands region. England, Northumberland. C
Major (Kennedy, Williamson): D Major (Dixon, Kerr vol. 4, Perlman). Standard.
AABB (most versions): AABBCCDDEEFF (Dixon). A very well known tune in the
British Isles, states Bayard (1981), descended from an air used as a reel,
strathspey, and song melody, and known usually by one of the alternate titles.
Perlman (1996) remarks that it is “basically a simplified variant of the
strathspey ‘Loch Erroch Side’.” In southwestern Pennsylvania it was one of
several tunes to which the title "The Rocky Road to Dublin" [Bayard's
No. 304, pg. 258] became attached. Irish musicians know it as the polka “Lakes
of Sligo.” Williamson (1976) remarks that Dunsinane Castle (of MacBeth fame)
overlooks the Carse of Gowrie (a carse
is a fertile plain near a river).
***
The title “Lass o’ Gowrie” comes
from lyrics set to the melody by Caroline Oliphant of Gask (1766-1845), whose
father joined the Jacobite rebellion of Bonny Prince Charlie in 1745. With the
failure of the rebellion, the Oliphant family’s fortunes collapsed, but
Caroline was born into the post-Jacobite sympathies The song was one of those
requested by Queen Victoria for a recital by noted singer of Scots songs John
Wilson, when she visited Taymouth Castle in 1842.
***
March versions of the melody were
employed by several regiments in the British army, as recorded by David Murray
(Music of the Scottish Regiments,
Edinburgh, 1994). For example, it was the march of the 55th Foot,
raised in Stirling in 1755. Although the regiment later became an English one
(affiliated with Westmoreland, in north-western England), the melody was kept
due to the regiment’s Scottish roots. The 2nd battalion of The
Border Regiment played “Lass of Gowrie” along with “John Peel” as their march
tunes. Similarly, “Lass of Gowrie” was played by the 70th Regiment
(originally raised in Glasgow in 1756) which became the 2nd
Battalion of the East Surrey Regiment. The old 57th (West Middlesex) Regiment,
which became the Middlesex Regiment in 1881, also chose “Lass of Gowrie” as
their march for several years.
***
An interesting variant appears
below, from a Dingle (Ireland) fife and drum band who played the tune as part
of the 1982 Dingle ‘Wren’, a St. Stephens day tradition in that part of
Ireland. The tune was originally transcribed by Steve MacDonogh in his book Green and Gold, that used the 1982 Wren
event as an opportunity to explore historic and folklore background of the
tradition. Dixon (1995) prints the tune with variation sets by Robert Whinham
(1814-1893), a musician, teacher, composer, dancing master and fiddler
originally from Morpeth, Northumberland. Sources for notated versions: George
MacPhee (b. 1941, Monticello, North-East Kings County, Prince Edward Island)
[Perlman]; an un-attributed 19th century manuscript in the
collection of Tommy Breckon [Dixon]. Dixon (Remember
Me), 1995; pg. 60. JEFDSS, vol.
2, pg. Kennedy (Fiddlers Tune Book),
vol. 1; No. 45. Kerr (Merry Melodies),
vol. 4, No. 377, pg. 42. Perlman (The
Fiddle Music of Prince Edward Island), 1996; pg. 160. Williamson (English, Welsh, Scottish and Irish Fiddle
Tunes), 1976; pg. 52.
X:1
T:Ladd O’ Gowrie, The
M:2/4
L:1/8
S:Kerr – Merry Melodies (c. 1880’s), vol. 4, No. 377
Z:AK/Fiddler’s Companion
K:D
A|FAA (B/c/)|d>edc|B>AB
(c/d/)|e>feA|FAA (B/c/)|d>ef>e|d/c/B/A/ df|(e2d):|
|:g|fad>e|f/e/f/g/
a(g/f/)|gbe>f|g/f/g/a/ b(a/g/)|faef|d>ef>e|d/c/B/A/ df|(e2d):|
X:2
T:untitled
B:Green and Gold, Steve MacDonogh, Brandon, 1983
N:a Dingle Wren tune, variant of the Scottish "Lass of Gowrie"
N:transposed from Eb
Z:Transcribed
by Paul de Grae
M:2/4
L:1/8
K:G
B/A/|GD B,D|ED DB/A/|GD B,D|EA AB/A/|
GD B,D|ED D2|G/A/G/E/ D/E/G/A/|BG G:|:B/c/|
d>B cA|BG GB/c/|d>B cd|eA AB/c/|
d>B cA|B/A/G/A/ B>A|G/A/G/E/ D/E/G/A/|BG G:|
LASS OF GOWRIE [2]. AKA and see "The Lassie of Gowrie."
LASS OF HUMBER SIDE. Scottish, Slow Air (3/4 time). G Major. Standard tuning. AABB. "An
old Highland air, communicated by Miss Jane Boswell (Gow)." Jane Boswell
was the daughter of Rev. Mr. Robert Boswell of Edinburgh, a relation of James
Boswell of Auchinleck, lawyer, diarist and biographer of Dr. Johnson. She married
Henry St. George Tucker (1771-1851) in 1811 when she was twenty-one, although
he was twice her age, and in 1812 the couple moved to India, where Tucker had
worked for many years. Their stay was brief, however, and Jane was sickly. They
returned to Edinburgh, but after the death of their youngest child at the time,
the couple moved south to London. Tucker became a member of the powerful Board
of Directors of the East India Company. There were some ten children in all;
one son died in the Indian Mutiny of the mid-19th century, and a
daughter Charlotte Maria Tucker grew up to live in India and England and became
a famous children’s writer under the pseudonym “A Lady of England.” Could Jane
have been one of Nathaniel’s pupils?
***
“The Lass of Humber Side” may not
have been as “Highland” in character as Nathaniel claimed, for it had a history
in England and lowland Scotland. Frank Kidson called it an “old Hull
(Yorkshire) song…relating to a period when Hull, Whitby, and other places on
the Yorkshire coast, were the great centers of the whale fishery. Apart from
this, the air is a most plaintive and beautiful one, and the works quite up to
the average of such productions; the fifth verse containing a somewhat pretty
and poetical fancy:--‘The bride knot which my love did wear’” (The Hull
Quarterly, 1884). It was published by London music publishers Longman and
Broderip in 1787 on a single song sheet, where it was given that it was “a
favorite Ballad sung by Mrs. Thompson, with universal applause, at the Spa
Gardens.” The Edinburgh Musical Miscellany of 1792 also published the
song. It begins:
***
In lonely cot by Humber Side,
I sit and mourn my hours away,
For Constant Will was Peggy’s pride,
But now he sleeps in Iceland Bay;
Ah me! I sit oppressed with woe,
And hear the sailors’ yo, heave, ho!
***
Carlin (The Gow Collection), 1986; No. 547. Gow (Fifth Collection of
Strathspey Reels), 1809; pg. 20.
X:1
T:Lass of Humber Side, The
M:3/4
L:1/8
R:Air
N:”Very Slow”
N:”An Old Highland Air.”
N:”Communicated by Miss Jane
Boswell”
B:Gow – Fifth Collection of
Strathspey Reels (1809)
Z:AK/Fiddler’s Companion
K:G
B>A|GE D2G2|Bd {d}e3e|(dB) d2
G>A|(Bd) A2 B>A|GE D2G2|(Bd) {d}e3e|
dB G2 (G/A/B/c/)|(B/A/)(G/F/)
[B,2G2]::d2|BG (c2e2)|dG (c2e2|
(dB) d2 ~G>A|(Bd) A2 B>A|GE
D2G2|Bd {d}e3e|dB g2 (G/A/B/c/)|(B/A/)(G/F/) [B,2G2]:||
LASS OF INVERNESS, THE. Scottish. Composed by James Oswald (1711‑1769),
LASS OF KILLIECRANKIE
HIGHLAND, THE. AKA and see “Barrack Hill (2)”,
“Breach of Killiecranky (The),” “Kate Lay Sleeping.” Irish, Highland. Ireland,
northern Ireland. A Mixolydian/D Major. Standard tuning (fiddle). AAB. Source
for notated version: fiddler John Loughran [Feldman & O’Doherty]. Feldman
& O’Doherty (The Northern Fiddler),
1979; p. 247.
LASS OF LIVINGSTONE, THE. Scottish, Scottish Measure. F Major (Gow,
McGlashan): G Major (Geoghegan). Standard tuning (fiddle). AB (McGlashan): AAB
(Gow): AABB (Geoghegan). As "The Lass of Leving‑stone,” it appears
in Henry Playford's 1700 collection of Scottish dance tunes (‘’’A Collection of
Original Scotch Tunes, full of Highland Humours”). Bruce Olson finds it was
used for one of the songs in the ballad-opera The Highland Fair or Union of the Clans (1731), written by Joseph
Mitchell and published in London by J. Watts. Later, the melody appears in the
1768 Gillespie Manuscript of Perth.
It is included, along with other Scots songs and dance melodies, in the music
manuscripts of Setauket, Long Island, painter and fiddler William Sydney Mount
(1807-1868). Mount played a good amount
of music for dancing and his own pleasure, and had access to both printed and
local sources. The tune was in use in the United States some years before that,
however, for it appears in a commonplace book of 54 square dance instructions
from around the year 1795, probably from a New Hampshire enthusiast (New Hampshire Historical Society). The
tune is actually given under the name “Revenge,” with the “Lass of Livingstone”
a secondary title. See also the derivative tunes in the “High Caul Cap”/”Hielan
Laddie” tune family. Gow (1817) directs, “Slowly.” Geoghegan (Compleat Tutor for the Pastoral or New
Bagpipe), c. 1745-46; p. 26. Gow (Complete Repository),
Part 4, 1817; p. 13. McGlashan (Collection of Scots Measures), 177?; p.
8.
X:1
T:The Lass of Livingstone
M:C|
L:1/8
B:McGlashan – Collection of Scots Measures (177?)
Z:AK/Fiddler’s Companion
K:F
CD|F3G A2f2|cAcd cAGF|A2G4
FG|A2G4FD|CDFG A3f|cAGF GABc|d2 D4 CD|
F2D4 CD|FDFG AGAf|cAcd cAGF|FG/A/ G4
FG|FG/A/ G4 FD|CDFG A2fd|
cAGA FGAc|d2D4 CD|(3FGF (3EFE D2||
cd|f3g fgag|fcdf cAGF|F>GA
G4FG|F>GA G4 fg|afga fcdf|cAGF GABc|d2D4 CD|
F2D4 ag|fcfg fgag|fcdf cAGF|fg/a/ g4
fg|fg/a/ g4fg|afga fcdf|cAGF GABc|
d2D4
CE|FAGF EGFE D2||
X:2
T:Lass of
Livington (sic)
M:C
L:1/8
R:Air
S:The
William Sydney Mount music manuscripts (c. 1840’s)
Z:AK/Fiddler’s Companion
K:D Minor
(CD) | F3G
A3d | cA cd cA GF | {F/G/}A2G2G2 (FG) | A2G2G2 (FD) |
C>D
F>G A3d | (cA) (GA) (F>GA) c | d2D2D2 (CD) | F2D2D2 || (cd) |
f3g (fg)a g
| fc df cA GF | {F/G/}A2G2G2 (FG) | A2G2G2 (fg) |
(a/g/f) ga (fc) (df) | cG AF GA Bc |
d2D2 D2 (CD) | F2D2D2 ||
X:3
T:Lafs of Levinftone, The
M:C|
L:1/8
S:Geoghegan – Compleat Tutor for the Pastoral or New Bagpipe (c. 1745-46)
Z:AK/Fiddler’s Companion
K:G
DE | G3A B2g2 | dBde dBAG | B2A2A2
(GA) | GABA A2GE | (DE) (GA) (Bd) (AB) |
GFGA BcdB | e2E2 EFGA | B2E2E2 :: f2
| g3a gaba | gdeg dBAG | B2A2A2 (GA) |
B2A2A3d | g3a gaba | gdeg dBAG |
G2E2 EFGA | B2E2E2 ||
LASS OF LUNCARTY, THE. Scottish, Strathspey. Composed by Scots fiddler-composer Niel Gow.
Emmerson (1971) reports that the fiddler's intimate friends believed he
composed the popular tune in 1745, when as a teenager he followed Bonnie Prince
Charlie and Lord Murray's Highland army through Luncarty as far as Perth. He
left the cause at that time, not willing to leave his native area.
LASS OF PARTH. English. England, Northumberland. One of the "missing tunes"
from William Vickers' 1770 Northumbrian dance tune manuscript. Probably
"Lass of Perth."
LASS OF PATIE'S MILL, THE. AKA and see “Carolan’s
Cap [3],” "Peggy's Mill,"
"I like the fox shall grieve."
English, Scottish; Air and Country Dance Tune (2/4 time). D Major (most
versions): C Major (Howe). Standard tuning. AB (Howe): ABB: AABB (Huntington,
Johnson/2003, Sweet): ABCD (O’Farrell): AABBCCDDEEFFGG (McGibbon). A
"highly popular" “enduring favourite” song air in the 18th and early
19th century, and indeed, it can be found in a variety of older publications
throughout Britain and Ireland. Many sources attribute the song to Allan
Ramsay, a Scot, who mentioned his own song in his ballad opera The Gentle Shepherd published (though
not performed) in 1725, but who published the song in his Tea-Table Miscellany (1724-27). According to poet Robert Burns:
***
The Lass o'
Patie's Mill is one of Ramsay's best
songs. In Sir J. Sinclair's statistical volumes are two claims, one, I think,
from Aberdeenshire,
and one from Ayrshire, for the honour of this song. The following anecdote,
which I had from the
present Sir William Cunningham of Robertland,
who had it of the late John Earl of Loudon, I can, on such authorities,
believe: Alan Ramsay
was residing at Loudon Castle with the then earl, father to Earl John; and one
afternoon, riding
or walking out
together, his lordship and Allan passed a sweet romantic spot on Irwine water,
still called Patie's Mill,
where a bonnie lassie
was tedding hay bare-headed on the green. My lord observed to Allan that it
would be a fine
theme for a song.
Ramsay took the hint, and lingering behind he composed the first sketch for it,
which he produced at dinner.
***
The song was heard parodied a few
years later in John Gay's 1729 Beggar's
Opera (under the title "I like the fox shall grieve"). “The Lass
of Patie’s Mill” also appears in Robert
Bremner's 1770 Thirty Scots Songs
(pg. 6), Thomson's Orpheus Caledonius
editions of 1725 (No. 1) and 1733 (vol. 1, pg. 1.), the Gillespie Manuscript of Perth (1768), McGibbon's Collection of Scots Tunes editions c.
1768 (pg. 24) and c. 1795 (vol. 1, pg. 11), Parry's 1761 Collection of Welsh, English, and Scotch Airs (pg. 33), and in
David Young's 1740 McFarlane MS., vol. 2, No. 12 (as a "not completely
successful" variation sonata, air‑jig‑gavotta, according to
Johnson {1983}).
***
The lass o' Patie's mill,
Sae bonnie, blythe and gay,
In spite of a' my skill,
She stole my heart away.
When teddin' o' the hay,
Bare-headed on the green,
Love 'midst her locks did play,
And wanton'd in her een.
***
Thomson credits the tune to David
Rizzio in the first edition of his Orpheus
Caledonius (1725). Rizzio was secretary to Queen Mary and an accomplished
lutenist and singer, but it is generally adjudged doubtful he composed this or
any of the other melodies Thomson ascribed to him, and, indeed, Thomson removed
the ascription in later editions of his work. Rizzio himself became embroiled
in the politics of the era and was murdered at Holyrood Palace in 1566 by those
jealous of his perceived influence with the Queen. Usually rendered as a
“(fairly) slow air” (according to Barry Callaghan), the melody appears in the music
manuscript collections of poet/fiddler John Clare (Helpston, Northants, c.
1820) and Rev. Robert Harrison (Brampton, Cumbria, 1820). A strain similar to
the first part of ‘Paties’ can be found in the tunes "Gie the Lasses Mair O't,"
"The Lass that Winna Sit Down,"
"The Captain's Maggot,"
"Lady Dumfries Reel,"
"Weel May the Boatie Row,"
"The Highlander's Farewell
[3]," and a Pennsylvania collected march (Bayard, 1981; No. 289, pg.
242). Under the title “Carolan’s Cap” the tune was adapted, re-titled and
attributed to the Irish harper Turlough O’Carolan. In America the melody
appears in the music manuscript copybook of Henry Livingston, Jr. Livingston purchased the estate of Locust
Grove, Poughkeepsie, New York, in 1771 at the age of 23. In 1775 he was a Major
in the 3rd New York Regiment, which participated in Montgomery’s
invasion of Canada in a failed attempt to wrest Montreal from British control.
An important land-owner in the Hudson Valley, and a member of the powerful
Livingston family, Henry was also a surveyor and real estate speculator, an
illustrator and map-maker, and a Justice of the Peace for Dutchess County. He
was also a poet and musician, and presumably a dancer, as he was elected a
Manager for the New York Assembly’s dancing season of 1774-1775, along with his
3rd cousin, John Jay, later U.S. Chief Justice of Governor of New
York.
***
Source for notated version: Dr.
John Turner, director of the Jink and Diddle School of Scottish Fiddling, held
each July in Valle Crucis, North Carolina; from his Fiddletree Manuscript
(1978) [Johnson/2003]. Callaghan (Hardcore
English), 2007; pg. 41. Corri (A New
and Complete Collection...of Scots Songs), pg. 11. Crosby (Caledonian Musical Repertory), 1811; pg.
264. Gow (Vocal Melodies of Scotland),
1822; pg. 31. Henry Beck's Flute Book,
pg. 139 (c. 177? manuscript). Howe (Musician's
Omnibus), No. 2. Howe (1000
Jigs and Reels), c. 1867; pg. 141. Huntington (William Litton's), 1977; pg. 42. Johnson
(Our Familiar Songs); pgs. 585‑586.
Johnson (The Scots Musical Museum);
No. 20, pg. 21. Johnson (A Twenty Year
Anniversary Collection), 2003; pg. 1. Kerr (Merry Melodies), vol. 1; No. 7, pg. 21. McGlashan (A Collection of Strathspeys, Reels...),
pg. 12. McGibbon (Scots Tunes, Book 1), c. 1762; pgs. 24-25. Napier (A Selection of Favorite Scots Songs),
vol. 1, pg. 19. O’Farrell (National Irish
Music for the Union Pipes), 1804; pg. 47 (includes variations). O’Farrell
(Pocket Companion, vol. II), c. 1806;
pg. 108 (appears as “Lass of Pattys Mill”). Raven (English Country Dance Tunes), 1986; pg.
62. Ritson (Scottish Songs), vol. 1,
pgs. 129‑130. Sime (The Edingburgh
Musical Miscellany), pgs. 96‑97. Smith (Scottish Minstrel), 1820‑24; vol. 3, pg. 29. Sweet (Fifer’s Delight), 1965/1981; pg. 56.
Thomson (Orpheus Caledoneus); pg. 1. Beltona BL2128 (78 RPM), The Edinburgh Highland Reel and
Strathspey Society (1936). Topic 12TS442, Brass Monkey ‑ "See How it
Runs" (1986).
See also listing at: Jane Keefer’s Folk Music Index: An
Index to Recorded Sources |
X:1
T:Lass of Patie’s Mill
M:C|
L:1/8
R:Scots Measure
B:McGlashan – Collection
of Scots Measures (177?)
Z:AK/Fiddler’s
Companion
K:D
A2| GFED F2A2|d3 e/f/ A3d| Bcdc BAGF
| E4 E2A2 | GFED F2A2 | d3e/f/ A3d |
BcdB cdef|d4 D2:: fg | e3 d dcBA |
d3 e/f/ A3d | Bcdc BAGF | E4 E2 AG | GFED FG A2 |
d3 e/f/ A3d | BcdB cdef | d4 D2 :|
X:2
T:Lass of
Paties Mill, The
M:C
L:1/8
R:Scots
Measure
N:”Slow”
S:McGibbon – Scots Tunes, Book 1 (c. 1762)
Z:AK/Fiddler’s Companion
K:D
A>G | F2
“tr”(ED) F2A2 | d4A3d | (B>cd)A (BA)”tr”(GF) | {F}E6 A>G |
F2 “tr”(ED)
F2A2 | (d3 e/f/) “tr”A3d | (Bcd)B (cde)c | d3e d2 :: (f>g) |
{f}e3d
“tr”c2 (BA) | (d3e/f/) A3d | (Bc)(dA) (BA)”tr”(GF) | {F}E6 f>g |
(a/g/f)
(g/f/e) fdBg | {f}”tr”e4 A2 (GF) | G2 (G/A/B) A2 “tr”c2 | d3e d2 :|
N:”Moderately
Quick”
|: AG | F2
“tr”(ED) F2A2 | (B3c/d/) A3d | (B/A/B/c/ d)A BAGF | “tr”(E3D/4E/4F/) E2 AG | F2
“tr”(ED) F2A2 |
(d3e/f/)
A3d | (B/A/B/c/ d)B (c/B/c/d/ e)c | d3e d2 :| f>g | {f}e3d (c>d/2e/4)
(A>B/2c/4) | (d3c/B/) A3d |
(B/A/B/c/
d)A (B/c/d/)A/ GF | {F}E6 f>g | (a/g/f/a/) (g/f/e/g/) fdBg | {f}(e2
e/)d/c/B/ A2 “tr”(GF) | GABG Ad {f}ed/c/ |
{c}d3ed2 ::
AG | F D2F2 A2 (B/c/) | (d/e/f/e/) (f/d/e/f/) A3d | (B/A/B/c/ B/c/d/A/)
(B/A/d/c/ B/A/G/F/) | {F}E4 E2 AG |
F D2F2A2
B/c/ | (d/e/f/e/) (f/d/e/f/) “tr”A3d | (B/A/B/c/ d)B ceAc | {c}d3e d2 ::
(f/e/f/g/) {f}e3d (c/d/e/)c/(A/B/c/)A/ |
(d/f/e/f/)
(d/f/e/f/) A3d | B(d d/)c/B/A/ BAGF | “tr”(E3 D/4E/4F/) E2 fg | (a/g/f/a/)
(g/f/e/)g/ (f/d/c/d/) B/(a/g/f/) (e/f/g/)f/ e/d/c/B/ A2 GF |
G>ABG A2
{e/f/}g2 {f}e(d/c/) | {c}d3e d2 :|
..........................
LASS OF RICHMOND HILL, THE. AKA – “Sweet Lass of Richmond Hill.” English, Scottish; Country Dance Tune. F Major (Raven): D Major (Ashman, Kerr, Sumner). Standard tuning. One part (Ashman): AABB (Raven): AABCC (Kerr, Sumner). Once a very popular song composed by Leonard McNally (1752-1820) in honor of Frances l’Anson, born in Leyburn, Wensleydale, Yorkshire, in 1766. She was associated with Hill House, Richmond, through her maternal grandparents who had occupied the house from 1750-1768, and was the daughter of William L'Anson, a wealthy attorney, of Bedford Row, London, and later of Hill House, Richmond, Yorkshire. McNally was an eloquent Irish lawyer who was involved in the political affairs of the time, and who dabbled in the arts, writing several plays and some poetry. It has been said he wrote the poem in as part of a campaign to woo Frances into a marriage against the wishes of her family, and if so he was successful, for they wed in 1767. McNally’s poem was set to music by James Hook (1746-1827), the organist at Vauxhall Gardens, and was first sung there in 1789 by Charles Benjamin Incleson, a famous tenor of the era. The song was published a year later, and became popular not only in England but America as well. Unfortunately, Frances died at the young age of 29 in Dublin, leaving a young son. McNally later remarried.
***
On The Lass of Richmond Hill Hill there lives a lass
More bright than May-day morn
Whose charms all other maids' surpass
A rose without a thorn.
This lass so neat, with smiles so
sweet
Has won my right good will
I'd crowns resign to call thee mine
Sweet lass of The Lass of Richmond
Hill Hill.
***
Sweet lass of The Lass of Richmond
Hill Hill
Sweet lass of The Lass of Richmond
Hill Hill
I'd crowns resign to call thee mine
Sweet lass of The Lass of Richmond
Hill Hill.
***
Ye zephyrs gay that fan the air
And wanton thro' the grove
O whisper to my charming fair
"I die for her I love."
This lass so neat, with smiles so
sweet
Has won my right good will
I'd crowns resign to call thee mine
Sweet lass of The Lass of Richmond
Hill Hill.
***
Sweet lass of The Lass of Richmond
Hill Hill
Sweet lass of The Lass of Richmond
Hill Hill
I'd crowns resign to call thee mine
Sweet lass of Richmond Hill.
***
Despite his famously expressed passion for his “Sweet Lass,”
there was unfortunately a darker side to McNally. He became a member of the
United Irishmen and, as a lawyer was called on to defend many of their members
in court. His clients, however, were invariably convicted, and after his death
it was discovered that he had been in the pay of the British government. It was
he who betrayed Lord Edward Fitzgerald (1798) and Robert Emmet (1803).
***
The music of “The Lass of Richmond Hill” sometimes has been attributed to the Prince of Wales, later George IV, written it is said for Maria Fitzherbert (1756-1837). Mrs. Fitzherbert, born Smythe, was a young woman twice widowed when the Prince met her in 1784—he was only 22 years of age, and she about six years older—and fell deeply in love with her. Independently wealthy, she had lived since 1782 at Richmond, Surrey, having at the same time a house in London. She was a celebrated beauty of whom Lord Strouton wrote:
***
I'd crowns resign to call her mine,
Sweet lass of Richmond Hill.
***
Barred from
legally marrying him, she at first sought to discourage the Prince, even to the
point of moving to the Continent for a time, but three years later in a
discrete private ceremony they were wed.
They could not live openly together, however, and there followed years of
a relationship carried on in separate dwellings (it should be noted that the
Prince was a notorious philanderer). Finally, in 1794, the Prince was
reluctantly constrained to deny Mrs. Fitzherbert and marry his cousin, Caroline
of Brunswick, with whom he stayed only until the birth of their daughter in
1796. Hating the Princess of Wales, he separated from her and sought out Mrs.
Fitzherbert again and in 1800 persuaded her to return to him, which she did for
another nine years. Their affair ended when the Prince became regent in 1811. A
celebration had been arranged at Carleton House by the Prince, which she
attended only to find that no fixed place at the royal table had been assigned
to her. Affronted, she broke of relations with him and withdrew into private
life. The Prince, finally King George IV, died in 1830 and was found to have a
locket containing her miniature around his neck, with which he was buried. She
outlived him by seven years and died in Brighton.
***
The Prince of Wales,
later George IV (1762-1830) |
Maria Fitzherbert
(1756-1837) |
***
The tune
has fairly recently been adopted by morris dance musicians for a number of
dances, and a dance called the Lass of Richmond Hill was composed circa
1970 by Martin Johnson of Hammersmith Morris.
***
Sources for notated versions: a c.
1837-1840 MS by Shropshire musician John Moore [Ashman]; the 1823-26 music mss
of papermaker and musician Joshua Gibbons (1778-1871, of Tealby, near Market
Rasen, Lincolnshire Wolds) [Sumner]. Ashman (The Ironbridge Hornpipe), 1991; No. 41a, pg. 14. Raven (English Country Dance Tunes), 1984; pg.
150. Kerr (Merry Melodies), vol. 3;
No. 381, pg. 42. Sumner (Lincolnshire
Collections, vol. 1: The Joshua Gibbons Manuscript), 1997; pg. 89 (appears
as “The Lass of Richmond”). Cotty Light Industries
CLI-903, Dexter et al - "Over the Water" (1993).
***
X:1
T:Lass of
Richmond Hill, The
M:2/4
L:1/8
K:F
c|cfff|g/f/e/f/
gb|afdg|f2 ec|cfff|g/f/e/f/ gf|ecd=B|(c2 c):|
|:f|eccf|eccf|egba|a2
gf|eccf|ecc’f|efge|(f2 f2):|
X:2
T:Lass of
Richmond Hill, The
M:2/4
L:1/8
S:Kerr – Merry Melodies, vol. 3, No. 381 (c. 1880’s)
Z:AK/Fiddler’s Companion
K:D
A|Addd|e/d/c/d/
eg|fdBe|(d2 c)A|Addd|e/d/c/d/ ed|cAB^G|A3:|
d|cAAd|cAAd|cegf|(f2
e)d|cAAd|cAad|cdec|d3d|c/A/A/A/ Ad|
c/A/A/A/
Ad|cegf|(f2 e)d|c/A/A/A/ Ad|c/A/A/A/ ad|cdec d3||:
A|Addf|f3d|ceeg|g3e|f>edc|dBAG|FdEd|d3:|
LASS OF ROTHIEMAY, THE. Scottish, Slow Air (3/4 time). G Major.
Standard tuning. One part. Composed by Dr. Louis MacKenzie. Martin (Ceol na Fidhle), vol. 2, 1988; pg. 25.
LASS OF SLIABH BÁN. Irish, Air (3/4 time). E Flat Major. Standard tuning. One part.
Stanford/Petrie (Complete Collection),
1905; No. 766, pg. 191.
X:1
T:Lass of Sliabh Bán
M:3/4
L:1/8
R:Air
S:Stanford/Petrie (1905), No. 766
Z:AK/Fiddler’s Companion
K:E_
EG/B/ | ce f>e gf | e2c2 BG | F3
GFE | F2E2E2 | E4 GF | E2 EF GA |
B2B2 ce | f2g2 eB | c2 BG FE | F4 GF
| E>D EF GA | B2B2 ce | f2g2 eB |
CB G2 FE | F4 EG/B/ | ce f>e
g>f | e2c2 c/B/G | F3 GFE | F2E2E2 | E4 ||
LASS OF THE BRASS, THE. AKA and see "O Gin I Had Such a Laddy as This."
English, Jig. England, Northumberland. G Major. Standard tuning. AABB. Seattle
(William Vickers), 1987, Part 3; No.
512.
LASS ON THE STRAND
[1], THE.
AKA and see "The Belfast
Hornpipe [2]." English, Hornpipe. G Major ('A' part) & D Major
('B' part). Standard tuning. AABB. Reg Hall (1998) says the tune has had enough
currency in Northumberland to be considered local. The first strain is shared
with “The Belfast Hornpipe [1],” “Sweeps Hornpipe [1],” and “Millicent’s
Hornpipe.” Kennedy (Fiddlers Tune Book),
vol. 2, 1954; pg. 2. Raven (English
Country Dance Tunes), 1984; pg. 172. Topic TSCD
669, Will Atkinson (et al) – “Ranting and Reeling: Dance Music of the north of
England” (1998. Atkinson {b. 1908} of Crookham, Northumberland, was an
accordion player).
X:1
T:Lass on the Strand (1) (The)
M:C
L:1/8
K:G
g>a|b>gd>B
G>Bd>g|f>e c>A E2e2|d>c A>F D>c B>A|G>A B>c d2 g>a|
b>gd>B G>B d>g|f>e
c>A E2e2|d>c A>F D>c B>A|G2B2G2:|
K:D
|:a2|g>e c>A ^G>A
B>c|d>e f>^g a2b2|a>=ge>c A>gf>e|f>d A>F D2a2|
g>e c>A ^G>A
B>c|d>ef>^g a2b2|a>ge>c A>gf>e|d2f2d2:||
LASS ON THE STRAND
[2], THE.
Irish, Hornpipe. G Major. Standard tuning. AABB. Allan's Irish Fiddler, No. 93, pg. 24.
LASS ON THE STRAND
[3]. AKA
and see “Lark on the Strand [2].”
Irish, Jig.
LASS THAT MADE THE BED
TAE ME, THE. AKA and see "The Bonnie Lass That
Made the Bed To Me." Shetland, Shetland Reel. Shetland, Unst.
LASS THAT WINNA SIT
DOWN. Scottish. Part of the tune seems to
be a variation of the first part of "The
Lass of Patie's Mill." Bayard begs comparison with Glen, 1900; pg. 203
for more information. Johnson (Scots
Musical Museum), 1783‑1803; vol. 5, No. 463.
LASS' TRUMPANCY. English, Jig. England, Northumberland. G Minor. Standard tuning.
AABBCCDD. "'Trumpancy' does not appear in any dictionaries I have
consulted...Strongly reminiscent of 'Fairly Shot on Her'" (Seattle). Seattle
(William Vickers), 1770/1987, Part 3;
No. 501.
LASS
WHO LIVES AT CULLCOATS CAN NEITHER CARD NOR SPIN, A. Northumbrian. Title appears in Henry Robson's list of popular
Northumbrian song and dance tunes ("The Northern Minstrel's Budget"),
which he published c. 1800.
LASS' WHITE STOCKINGS, THE. English, Reel. England, Northumberland. A
Major. Standard tuning. AABB. Seattle (William
Vickers), 1770/1987, Part 3; No. 425.
LASS WITH THE ROWLING EYE. Irish, Air (3/4 time). G Major. Standard tuning. AAB. O’Farrell (Pocket Companion, vol. III), c. 1808; pg. 37.
X:1
T:Lass with the Rowling Eye
M:3/4
L:1/8
R:Air
S:O’Farrell – Pocket Companion, vol. III (c. 1808)
Z:AK/Fiddler’s Companion
K:G
Gd
dB cA | BG A/c/A/F/ G2 | G(B/c/) dB cA | BG AG F>A | Gg gd ec | BG A(G/F/)
G2 ||
LASS WITH THE YELLOW
COATEE/COTTIE. See “Lassie wi’ the Yellow Coatie.”
LASS WITH THE YELLOW
PETTICOAT. English, Reel. England,
Northumberland. G Major. Standard tuning. AAB. Seattle (William Vickers), 1987, Part 3; No. 434.
'LASSES CANE. AKA and see "Liza Jane [3]."
Old‑Time, Breakdown/ Song. USA; Arkansas, Oklahoma. A Major. AEae tuning.
AABB. Source for notated version: Sherman Collins (Pawnee County, Oklahoma)
[Thede].
***
I'm goin' down to Arkansas to make some 'lasses cane,
To make a 'lasses pudding to fatten my Liza Jane
***
O git along home, Betsy
Oh git along home Betsy,
Oh git along, Betsy, git along,
I'm bound to leave this place.
***
O ‑ down to Arkansas, where 'lasses cane grows tall,
Liza Jane is starvin' to death, won't eat 'lasses at all.
***
I went up on the mountain and give my horn a blow,
I thought I heard Lucindy say a yander comes my beau.
***
Git along home, home Lucindy,
Git along home, my Liza Jane,
Git along home, home Lucindy,
Git along home my Liza Jane.
***
Thede (The Fiddle Book), 1967; pg. 39.
LASSES DRINKS AT
BRANDY. AKA and see "Lasses Like(s) Nae Brandy," "Lasses Pisses Brandy."
LASSES' FASHION, THE. AKA and see “Boil the Breakfast Early,” “Haud Awa’ Frae Me Donald.”
Scottish, Reel. F Sharp Minor ('A' part) & A Major ('B' part). Standard.
AAB (Athole): AABB' (Kerr). See also the Irish variant “Boil the Breakfast
Early.” Kerr (Merry Melodies), vol.
2; No. 49, pg. 8. Stewart-Robertson (The
Athole Collection), 1884; pg. 35.
X:1
T:The Lasses’ Fashion
M:C|
L:1/8
R:Reel
B:Stewart-Robertson – The
Athole Collection (1884)
Z:AK/Fiddler’s Companion
K:A
c|AF F/F/F AEEc|AF F/F/F c2Bc|AF F/F/F AEEA|1 FGAB c2Bc:|2
FGAB c2 Bf||eAfA cBBf|eAfe c2ca|eAfA cABc|AFAB c2 cf|
eAfA
cBBf|eAfe c2cb|agfa eacA|FGAB cABc||
LASSES GAR YOUR TAILS
TODDLE. AKA and see "Tail Tod(d)le." Scottish, Reel. D Major.
Standard tuning. ABB. The original title was the bawdy "Lasses gar your
Tails Todle, Spread your houghs lat in the Dodle, that will gar your Tails
Todle." Johnson (1983) believes the tune may have partly followed
'passamezzo moderno' form (a 16th century Italian musical form popular in
England and Scotland later in that century). It appears in the McLean
Collection published by James Johnson in Edinburgh in 1772. Source for notated
version: George Skene MS., 1717‑c. 1740 [Johnson]. Johnson (Scottish Fiddle Music in the 18th Century),
1984; No. 11, pg. 27.
LASSES LIKE(S) NAE
BRANDY. AKA and see "Lasses Pisses Brandy," "Lasses Drinks at Brandy," "Lick
the Ladle Sandy [2]." Scottish, Reel. A Mixolydian. Standard tuning. AAB
(Athole, Skye): AABB (Bremner): AABB' (Kerr). According to Johnson (1984), it
was probably Robert MacKintosh who,
in 1772, gave this tune the title above, altering in from that of his source
tune, "Lasses Drinks at Brandy." The vulgar but evocative
Northumbrian 'Pisses' title for the tune can be found in William Vickers' 1770
dance tune collection, but there is no reason to believe it was confined to
that region, Johnson believes. The melody appears in both the McLean MS.
(published by James Johnson in Edinburgh, 1772) and David Young's 1740
McFarlane MS. The tune is ascribed to Young in the latter manuscript. John Glen
(1891) finds the earliest printing of the tune in Robert Bremner's 1757 collection. Bremner
(Scots Reels), 1757; pg. 83. Kerr (Merry Melodies), vol. 2; No. 20, pg. 5. MacDonald (The Skye Collection), 1887; pg. 21.
Stewart-Robertson (The Athole Collection),
1884; pg. 21.
X:1
T:Lasses Like Nae Brandy
M:C|
L:1/8
R:Reel
B:Stewart-Robertston – The
Athole Collection (1884)
Z:AK/Fiddler’s Companion
K:A
f|ef/g/ae fdec|B=ggB d2 d>f|ef/g/ae fdec|Aaac e2d:|
f|eAcA eAcA|B=ggB d2 d>f|eAcA aecA|Aaac e2 2>f|
eAcA
eAcA|B=ggB d2 d>g|af=ge fdec|bBBc d2d||
LASSES LIKING, THE. English, Slip Jig. England, Northumberland. D
Minor or D Major. Standard tuning (fiddle). AABB. Seattle (William Vickers), 1987, Part 3; No. 403.
LASSES LOOK BEFORE YOU. AKA and see "Lassie, Look
Before You/Ye," "Look
Before You." Scotland, Shetland; Shetland Reel. Shetland, Unst.
LASSES LOOK BEHIND YOU. AKA and see "The
House of Letterfourie," "Look Behind
You."
LASSES LOVE WINE AND
SUGAR CANDY, THE. English. England, Northumberland.
Title appears in Henry Robson's list of popular Northumbrian song and dance
tunes ("The Northern Minstrel's Budget"), which he published c. 1800.
LASSES OF ANCRUM. AKA and see “Fisher’s Rant
[2]."
LASSES O' BALLANTRAE, THE. Scottish, Reel. F Major. Standard tuning
(fiddle). AAB. A 19th century composition by the Highland fiddler and collector
Captain Simon Fraser. Source for notated version: Winston Fitzgerald
(1914-1987, Cape Breton) [Cranford]. Cranford (Winston Fitzgerald), 1997; No. 148, p. 59. MacDonald (The Skye Collection), 1887; p. 189.
X:1
T:Lasses o’ Ballantrae, The
M:C
L:1/8
R:Reel
S:MacDonald – Skye Collection (1887)
Z:AK/Fiddler’s Companion
K:F
c | cFAc dfef | cFAF GDDd | cFAc
dfef | afce f3 :|
f | fcfa gcga | fagf ecce | fcfa
gcga |(3baf de f2 fc|
fcfa gcga| fagf eccA | Bdfd cAFc |
dfeg f2f ||
LASSES OF CARRACASTLE. Irish, Reel. Topic TSCD 602, Kincora Ceilidhe
Band – “Irish Dance Music” (1995. A reissue of the 1945 original).
LASSES O DA MILL. Shetland, Shetland Reel. Shetland, Delting.
LASSES OF DONAGHADEE, THE. Irish, Air (3/4 time). E Dorian. Standard
tuning (fiddle). AAB. Source for notated version: Mr. J. MacKenzie of
Newtownards (Joyce). Joyce (Old Irish
Folk Music and Songs), 1909; No. 336, p. 155.
X:1
T:Lasses of Donaghadee, The
M:3/4
L:1/8
R:Air
S:Joyce – Old Irish Folk Music and Songs (1909)
Z:AK/Fiddler’s Companion
K:E Dorian
ed|c2A2 dc|B2E2 AG|FE D2 EF|G2B3F|AF
E2E2|E4:|
A2|B2e2f2|e2B2c2|dB
A2GA|B2e2f2|edBABc|d4ed|
c2A2dc|B2E2AG|FE D2EF|G2B3F|AF
E2E2|D4||
LASSES OF DONNYBROOK. AKA and see “Braes of Mar [1],”
"Johnny Will You
Marry Me," “Lord
MacDonald's [1],” "Love
Won't You Marry Me," "Reel
des Noces," “Sir Alexander
McDonald,” "Some Say
the Devil's Dead." Irish, Highland. D Major. Standard tuning (fiddle).
AABB. Recorded in New York in the 1920’s by County Longford fiddler Packie
Dolan (1904-1932). Miller & Perron (Irish
Traditional Fiddle Music), 1977; vol. 2, No. 39. Miller & Perron (Irish Traditional Fiddle Music), 2nd
Edition, 2006; p. 151. Morning Star 45001, Packie
Dolan – "Wheels of the World" (reissue of the original 1920’s
recording).
LASS(I)ES OF
DUNS/DUNCE/DUNSE (Cailíní Duinse). AKA and see “Lads of Dunse.” Scottish, Jig. D Major.
Standard tuning (fiddle). AB (Hunter): AABB (O'Neill). The melody appears in
the 1768 Gillespie Manuscript of Perth.
See also the companion tune “Lads of Dunse.” Hunter (Fiddle Music of Scotland), 1988; No. 292. O'Neill (Dance Music
of Ireland: 1001 Gems), 1907; No.
355, p. 73.
X:1
T:Lasses of Dunse, The
M:6/8
L:1/8
R:Jig
S:O’Neill – Dance Music of
Ireland: 1001 Gems (1907), No.
355
Z:AK/Fiddler’s Companion
K:D
f/g/|afd ecA|d2A A2=c|BGB AGF|E2E E2
f/g/|afd ecA|d2A A2G|FDF ECE|D3 D2:|
|:F/G/|AFA BGB|AFA d2A|BGB AGF|E2E
E2 f/g/|afa geg|fdf ecA|B/c/dB c/d/ec|d3 d2:|
LASSES OF FISHERAW, THE. Scottish, Reel. C Major. Standard tuning. AB.
The tune appears in a 1799 collection by Thomas Calvert, a musician who lived
in Kelso, Scotland. A note with the collection states that Calvert
supplied “a variety of music and instruments, instruments lent out, tun’d and
repaired.”
X: 1
T:The Lasses of Fisheraw
M:4/4
L:1/8
B:Thomas Calvert Collection - page
2 (1799)
Z:Nigel Gatherer
K:C
A|"tr" GE cG
A{B}cGE|C>EGE "tr" D2 A2|G>EG>c A>FA>c|B>dG>B c2
~[Ec]||\
a|gc f/e/d/c/ gc {e}fa|gc f/e/d/c/
"tr" d>ef>a|gce{f}g "tr" fad>f|
"tr"
e>g"tr"d>e [E2c2] [Ec]a|gc f/e/d/c/ gc {e}fa|gc f/e/d/c/
"tr" d>ef>d|\
cAFc dBGf|e>g"tr"d>e
[E2c2] ~[Ec]||
LASSES OF FOCHABERS, THE. Scottish, Reel. G Major. Standard tuning. AB.
Composed by Alexander Walker. Walker (A
Collection of Strathspeys, Reels, Marches, &c.), 1866; No. 183, pg. 63.
LASSES OF GLENAODALE. AKA and see “Elizabeth’s Big
Coat.” Canadian, Reel. Canada; Cape Breton, Prince Edward Island. A Dorian.
ADae tuning. AA’BB’ (Perlman): AABC (Dunlay & Reich). The tune is sometimes
played with or without the middle part in both Cape Breton and PEI. Source for
notated version: Gus Longaphie (b. 1914, Little River, North-East Prince
County, Prince Edward Island) [Perlman]. Dunlay & Reich (), 1986; No. 33,
pg. 48 (appears as “Traditional Celtic Fiddle
Music from Cape Breton Reel”). Perlman (The
Fiddle Music of Prince Edward Island), 1996; pg. 88. Rounder 7001, Joe Cormier.
LASSES OF IRVINE. Scottish. John Glen (1891) finds the earliest printing of the tune in Joshua Campbell's 1778 collection (pg.
4).
LASSSES OF LABASHEEDA.
Irish, Jig. A Mixolydian. Standard tuning. AABB. Labasheeda is a village
in County Clare, twenty-two miles east of Ennis. It is set on a peninsula on
the banks of the Shannon estuary. There is a traditional Irish set dance called
the Labasheeda Reel Set. Kennedy (Jigs & Quicksteps, Trips &
Humours), 1997; No. 102, pg. 25.
LASSES OF LIMERICK, THE. Irish, Jig. F Major. Standard tuning. AABB’
(O’Malley): AABBCC (Kennedy): AABBCCDD (O’Farrell, O’Neill). Related to “The Gold Ring [1].” Source for notated
version: copied from O’Farrell’s Pocket
Companion (c. 1806) [O’Neill]; students of New York fiddler John McGrath
(d. 1955) [O’Malley]. Kennedy (Jigs & Quicksteps, Trips &
Humours), 1997; No. 103, pg. 25. O’Farrell (Pocket Companion, vol.
II), c. 1806; pg. 139. O’Malley (Luke
O’Malley’s Collection of Irish Music, vol. 1), 1976; No. 99, pg. 50
(appears as “Lassies of Limerick”). O’Neill (Waifs and Strays of Gaelic Melody), 1922; No. 167.
X:1
T:Lasses of Limerick, The
M:6/8
L:1/8
S:O'Farrell's Pocket Companion 1804-10
Z:Paul Kinder
K:F
d|cAG GAG|cAG G2 A|cAG GAG|cAG F2 d| cAG GAG|cAG G2 A|cAG dfd|cAG F2:|
|d|:cAG ded|cAG G2 A|cAG ded|cAG F2 d| cAG ded|cAG G2 A|cAG f2 d|cAG F2 d:|
|:g2 g f2 d|cAG G2 d|g2 e f2 d|cAG F2 d| g2 e f2 d|gag f2 d|g2 e fed|cAG G2 A:|
|:B3 BdB|A2 A AcA|G2 G GAG|cAG G2 A| B3 BdB|A2 A AcA|GAG fed|cAG F2 A:||
X: 2
T: Lassies of Limerick
M: 6/8
L: 1/8
Q: 325
S: Luke O'Malley vol 1
Z: Transcribed by Bill Black
R: Jig
K: G
dcA GFG | AGF G2 e | dcA GFG | Ade fde |
dcA GFG | AGF G2 B | Ade fgf | edc dcA :|
|: def gfg | agf g2 f | def gfe | fed ecA |
|1 def gfg | agf g2 f | Ade fgf | edc dcA :|
|2
def gfg | agf g2 a | bag agf | ded cAG ||
LASSES OF LYNN. English, Reel. England, Northumberland. G Major. Standard tuning. AABB.
Seattle (William Vickers), 1987, Part
3; No. 529.
LASSES OF MELROSS, THE. AKA and see “Bliven’s Favorite,” "The Butchers of Bristol [1]", "By your leave, Larry Grogan," "Coppers and Brass [2]", “The County Limerick Buckhunt," "Finerty's Frolic," “Green Sleeves [3]," "Groom," "Hartigan's Fancy," “The Humors of Ennistymon [1]," "The Humours of Milltown [2]," "Larry Grogan(‘s) [1]", “Lasses of Melrose,” "Little Fanny's Fancy," "Lynn's Favourite," "Lynny's Favourite," "Pingneacha Rua agus Pras," “Queen of the Rushes,” "The Waves of Tramore," “Willie Clancy’s.” Irish, Jig. G Major. Standard tuning. AABB. The tune belongs to the large tune family known usually as “Larry Grogan.” As “Groom” the tune is attributed by Goodman to the 18th century gentleman-piper Walker ‘Piper’ Jackson, of the townland of Lisdaun, parish of Ballingarry, Aughrim, County Limerick. Breathnach remarks that a version was originally printed (by John Walsh before 1736 in Country Dances Book the Second) under the title “Larry Grogan,” named for another gentleman piper of the early-mid 1700's, this one from County Wexford. See notes for “Groom” and “Larry Grogan”. Aird (Selection of Scotch, English, Irish and Foreign Airs), volume II, 1782; No. 92, pg. 34.
X:1
T:Lasses of Melross, The
M:6/8
L:1/8
S:Aird, Vol. II (1782)
Z:AK/Fiddler’s Companion
K:G
d | B>AB GAB | c>Bc ABc | BAB GAB | AFD D2c |
BAB GAB | cBc ABc | (Bcd/)B/ cAF | G3 G2 :|
|: f | gbg gbg | ac’a ac’a | gbg gbg | afd d2f | gbg gbg |
ac’a abc’ | bag agf | g3 g2 :|
LASSES OF SLIGO [1],
THE. Irish,
Jig.
LASSES OF SLIGO [2],
THE. AKA and
see "The Campbells are
Coming [2]." Irish, Slip Jig. A Major. Standard tuning. AABB. This
melody has no relation to the jig usually known as “Lasses of Sligo.” Source
for notated version: copied from Power’s Musical
Cabinet (1810) [O’Neill]. Breathnach (CRÉ
II), 1976; No. 95. O’Neill (Waifs and
Strays of Gaelic Melody), 1922; No. 193.
X:1
T:Lasses of Sligo, The
M:9/8
L:1/8
S:Powers' Musical Cabinet 1810
Z:Paul Kinder
K:A
ABc ABc F2 E|ABc A2 c ecB|ABc ABc F2 f|efg agf ecB:|
|:agf
ece f3|fgf a2 b c'af|agf efg a3|Ace agf ecA:||
LASSES OF SOLOHOD, THE. Irish, Slip Jig. G Major. Standard tuning. AABB’. O’Neill (1922) remarked that the tune was a variant of “The Rakes of Sollohod” in his Dance Music of Ireland (No. 454). Source for notated version: the Rice-Walsh manscript, a collection of music from the repertoire of Jeremiah Breen, a blind fiddler from North Kerry, copied by his student [O’Neill]. O’Neill (Waifs and Strays of Gaelic Melody), 1922; No. 198.
X:1
T:Lasses of Solohod, The
M:9/8
L:1/8
S:Rice-Walsh manuscript
Z:Paul Kinder
K:G
d|c2 A A2 G F2 D|D2 G G2 A B2 d|c2 A A2 G F2 D|EFG A2 F G2:|
|:c|Bce d2 B c2 A|Bce d2 B c2 d|1Bce d2 B c2 A|B2 G G2 A B2:|
2efg d2 B c2 A|B2 G G2 A B2:||
LASSES OF ST. BARRY’S, THE (Gearrchailí Naomh Barra). AKA and see “Lady Baird(’s) [2],” “Lady
Baird’s Strathspey.” Irish, Reel. G Major. Standard tuning. AAB. The tune is
related to “Lady Baird’s Strathspey” printed in Ryan’s Mammoth Collection (1883). Source for notated version: from
the mid-19th century collector James Madigan (County Louth)[Breathnach].
Breathnach (CRÉ IV), 1996; No. 196,
pg. 90.
LASSES OF STERLING. English, Slip Jig. England, Northumberland. D Major. Standard tuning.
AABB. Source for notated version: the 1770 music manuscript collection of
Northumbrian musician William Vickers, about whom, unfortunately, nothing is
known [Seattle]. Seattle (William Vickers),
1987, Part 2; No. 229.
X:1
T:Lasses of Sterling
M:9/8
L:1/8
R:Slip Jig
S:William Vickers’ music manuscripts
(Northumberland, 1770)
Z:AK/Fiddler’s Companion
K:D
D2A AFA B2d|D2A AGF E2D|D2A AFA
B2c|dcB AdF E2D:|
|:d2d dfd cec|d2d dfd e2c|d2d dfd
cec|dcB AdF E2D:|
LASSES/LASSIES OF
STEWARTON, THE. AKA ‑ "Lasses of
Stewartown/Stewington." AKA and see "The
Cross Reel" (Shetland). Scottish, Reel. D Mixolydian. Standard tuning.
AABBCCD (Athole, Gow): AABBCCDD' (Kerr, Skye). Another tune commemorating an
area's local girls. John Glen (1891) finds the earliest appearance of the tune
in print in Edinburgh publisher Neil
Stewart's Collection of Newest and Best Reels or Country Dances
(1761, pg. 46). It was published again by Stewart in an edition of 1775, then
subsequently appears in several later publications—but is not to be confused
with a country dance of the same name, published c. 1794. See also the related
Shetland tune "Cross Reel," a somewhat “crooked” (asymmetrical)
version of the “Lasses of Stewarton.” The first sound recording of the tune was
probably that by the Cameron Men, on 78RPM for Edison Bell in London. It is a
very popular old reel among Cape Breton fiddlers, and frequently recorded. Gow
(Complete Repository), Part 1, 1799;
pg. 35. Kerr (Merry Melodies), vol.
3; No. 24, pg. 5. MacDonald (The Skye Collection),
1887; pg. 37. Stewart-Robertson (The
Athole Collection), 1884; pg. 94. Canadian
Broadcasting Corp. NMAS 1972, Natalie MacMaster - "Fit as a Fiddle"
(1993). Celestial Entertainment CECS001, Brenda Stubbert (Cape Breton) - “In
Jig Time!” (1995). Rounder 7059, Alex Francis MacKay with Gordon MacLean –
“Gaelic in the Bow” (2005). Wildcat Records WILDCD 101, Ronan Martin – “Ronan
Martin” (2008. Learned from Cape Breton fiddler Buddy MacMaster).
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:Lasses of Stewarton
M:C|
L:1/8
R:Reel
S:MacDonald – Skye Collection (1887)
Z:AK/Fiddler’s Companion
K:D
g|fdec dA d2|FDDF A3g|fde=c BG
c2|E=CCE G2G:|
|:=c|Bd (BG) AFD=c|Bd AF A3=c|Bd AF
AB=cA|GE=CE G2G:|
|:=c|BGAF BGAG|FDDF A3=c|BGAF
AB=cA|GE=(CE) G2G:|
e|defg afdf|afdf a2 (fe)|defg
afdf|ge=ce g2 fe|
defg afdf|afdf a2 fe|defg abaf|ge=ce
gbeg||
LASSES OF THE BORDERS, THE. Scottish, Jig. D Major. Standard tuning. AB.
The tune appears in the 1799 collection by Thomas Calvert, a musician from
Kelso, Scotland. A note with the collection states that Calvert supplied
“a variety of music and instruments, instruments lent out, tun’d and repaired.”
X: 1
T:The Lafses of the Borders
M:6/8
L:1/8
Q:90
R:jig
S:Calvert Collection (1799)
Z:Transcribed by Philip Whittaker
K:D
F | D2 A2 Bc | dcd AFD | BGE AFD |
E2F/2G/2 E/2D/2 ECA,|
D2 A2 Bc | dcd AFA | BcB e2d | cAc
d2 ||A | dcd efg | afd def |
geg fdf | ged cBA |dcd efg | afd def
| BcB e2d | cAc d2A |
dcd efg | fgf def | geg fdf | ged
cBA |dBd cAc | BGB AFA | BcB e2d | cAc d2
||
LASSES/LASSIES OF THE
FERRY. AKA and see “Hoch Hey, Johnnie Lad,” "Hech how Johnnie Lad,” “The Lads of Saltcoats." Scottish.
John Glen (1891) finds the tune in Neil
Stewart's 1761 collection (pg. 33). It was later known as "Hech how
Johnnie Lad." See note for "Auld
Lang Syne."
LASSES OF THE WEST. Scottish, Strathspey. F Major. Standard tuning. AB. The tune appears in
the 1799 collection by Thomas Calvert, a musician from Kelso, Scotland. A
note with the collection states that Calvert supplied “a variety of music and
instruments, instruments lent out, tun’d and repaired.”
X: 1
T:The Lasses of the West
M:4/4
L:1/8
R:Strathspey
B:Thomas Calvert Collection - page
2/3
Z:P Whittaker 2001
K:F
f|c>A ~A/2A/2A
A>GF>A|G>ABd cBAf |c>A ~A/2A/2A A>GF>A|G>BA>G FD>D||
c|f>g{fg}a>g
f>dd>f|c>fA>fc>fAf |f>g{fg}a>g f>dd>f|c>Af>A
AGGc
|f>g f/2g/2ag
f>dd<f|c>fA>f c>fAf/2g/2 |a>fg>d f>cd>A|G>BA>G
F<DD2||
LASSES PISSES BRANDY. AKA and see "Lasses Like(s)
Nae Brandy," "Lasses Drinks At
Brandy." English, Reel. England, Northumberland. A Mixolydian.
Standard tuning. AABB. "According to D. Johnson (1984), it was probably Robert MacKintosh who, in 1772, gave
this tune its usual title 'Lasses Like(s) Nae Brandy,' altering it from 'Lasses
Drinks at Brandy,' which was his source. Vickers' even less polite title is not
mentioned, but Johnson cites other 'rude' tune titles which have fallen victim
to changing standards of propriety" (Seattle). Kerr, vol. 2; No. 20.
MacDonald (The Skye Collection),
1887; pg. 21. Seattle (William Vickers),
1987, Part 2; No. 370.
LASSES TRUST IN
PROVIDENCE. Shetlands, Shetland Reel. D Major.
Standard tuning. AABB (Brody, Phillips): AA’BB’ (Martin & Hughes). In the
repertory of the Shetland Fiddle Band, and therefore widely known in the
islands. Source for notated version: Tom Anderson (Shetland) [Phillips]. Brody
(Fiddler’s Fakebook), 1983; pg. 165.
Martin & Hughes (Ho-ro-gheallaidh),
1990; pg. 29. Phillips (Fiddlecase
Tunebook: British Isles), 1989; pg. 34. Culburnie
CUL110, Abby Newton – “Crossing to Scotland” (1997). Culburnie Records CUL
121D, Alasdair Fraser & Natalie Haas – “Fire and Grace” (2004). Philo 2019,
Tom Anderson and Aly Bain‑ "The Silver Bow." Thule 214, Tom
Anderson.
X:1
T:Lasses Trust in Providence
M:C
L:1/8
R:Shetland Reel
K:D
"D"d2 de fdef|"G"d2 fd
"A"edBA|"D"d2 de fdef|[1"A"dBAF E2
A2:|[2"A"dBAF
E2 FG||"D"A2 AB ADFA|"G"d2
d2 BABd|"D"A2 AB ADFA|[1"A"GFEC "D"D3
F:|[2"A"GFEC "D"D2 z2||
LASSIE ART THOU
SLEEPING YET. See "Oh! Lassie, Art Thou Sleeping
Yet."
LASSIE I'LL COME NEAR
YOW. Scottish, Strathspey. G Minor.
Standard tuning. AAB. Carlin (The Gow
Collection), 1986; No. 111. Gow (Complete
Repository), Book 2, 1802; pg. 6.
X:1
T:Lassie I’ll come near you
M:C
L:1/8
R:Strathspey
S:Gow – 2nd Repository
(1802)
Z:AK/Fiddler’s Companion
K:G Minor
D|~G>A ~B>c A2 FA|G2 g>a g2
d>=e|(3f>gf (3f>=ed (3c>BA F>D| (3G>AB (A/B/)(c/d/) A2 G2:|
(d/2=e/2^f/)|gd (=e/d/c/d/) A2 F
(d/2=e/2^f/)|gG ga {ga}b2 a>g|f>g fd c/B/A/G/ F>A|
G>AB>c A2 G (d/2=e/2^f/)|gd
(=e/d/c/d/) A2 F (d/2=e/2^f/)|gG ga {ga} b2 ag|
(3f>gf (3f>=ed (3cBA
F>D|G,3 z/A,/ B,3z/C/|A,4 G,3||
LASSIE,
LEND ME YOUR BRAW HEMP HECKLE. English. England, Northumberland.
Title appears in Henry Robson's list of popular Northumbrian song and dance
tunes ("The Northern Minstrel's Budget"), which he published c. 1800.
LASSIE,
LOOK BEFORE YOU/YE. AKA and see "Look Before You," "Lasses Look Before You," "Miss Ross('
Strathspey—of Elgin) [1]," "Miss Agnes Ross's Reel."
Scottish, Strathspey. D Mixolydian. Standard tuning. AAB (Honeyman, Howe,
Kerr): AABB' (Athole, Skye). Composed by William
Marshall (1748-1833), though this was not Marshall's title, but a variation
of Gow's. Marshall Collection ‑ appears as "Miss Ross."
Honeyman (Strathspey, Reel and Hornpipe
Tutor), 1898; pg. 7. Howe (1000 Jigs
and Reels), c. 1867; pg. 123 (appears as “Lassies, Look Before You”). Kerr
(Merry Melodies), vol. 1; Set 11, No.
1, pg. 8. MacDonald (The Skye Collection),
1887; pg. 39. Stewart-Robertson
(The Athole Collection), 1884; pg.
101. Beltona 2103 (78 RPM), Edinburgh Highland Reel
and Strathspey Society (1936). Rounder 7059, Alex Francis MacKay with Gordon
MacLean – “Gaelic in the Bow” (2005).
X:1
T:Lassie Look Before Ye
M:C|
L:1/8
R:Strathspey
B:Stewart-Robertson – The
Athole Collection (1884)
Z:AK/Fiddler’s Companion
K:D
F|:D>AF>A DAFA|E<=c ~c>G E2=CE|D>AF>A D>AF>A| D<d d>A F2 E>D:|
|:d>fA>f d>fA>f|~=c>de>f g2 f>e|1
d>fA>f d>fA>f|d>ef>g a2f>e:|2 a>fg>e
f>de>c|d>BA>G F2 E>D||
LASSIE,
LOOK BEHIND YOU/YE. AKA and see "Look Behind You," "Lady Anne Gordon's Reel,"
"House of Letterfourie."
Scottish, Reel. D Major. Standard tuning. AAB. Howe (1000 Jigs and Reels), c. 1867; pg. 123 (appears as “Lassies, Look
Behind You”).
X:1
T:Lassies,
Look Behind You
M:4/4
L:1/8
S:Howe – 1000 Jigs and Reels (c. 1867)
Z:AK/Fiddler’s Companion
K:D
f | dg f/g/a beef | dg f/g/a fdec | dBAF E>F GB | FD F/G/A (d2 d)f |
dg
(f/g/a) b(ee)f | dg f/g/a fdec | dcBF E>F G>B | AF A/B/c d2d ||
LASSIE LOST HER SILKEN SNOOD, THE. AKA and see “Twine weel the Plaiden.” Scottish,
Air (whole time). E Flat Major. Standard tuning. AABB. The title is a line from
a song which usually goes by the title “Twine weel the Plaiden.” According to
Ebenezer Brewer’s Dictionary of Phrase and Fable (1894) the
‘snood’ was a ribbon with which Scottish girls braided their hair, emblematic
of their maiden character. When she married she substituted a curch or coif for
the snood, “but if she lost the name of virgin before she became a wife, she
‘lost her silken snood’, and was not privileged to assume the curch.” Snood –
from the Anglo-Saxon snod.
Archibald Bell, who printed “The Lassie’s Lost Her Silken Snood” in his Scottish
Melodies (1849, pg. 97), opined: “This air appears to the Author to possess
much beauty, delicacy and expression.”
***
O I hae lost my
silken snood,
That tied my hair sae yellow;
I gied it tae the lad I lo'ed,
He was a gallant fellow.
***
Cho:
And twine it weel
my bonnie doo,
And twine it weel the plaiden;
The lassie lost her silken snood,
A-pu'in' o' the bracken.
***
Gow (Fourth Collection of Niel
Gow’s Reels), 2nd ed., originally 1800; pg. 15.
X:1
T:Lassie Lost her Silken Snood, The
M:C
L:1/8
R:Air
N:”Original Set”
N:”Slow”
B:Gow – Fourth Collection of Niel
Gow’s Reels (1800)
Z:AK/Fiddler’s Companion
K:Eb
(E/F/)|~GB (A/G/)F/E/ FG/B/
.c>.c|”tr”B>c {c}BA/G/ B>G E(E/F/)|~G>B (A/G/)(F/E/) {G}FG/B/
c>c|”tr”B>c (B/c/)e/G/ B>GE:|
|:(B/c/d)|e>f (f/e/)(d/c/)
{f}(e/d/)(c/B/) Bc/d/|~e>f {f}ed/c/ f>d Bc/d/|{f}e>g (f/e/)d/c/ {c}BG
g>f|{f}e>c (c/B/)e/>G/ {G}”tr”F2 {E/F/}E:|
LASSIE OF GOWRIE, THE. AKA and see "Paddy O'Flynn," "The Wicklow's March," "Nolan the Soldier," "The Miners of Wicklow."
American, March (6/8 version). USA, southwestern Pa. D Major. Standard tuning.
AABB. Bayard's (1981) fifer source was familiar with the duple time Scots piece
called "The Lass o' Gowrie [1]," but said this was the "old
way" of playing the piece, though they actually have little in common.
Source for notated version: Hiram Horner (fifer from Westmoreland and Fayette
Counties, Pa., 1944; Bayard indicates it was learned from Scottish army fifer
Dick Gibson) [Bayard]. American Veteran
Fifer, 1927; No. 51. Bayard (Dance to
the Fiddle), 1981; No. 540, pgs. 480‑1.
LASSIE OF THE GLEN, THE. Scottish, Strathspey. D Major. Standard
tuning. AB. Composed by J. Steel. Walker (A
Collection of Strathspeys, Reels, Marches, &c.), 1866; No. 79, pg. 28.
LASSIE(S) TIE YOUR
BONNET(S). AKA and see "Jenny Tie your Bonnet", "Tie the Bonnet," "The Rambler's Rest," "Down with the Mail," "In and Out (of) the Harbour,"
"The Faraway Wedding [1],"
"Lizzie's Bonnet," "The Gravelled Walks to Granny,"
"The Highland
Man that Kissed his Grannie [1]," "The Cottage in the Grove [2],"
"Jenny Lace your Tight,” “Upstairs in a Tent [1].”
LASSIE WI' THE YELLOW
COATIE. AKA – “Lass with the Yellow
Coatte/Cottie.” Scottish (originally), Canadian, English; Reel or Strathspey.
Canada; Prince Edward Island, Cape Breton. England, Northumberland. G Major
(Athole, Bremner, Cole, Cranford, Dixon, Perlman, Seattle, White): D Major
(Gow, McGlashan). Standard tuning. AB (Cole, White): AAB (Athole,
Gow/Repository): ABB (Cranford): AABB (Bremner, Perlman, Vickers): ABCDE
(McGlashan): AABBCCDDEEFFGGHH (Dixon). John Glen (1891) finds the earliest
appearance of the tune in print in Robert
Bremner's 1757 collection. The melody was recorded on a 78 RPM by Cape
Breton fiddler Bill Lamey. Dixon (1995) prints the tune with several variation
sets by Robert Whinham (1814-1893), a musician, teacher, composer, dancing
master and fiddler originally from Morpeth, Northumberland. Sources for notated
versions: learned by fiddler Jerry Holland (Inverness, Cape Breton) from a home
recording of fiddler Cameron Chisholm (Margaree, Cape Breton) [Cranford]; Peter
Chaisson, Jr. (b. 1942, Bear River, North-East Kings County, Prince Edward
Island) [Perlman]; T. Matheson of Morpeth’s manuscript dated 1859, in the
Morpeth Chantry Bagpipe Museum [Dixon]. Bremner (Scots Reels), 1757; pg. 76. Cole (1000 Fiddle Tunes), 1940; pg. 126. Cranford (Jerry Holland’s), 1995; No. 179, pg. 50. Dixon (Remember Me), 1995; pg. 61. Gow (Complete Repository), 1799, Part 1,
1799; pg. 7. Lowe (A Collection of Reels
& Strathspeys), 1844. Lowe’s Collection,
Book 4, pg. 13. McGlashan (A Collection of Reels), c. 1786; pg. 34.
Perlman (The Fiddle Music of Prince
Edward Island), 1996; pg. 187 (strathspey setting). Ryan’s Mammoth Collection, 1883; pg. 166. Seattle (William Vickers), 1987, Part 3; No. 515.
Stewart-Robertson
(The Athole Collection), 1884; pg.
172. White’s Unique Collection, 1896;
No. 166, pg. 31.
T:Lassie Wi’ the Yellow Coatie
M:C|
L:1/8
R:Reel
B:Stewart-Robertson – The
Athole Collection (1884)
Z:AK/Fiddler’s Companion
K:G
A|G2 GB degd|e/e/e gd edeg|G2 GB degd|e/f/g dB AG E:|
d|gabg aegd|Bdde gfed|gabg aegd|e/f/g dB AG E2|gabg aegd|
Bdde gfed|gabg aegd|e/f/g dG AG E||
X:2
T:Lassie with the Yellow Coaty, The
L:1/8
M:C
S:McGlashan – Reels
Z:AK/Fiddler’s Companion
K:D
D2 D>F A>BdA|B>ABd e>def|D2 D>F A>Bd>e|d>B A>F
E>D B,2|
D2 D>F A>Bd>c|B>ABd fdef|D2 D>F A>B f>e|dB/d/ AF/A/ G/F/E/D/ B,2||
d>ef>d e>cd>A|FAA>B =c>dBA|d>ef>d e>cd>A|B>dA>F E>D B,2|
d>efd ec d/f/d/A/|F/G/A/B/ A/^G/A/B/ =c/B/c/d/ c/d/B/A/|d>ef>d e>c d/f/d/A/|
~Bd/c/ B/A/G/F/ G/F/E/D/ B,2||D2 D>F A/F/A/B/ A/B/d/A/|B>ABd e/d/e/f/ e/g/f/e/|
D2 D>F A/F/A/B/ A/B/d/e/|d>BA>F E>D B,2|D/A,/D/F/ D/F/E/D/ A/F/A/B/ A/B/d/A/|
B/A/B/d/ A/d/c/d/ e/d/e/f/ e/g/f/e/|D/A,/D/F/ D/E/F/G/ A/F/A/B/ A/B/d/A/|
B/d/c/d/ B/A/d/F/ G/F/E/D/ B,2||d/c/d/e/ d/e/f/e/ f/e/d/e/ d/f/d/A/|
F/G/A/B/ A/^G/A/B/ =c/B/c/d/ c/d/B/A/|d/c/d/e/ d/e/f/e/ f/e/d/e/ d/f/d/A/|
B/A/d/c/ B/A/G/F/ G/F/E/D/ B,2|d/c/d/e/ d/e/f/e/ f/e/d/e/ d/f/d/A/|
F/G/A/B/ A/^G/A/B/ =c/B/c/d/ c/d/B/A/|d/c/d/e/ d/e/f/e/ f/e/d/e/ d/f/d/A/|
B/d/c/d/ B/A/F/A/ G/F/E/D/ B,2||D2 D>F A>BdA|B/B/B d>A B>ABd|D/D/D D>F A>Bde|dBAF E>D B,2|
D2 D>F A>BdA|B/B/B d>A B>ABd|D/D/D D>F A>BdA|B/c/d A>F E>D B,2||d>efd ecdA|F(AA)B =c>dBA|
d>efd ecdA|B/c/d AF E>D B,2|d>efd ecdA|FAAB =c>dBA|d>efd ecdA|BFdF E>D B,2||
X:3
T:Lass with the Yellow Coatee
M:C
L:1/8
R:Strathspey
S:White’s Unique Collection (1896), No. 166
Z:AK/Fiddler’s Companion
G<G (G>B) d>e(g>.d) | (e>d)(g>d) (e>d) (e<g) | G<G (G>B) d>e(g>d) |
(e<g)d>.B {B}A>G E2 | G<G (G>.B) d>e(g>d) | (e>d)(g>d) (e>d)(e>g) |
G>G(G>B) d>e(g>d) | (e<g) d>B {B}A>G E2 || (g>a)(b>g) (a>e)(g>d) |
(B<d) (d>e) (f>g) a2 | (g>a)(b>g) (a>e)(g>d) | (e<g) (d>B) {B}A>G E2 |
(g>a)(b>g) (a>e)(g>d) | (B<d) (d>e) (f>g) a2 | (g>a)(b>g) (a>e)(g>d) | (e<g)d>B {B}A>G E2 ||
LASSIE'S FANCY, THE. English?, Jig. D Major (Kennedy, Raven): C
Major (Hardings). Standard tuning. AABC (Raven): AABB (Hardings): AABB'
(Kennedy). Hardings All Round Collection,
1988; No. 96, pg. 30. Kennedy (Fiddlers
Tune Book), vol. 2, 1954; pg. 39. Raven (English Country Dance Tunes), 1984; pg. 100.
Front Hall Records 03, Dudley Laufman‑‑"Swinging
on a Gate."
X:1
T:Lassie’s Fancy, The
M:6/8
L:1/8
K:D
f|:d2A AFA|B2A AFA|d2A AGF|EFE ABc|d2A AFA|B2A ABc|
dgf eac|d3 d2:|f/g/|afd dfa|gec ceg|fed dcd|ecA A2f/g/|afd dfa|
gec ceg|fad eac|d3d2||f/g/|afd dfa|gec ceg|fed dcd|ecA A2G|
FAd
FAd|GBd GBd|Agf eac|d3 d2||
LASSIES OF CAMPBELL
STREET, THE. Canadian, March (2/4 time). Canada,
Cape Breton. D Major. Standard tuning. AABB’. Composed by Cape Breton fiddler
and composer Dan R. MacDonald (1911-1976). Cameron (Trip to Sligo), 1994; pg. 21.
LASSIES OF GLENAODALE. See "Elizabeth's Big
Coat."
LASSIES OF GLENDALE. AKA and see "Effie's White
Coat."
LASSIES OF LIMERICK. See “Lasses of Limerick.”
LASSINTULLICH. AKA and see "Steer the Gill."
LAST BUS TO DRIMNAGH. See “Little House Under the Hill.”
LAST CHANCE. Old‑Time, Breakdown. G Dorian. Standard or EDae tunings. AABB.
From the banjo playing of Hobart Smith, the tune has been adapted to the
fiddle. Spandaro (10 Cents a Dance),
1980; pg. 31. Folk Legacy Records FSA‑17, Hobart Smith ‑
"America's Greatest Folk Instrumentalist" (appears as part of
"Banjo Group 1").
LAST DANCE, THE. English, Reel.
Tune in the Scottish style appears in the pantomime Queen Mab, produced in Drury Lane in December, 1750; it is likely
the famous Scots composer and music publisher James Oswald (1711-1767)
participated in writing the music for the show.
***
***
Alburger (Scottish
Fiddlers and Their Music), 1983; Ex. 27, pg. 48.
LAST DAYS IN GEORGIA. Old‑Time, Breakdown. C Major. Standard. AA'B. Composed by Melvin
Robinette (1905-1999), a fiddler from Tullahoma, Tennessee, who was inspired
early on by Fiddlin’ Cowan Powers. Source for notated version: Melvin Robinette
[Phillips]. Phillips (Traditional
American Fiddle Tunes), vol. 1, 1994; pg. 137. County
527, Melvin Robinette & Byrd Moore ‑ "Old Time Fiddle Classics,
Vol. 2." Document Records 8055,
“Grayson & Whitter, Vol. 2” (Reissue. 1999).
LAST HOUSE OF/IN CONNACHT [1], THE. AKA and see “Connaught Reel [3],” "Lady O'Brien's Reel,"
"The Steampacket." Irish, Reel. G
Major/Mixolydian. Standard tuning. AABB. A double tonic tune. Source for
notated version: New York fiddler Paddy Killoran, originally from County Sligo
[Mulvihill]. Mulvihill (1st
Collection), 1986; No. 53, pg. 14.
LAST HOUSE OF CONNAGHT
[2]. AKA and see “Dinny O’Brien’s Reel [1].”
Irish, Reel. Ireland, County Donegal. D Mixolyidan. Standard tuning. AABB.
Source for notated version: Simon Doherty (County Donegal) [Feldman &
O’Doherty]. Feldman & O’Doherty (The
Northern Fiddler), 1979; pg. 104.
LAST LINK IS BROKEN, THE. American, Hymn Tune (?). C Major. Standard
tuning. One part. Howe (Complete Preceptor for the Accordeon),
1843; pg. 14.
T:Last Link is Broken, The
M:2/4
L:1/8
S:Howe – Complete Preceptor for the Accordeon (1843)
Z:AK/Fiddler’s Companion
K:C
G | G2 GA |
AG GG | GF FF | EG ce | e2 ef | fe ee | ed ce | e2 ef |
fe ee | ed
dd | c2 zG | G2 GG | Ac cc | cB BB | c2cc | c2 cc | de fB |
c2 cc | df eB | c2 cB | A2 AG | F2
FE | D2 zG :|
LAST MEASURE PRINCE CHARLES DANCED WITH FLORA MACDONALD, THE. Scottish. This tune is sometimes used to accompany the dance Flora Macdonald's Fancy.
LAST MILE, THE. New England, Waltz. G Major. Standard tuning.
AA'BB. A modern composition by Earl Gaddis. Hinds/Hebert (Grumbling Old Woman), 1981; pg. 32.
LAST
NIGHT A STORY CAME TO ME IN MY DREAMS
(Aréir A Téiríghig Sceul Dhom Trém Neulta). Irish, Air (4/4 time). F Major. Standard
tuning. One part. "...from the whistling of Hoe Martin of Kilfinane Co.
Limerick, a rambling working man with a great knowledge of Irish airs and
songs, and much natural musical taste" (Joyce). Joyce (Old Irish Folk Music and Songs), 1909;
No. 179, pg. 90.
X:1
T:Last night a story came to me in
my dreams
T:Aréir a téiríghig sceul dhom trém
neulta
M:C
L:1/8
R:Air
N:”Tenderly”
S:Joyce – Old Irish Folk Music and Songs (1909)
Z:AK/Fiddler’s Companion
K:F
e|f2e2 gfed|c3A G2 Ac|d3A
cAGA|F2F2F2 FG|A2A2 c2 de|f3e d2ef|g2fe dc AG|
A2 AB A2 FG|A2 GA c2 de|f3e d2 ef|g2
fe dc A2|c2 de f2 cd/e/|f2 ef gfed|
c3A G2 Ac| d3A cAG>F| F2F2 F3 ||
LAST NIGHT AMID DREAMS. AKA and see "Get Up Old Woman and
Shake Yourself," "Captain Thornton's Delight,"
"Conor O'Sullivan's Vision,"
"Growling Old Woman,"
"Irish Whim," "O'Tuomy's Drinking Song."
Irish, Single Jig.
LAST
NIGHT AS I WAS THINKING OF THE WAYS OF THE WORLD. AKA ‑ "Areir As Me Ag Machtnamh Air Bheartaibh an t‑Saoghail."
Irish, Slow Air (3/4 time). G Major. Standard tuning. AB. Source for notated
version: "...sent me by Mr. Victor Power of Leap Co. Cork, a good amateur
violinist, with much knowledge of Irish music: about 1875" (Joyce). Joyce
(Old Irish Folk Music and Songs),
1909; No. 197, pgs. 97‑98.
X:1
T:Last night as I was thinking of
the ways of the world
T: Areir As Me Ag Machtnamh Air
Bheartaibh an t‑Saoghail
M:3/4
L:1/8
R:Air
S:Joyce – Old Irish Folk Music and Songs (1909)
Z:AK/Fiddler’s Companoin
N:”Slowly and mournfully”
K:G
GA|B2 dB AB|G2G2 BA|B2d2 ef|g4 gf|ef
ed Bc|d2 de dB|c2A2 AB|A4 GA|
B2 dB AB|G2G2 BA|B2d2 ef|g4
f/a/g/f/|efed Bc|d2 de dB|A2G2G2|G4||BA|
B2d2 ef|g2g2 fe|fa g2f2|e2d2 gf|efed
Bc|d2 de dB|c2A2 AB|A4 GA|B2 dB AB|
G2G2 BA|B2d2 ef|g4 f/a/g/f/|ef ed
Bc|d2 de dB|A2G2G2|G4||
LAST
NIGHT I DREAMT OF MY OWN TRUE LOVE. Irish, Air (3/4 time). G Minor.
Standard tuning. One part. Source for notated version: “(The Irish collector)
Mr. Joyce, from Peggy Cudmore” [Stanford/Petrie]. Stanford/Petrie (Complete Collection), 1905; No. 453, pg.
114.
LAST NIGHT IN
LEADVILLE. AKA and see "Old Joe Sife's Reel"
(published in Howe), “Farrell
O’Gara’s Favorite Reel,” "Last Night's
Fun [1],” “Macroom Lasses,” “Stick it in the Ashes.” Old‑Time,
Breakdown. USA, Nebraska. A Major. Standard tuning. AABB. Similar title to
“First Night in Leadville.” Source for notated version: Bob Walters (Burt
County, Nebraska) [Christeson]. R.P. Christeson (Old Time Fiddlers Repertory, vol. 1), 1973; No. 30, pg. 22.
X:1
T:Last Night in Leadville
M:2/4
L:1/8
R:Breakdown
S:Christeson – Old Time Fiddler’s Repertory vol. 1, No. 30 (1973)
Z:AK/Fiddler’s Companion
K:A
c/A/|EA/c/ B/A/a/f/|e/c/d/B/
c/A/F/G/|AA/c/ B/A/a/f/|e/c/A/c/ B/G/E/G/|
AA/c/ B/A/a/f/|e/c/d/B/
c/A/F/G/|AA/c/ B/A/a/f/|e/c/B/c/ A:|
|:(3e/f/g/|aa/b/ a/e/c/e/|d/B/c/A/
B/A/F/A/|a/g/a/b/ a/e/a/b/|c’/a/b/c’/ aa/b/|
c’/a/b/a/ f/a/e/c/|d/B/c/A/
B/A/F/A/|E/F/A/c/ B/A/a/f/|e/c/B/c/ A:|
LAST NIGHT'S FUN [1]. AKA and see "Farrell
O'Gara's Favorite Reel,” “Last Night in
Leadville,” "The Macroom Lasses,"
"Old Joe Sife's Reel,"
“Pretty Jane’s,” “Stick it in the Ashes.” Irish,
Reel. A Major (Cole, Ryan): G Major (Kerr). Standard tuning. AAB (Kerr): AABB
(Cole, Ryan). See also “Old Sport”
for a similar melody. A different “Last Night’s Fun” than is usually played by
that title in modern Irish sessions. New York writer, researcher and musician
Don Meade points out this tune is a version of O’Neill’s “Macroom Lasses,” and
that County Sligo fiddle great Michael Coleman recorded it as a fling called
the “Killarney Wonder.”
Cole (1000 Fiddle Tunes), 1940; pg.
6. Kerr (Merry Melodies, vol. 2), c.
1880’s; No. 225, p. 25. Ryan’s Mammoth
Collection, 1883; pg. 28.
X:1
T:Last Night’s Fun [1]
M:2/4
L:1/8
R:Reel
S:Ryan’s Mammoth Collection (1883)
Z:AK/Fiddler’s Companion
K:A
A/F/ | E/A/A/c/ B/A/a/f/ | e/c/B/d/
c/A/F/A/ | E/A/A/c/ B/A/a/f/ | e/c/B/c/ AA/F/ |
E/A/A/c/ B/A/a/f/ | e/c/B/d/
c/A/F/A/ | E/A/A/c/ B/A/a/f/ | e/c/B/c/ A :: (3e/f/g/ |
a/g/a/f/ e/a/c/e/ | d/B/c/A/
B/A/f/g/ | a/g/a/f/ e/a/c’/a/ | b/a/b/c’/ aa/b/ |
c’/a/f/a/ e/a/c/e/ | d/B/c/A/
B/A/F/A/ | B/A/e/c/ B/A/a/f/ | e/c/B/c/ A :|
X:2
T:Last Night’s Fun [2]
M:C
L:1/8
R:Reel
S:Kerr – Merry Melodies, vol. 2, No. 225
Z:AK/Fiddler’s Companion
K:G
GE | DGGB AGge | dBAc BGEG | DGGB
AGge | dBAB G2 :|
(3def | gfge dgBd | cABG AGef | gfge
dgbg | agab g2 (ga) |
bgeg dgBd | cABG AGEG | AGdB AGge |
dBAB G2 ||
LAST NIGHT'S FUN [2] (Súgradh/Glead na hOíche Aréir). AKA and see " Súgradh na
hOíche Aréir," "Miss
Brown's Fancy [3]," "Paddy by
aisy," "Whish,
Cat from under the Table," "Hush the cat from under the
table," "Wink
and she'll follow you.” Irish, Slip Jig. D Mixolydian/G Major. Standard
tuning. AB. The tonality shifts between two keys. Breathnach took his title
from O’Neill. It appears as “Miss Brown’s Fancy” in the Goodman manuscripts, as
“Paddy be aisy” in Roche’s collection and as “Wink and she’ll follow you” (“a
Kerry jig”) in Petrie (No. 956). O'Sullivan (1983) sees motivic connections
between this tune and Bunting's "Whish, Cat from under the Table,” and
Breathnach supports this in his remark that Sean O'Rourke, Toomevara, called it
"Huish the cat from under the table." According to Breathnach, Seamus
Ennis stated the words "Cé bheadh sa tine nach n-éireodh?" ("Who
would be in the fire that wouldn't get up?") are lilted in Carna to the
last bar of the music. Sources for notated versions: the tune was noted as an
untitled piece from the concertina playing of Mrs. Dalton, Abbeyfeale, County
Limerick, in 1965 [Breathnach]; fiddler Danny O’Donnell (County Donegal)
[Feldman & O’Doherty]. Breathnach (CRÉ
II), 1971; No. 107. Feldman & O’Doherty (The Northern Fiddler), 1978; pg. 186 (appears as first “Untitled
Slip Jig”). O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 452, pg. 88. O’Neill (Waifs and Strays of Gaelic Melody),
1922; No. 201.
X:1
T:Súgradh na hOíche Aréir
T:Last Night's Fun
S:Mrs. Dalton [concertina],
Abbeyfeale, County Limerick, IX, 1965
B:Breathnach, "Ceol Rince na
hÉireann" II, no. 107
B:O'Neill, "Dance Music of
Ireland", no. 452
Z:Transcribed by Paul de Grae
R:slip jig
M:9/8
L:1/8
K:Edor
E2 E {c}B2 A Bcd|E2 E BAF A2 F|E2 E
{c}B2 A Bcd|
1edB {c}BAF A2 F:|2 edB {c}BAF A3||
d2 d fdf Bcd|c2 c ecA ABc|d2 d fef
Bcd|edB {c}BAF A2 F|
d2 d fdf Bcd|c2 c ecB ABc|d3 fdf
Bcd|edB {c}BAF A2 F||
LAST NIGHT'S FUN [3] (Sugradh na hOiche Areir). AKA and see “Killoran’s Reel [3]," “The Wexford Lasses,” “The Wexford Reel.” Irish, Reel. D Major.
Standard tuning. AABB (Breathnach). Source for notated version: fiddler Charlie
Lennon (County Leitrim/Long Island USA) & flute player Mick O'Connor
(Ireland) [Breathnach]. Breathnach (CRÉ
III), 1985; No. 97, pg. 50. Comhaltas Ceoltoiri
Eireann CL22, Charlie Lennon & Michael O'Connor ‑ "Lucky in
Love" (1981).
LAST NIGHT'S FUN [4] (Súgradh na h-Oíche Aréir). AKA – “Joe Cooley’s No. 1.” Irish,
Reel. D Mixolydian (Breathnach): D Major (Harker/Rafferty, Miller, Taylor).
Standard tuning. AB (Breathnach, Harker/Rafferty): AA’B (Sullivan): AA’BB’
(Miller). The tune was popularized by the great Irish accordion player Joe
Cooley (1924-1973), who spent a good portion of his adult life in America. It
is still associated with him. “Last Night’s Fun” is also the name of a book by
Belfast flute player and writer Ciaran Carson in which he praises Cooley’s 1975
Gael-Linn release (produced by Tony MacMahon) and sketches one of Cooley’s last
performances at Lahiff’s bar in the village of Peterswell, 1973, just before he
died of lung cancer. A closely related reel is the popular "Boys of Ballysadare [2]"
(AKA "The Dublin Lasses [1]").
Sources for notated versions: Joe Cooley (Ireland) [Breathnach]; Jimmy Power
[Sullivan]; set dance music recorded live at Na Píobairí Uilleann, mid-1980’s
[Taylor]; accordion and flute player Joe Burke [Bulmer & Sharpley]; New
Jersey flute player Mike Rafferty, born in Ballinakill, Co. Galway, in 1926
[Harker]. Breathnach (CRÉ III), 1985;
No. 193, pg. 86. Bulmer & Sharpley (Music
from Ireland), 1974, vol. 3, No. 27. Harker (300 Tunes from Mike Rafferty), 2005; No. 42, pg. 13. Miller (Fiddler’s Throne), 2004; No. 191, pg.
121. Moylan (Johnny O’Leary), 1994;
No. 169. Sullivan (Session Tunes),
vol. 3; No. 58, pg. 24. Taylor (Crossroads
Dance), 1992; No. 20, pg. 16. Taylor (Music
for the Sets: Yellow Book), 1995; pg. 20. Treoir, vol. 39, No. 4,
2007; pg. 30. Gael‑Linn Records CEF 044, Joe
Cooley ‑ "Cooley" (1975). Larraga Records MOR 1302, Mike &
Mary Rafferty – “Speed 78” (2004). Shaskeen ‑ "My Love is in
America." Noel Hill – “The Irish Concertina” (1988). Paddy Glackin &
Paddy Keenan – “Doublin’” (1978).
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:Last
Night’s Fun [4]
M:C|
L:1/8
S:Chris McGrath
R:Reel
A:Providence, RI
Z:B. Maloney
K:D
AD
(3FED A2 AB | AD (3FED EFGB | AD (3FED A2 dB | ABde fedB :|]!
df~f2 af~f2 | df~f2 edBA | df~f2 af~f2 | g2fg edBc | !
df~f2 af~f2 | df~f2 e3^g | a3b aged | afed BcdB ||!
LAST NIGHT’S FUN [5] (Scléip na hOíche Aréir). Irish, Slip Jig. A Dorian. Standard tuning. AABB. Unrelated to other the several printed tunes called “Last Night’s Fun.” Source for notated version: a mid-19th century manuscript written by fiddler William Fitzgerald, in west County Cork [Breathnach]. Breathnach (CRÉ V), 1999; No. 64, pg. 32.
X:1
T:Last Night’s Fun [5]
M:9/8
L:1/8
R:Slip Jig
S:CRÉ V, No. 64
K:Ador
c2B c2A GED | c2B c2d e2d | c2B c2A
GED | DED DEG A2B :|…
LAST NIGHT’S FUNERAL. Irish, Reel. Ireland, Munster. D Major. Standard tuning. AB. Source for
notated version: “A Munster reel. From P. Carew’s MSS” [Stanford/Petrie].
Stanford/Petrie (Complete Collection),
1905; No. 889, pg. 225.
LAST NIGHT'S JOY. AKA and see “The Old
Fashioned Habit.” Irish, Reel. D Major. Standard tuning. AAB. See also the
related “Beauty Spot” and “Fair-Haired Boy.” Source for notated
version: tin whistle, piper and flute player Tommy Hunt (b. 1908, Lissananny,
Ballymote) [Flaherty]. Brody (Fiddler’s
Fakebook), 1983; pg. 165. Bulmer & Sharpley (Music from Ireland), 1976, vol. 4, No. 36. Flaherty (Trip to Sligo), 1990; pg. 130 (appears
as “Unknown”). Shanachie 79002, "The Boys of the
Lough" (1973. Learned from "the late" Donegal fiddler Mickey
Docherty). Trailer 2086, "Boys of the Lough."
LAST NIGHT'S WORK. AKA and see "The Dublin
Lasses [1]," "The
Boys of Ballysadare [2]," "Douse
the Monkey," “The Eve,” “(A) Galway Reel [6],” "Miss Roden's Reel," "Miss Roddy's."
LAST OF CALLAHAN. AKA‑ "Callahan," "Callahan Reel," "Last
of the Callahans." AKA and see "Old
Sport [2].” Old‑Time, Breakdown. USA; Arkansas, Oklahoma, West
Virginia, Virginia, Kentucky. D Major. AEae or Standard tunings. AABB (Thede):
AA'BB'CC (Brody, Reiner & Anick). Thede says that fiddlers in Arkansas and
Oklahoma attribute the tune (as in the "MacPherson's Lament" story) to an
outlaw who, just before being hung, requested to play the fiddle one last time
..."In his standing position he played an unnamed fiddle tune and then
handed the fiddle down to one of the bystanders. Justice was meted out...and
the likeness of the tune became "Last of Callahan" (pg. 49). Reiner
& Anick (1989) say the first published report on the tune is from 1912,
which relates the story of a Kentucky outlaw named Callahan who was executed
around the year 1835; only in this account he played his tune while sitting on
his awaiting coffin and when finished broke the fiddle over his knee before
stepping up to the gallows. The tale is an example of a traditional tune‑story
that goes far back in musical tradition, in the case of the fiddle at least to
the old Scottish tune "MacPherson's Lament," and in America is
similar to the legend behind the musically related West Virginia/Virginia tunes
"Camp Chase," "Joe
Coleman's March" (Pa.) and "George
Booker." A Cajun version of the legend is attached to the tunes "Guilbeau's Waltz" and "Valse a Napoleon." The title appears
in a list of traditional Ozark Mountain fiddle tunes (as "Last of the
Callahans") compiled by musicologist/folklorist Vance Randolph, published
in 1954. See also the related family of tunes including “Village Hornpipe,” “Sweet Ellen/Ellum [2],” and “Old Dubuque.” Sources for notated
versions: Frank West (Murray County, Oklahoma) [Thede], Highwoods String Band
(N.Y.) [Brody, Reiner & Anick]. Brody (Fiddler’s
Fakebook), 1983; pg. 165‑166. Reiner & Anick (Old‑Time Fiddling Across America),
1989; pg. 113. Thede (The Fiddle Book),
1967; pg. 49. Ghe Records Gr 1001, Mike Cross ‑
"Child Prodigy" (1979). Rounder 0023, Highwoods String Band‑
"Fire on the Mountain." Rounder 0010, "Fuzzy Mountain String
Band" (1972. Learned from a West Virginia source via revival fiddler Dave
Milefsky). In the epertoire of Kentucky fiddlers Luther Strong and Bill Stepp
(who recorded for the Library of Congress).
LAST OF HARRIS. Old-Time, Breakdown. USA, Kentucky. G Major. Standard tuning.
ABB. Jeff Titon (2001) says Salyer was the only source musician for this tune.
Bruce Greene communicated to Titon that he perceived similarities with Doc
Roberts’ “I’ve Got a Gal Named
Susie.” Source for notated version: John M. Salyer (Salyersville, Magoffin
County, Ky., c. 1941) [Titon]. Titon (Old-Time
Kentucky Fiddle Tunes), 2001; No. 88, pg. 115. Berea
College Appalachian Center AC003, “John M. Salyer: Home Recordings 1941-1942”
(1993). Yodel-Ay-Hee 011, Bruce Molsky – “Warring Cats” (1993).
LAST OF SIZEMORE [1]. Old‑Time, Breakdown. USA, Ky. D Major.
Standard, AEae or ADae tunings. AABBC (Titon): AA'BB'CC' (Phillips). "I
have encountered this tune only in the region around Hazard (Ky.), although it
is related to a number of Scots reels in A Major" (Mark Wilson). In fact a
few different tunes go by this title, says Jeff Titon (2001). Eastern Kentucky
fiddler Hiram Stamper told Titon the title refers to a soldier named Sizemore
who, for some unknown reason, was taken up a hollow and shot, during or just
after the Civil War. Stamper said he learned the tune (with the same story)
from fiddlers Dan Triplett, Shade Sloan and Silas Terry, all Civil War
veterans. Santford Kelly had another tale: Sizemore in his version is on his
deathbed and plays a last tune which is overheard by another fiddler who is out
plowing his garden and who commits it to memory. This version of the melody was
also recorded in 1937 for the Library of Congress from Kentucky fiddler Boyd
Asher. Source for notated versions: Bruce Greene with Jim Taylor; Greene
collected it from Santford Kelly (West Liberty, Morgan County, eastern
Ky.) [Phillips, Titon]. Phillips (Traditional American Fiddle Tunes), vol.
1, 1994; pg. 137. Titon (Old Time Kentucky
Fiddle Tunes), 2001; 89C, pg. 118. New World
Records, Recorded Anthology of American Music 226, Luther Strong (Ky., 1937) ‑
"Traditonal Southern Instrumental Styles" (1978). PearlMae Muisc 004-2, Jim Taylor – “The Civil War
Collection” (1996. Fiddler, Bruce Greene. Learned from Santford Kelly, West
Liberty, eastern Ky.).
LAST
OF SIZEMORE [2]. Old‑Time, Breakdown. USA, Ky.
D Major. ADae tuning. AB. Hiram Stamper recorded the tune in 1937 for Alan and
Elizabeth Lomax, who were collecting for the Library of Congress. Source for
notated version: Luther Strong (Hazard, Perry County, Ky.) [Titon]. Titon (Old
Time Kentucky Fiddle Tunes), 2001; 89B, pg. 117. Mark Simos.
LAST OF SIZEMORE [3]. Old‑Time, Breakdown. USA, Ky. D Major. ADae tuning. AB. Titon (2001) says the tune is related to
Milo Biggers’ tune called “Scott’s Return.”
Source for notated version: Hiram Stamper (Hindman, Knott County, Ky.) [Titon].
Titon (Old Time Kentucky Fiddle Tunes), 2001; 89A, pg. 116.
LAST OF THE LOT, THE. AKA and see "The Fairhaired Boy [1]," "An Buachaillín Bán [1]," "The Boys from Carrickroe," “Cherry Grove Jig,” “Cliffs of Moher,” "The Freheen Jig." Irish, Jig. G Major.
Standard tuning. AABB. Breathnach states this setting of “Buachaillín Bán” “leaves much to be desired.” With the parts
reversed, the melody is better known as “The Cliffs of Moher.” P.W. Joyce’s “Cherry Grove Jig” is a close
variant. O’Neill (Waifs and Strays of
Gaelic Melody), 1922; No. 178.
X:1
T:Last of the Lot (#178), The
M:6/8
L:1/8
S:Capt. F. O'Neill
Z:Paul Kinder
K:G
B/2d/2|e2 e dBd|ege dcA|BGG dGG|BAG ABd|
eee dBd|e/2f/2ge dBA|BGG dBG|EAA A2:|
|:e|a3 bag|eaa ged|BAA BGG|BcA BGG|
a2
a bag|eaa ged|BAA dBG|EAA A2:||
LAST OF THE TWINS (Deire Na Amaon/Cuplaide). Irish, Hornpipe. A Major. Standard
tuning. AABB. O'Neill (Krassen), 1976; pg. 174. O'Neill (Music of Ireland:
1850 Melodies), 1903/1979; No. 1601, pg. 297. O'Neill (Dance Music of
Ireland: 1001 Gems), 1907/1986;
No. 845, pg. 146. Front Hall FHR‑08, Alistair
Anderson ‑ "Traditional Tunes" (1976. Learned from Northumbrian
piper Billy Pigg).
X:1
T:Last of the Twins
M:C|
L:1/8
R:Hornpipe
S:O’Neill – Dance Music of
Ireland: 1001 Gems (1907), No.
845
Z:AK/Fiddler’s Companion
K:A
(3efg|aece fecB|Acea fecA|GABc
defe|dcBA B2 (3efg|
aece fecB|Acea fecA|GABc
defg|a2A2A2:|
|:(3efg|agab agfe|fefg fecA|GABc defe|dcBA B2 (3efg|
agab agfe|fefg fecA|GABc defg|a2 ag a2:|
X: 2
T:Last of The Twins
M:4/4
L:1/8
S:Billy Pigg
Z:C.G.P
K:G
|:ef|gdBd edBA|GBdg edBG|FGAB cded|cBAG A2ef|gdBd edBA|GBdg edBG|FGAB
cd e f|g2fag2:|| ef|gfga gfed|edef edBG|!FGAB cded|cBAG A2ef|gfga
gfed|edef edBG|FGAB cde f |!g2fag2ef|gfga gfed|edef edBG|FGAB
cded|cBAGA2ef|!gdBd
edBA|GBdg edBG|F GA B cdef|g2fag2||
LAST PINT, THE. French, Hornpipe. G Major. Standard tuning.
AABBCCD. Composed by French open-tuned guitar wizard Pierre Bensusan.
X:1
T:Last Pint, The
R:hornpipe(isch)
C:Pierre Bensusan
S:Lùnasa
Z:Hauke
Steinberg
M:4/4
L:1/8
Q:140
K:G
~G3E DEGA|BGAB AGED|~G3E DEGA|BGAB A3z|
~G3E DEGA|BGAB AGED|GABG BcAG|FDEF AGGF:||
GBdG BdGB|cBAG BGGF|GBdG BdGB|cBAG FDEF|
GBdG BdGB|cBAG BGGF|~G3E DEGA|BGAB A4:||
BcBG cdcG|BcBG ded2|BcBG cdcG|BcBG AGE2|
BcBG cdcG|BcBG ded2|BcBG cdcG|BcBG AGE2:||
BcBG cdcG|BcBG ded2|eged gagd|gagd gagd||
b2a2 b2g2|a2f2 g2f2|g2e2 d2B2|A2B4z2|
b2a2 b2g2|a2f2 g2f2|g2e2 d2B2|A2G4z2||
LAST PINT (OF) ALE. Scottish, Reel. D Major. Standard tuning. AABB. John Glen (1891) finds
the earliest appearance of the tune in print in Robert Bremner's 1757 collection. It
also appears in Robert Mackintosh’s
A Third Book of Sixty-Eight New
Reels and Strathspeys: Also above forty old Famous Reels (Ediburgh, 1796),
although with the parts reversed from Bremner. Source for notated version:
Robert Mackintosh collection [S. Johnson]. Bremner (Scots Reels), c.
1757; pg. 37. S. Johnson (A Twenty Year Anniversary Collection), 2003; pg. 19.
X:1
T:Last Pint (of) Ale, The
M:C
L:1/8
R:Reel
S:Bremner – Scots Reels (c. 1757)
Z:AK/Fiddler’s Companion
K:D
D2 DF E2 Ec | (B/c/d) AF (G/F/E/D/
=CE | D2 DF E2 Ec | B/c/d A>F (A2A2) :|
|: defd gfed | (B/c/d) AF (G/F/E/D/
=C)E | defd gfed | (B/c/d) AF A2A2 :|
LAST ROSE OF SUMMER, THE. AKA and see "The Groves of Blarney." Irish,
Air. F Major. Standard tuning. AABA. "'Tis the last rose of summer"
is the title of a song by Thomas Moore, and appears in A Selection of Irish Melodies (No. 4, Book 5, 1813), to the tune of
“The Groves of Blarney.” Howe (1000 Jigs and Reels), c. 1867; pg. 114.
X:1
T:Last Rose of Summer, The
M:3/4
L:1/8
R:Air
S:Howe – 1000 Jigs and Reels (c. 1867)
Z:AK/Fiddler’s Companion
K:F
(F>G) | A2f2 (d>c) | c A3
F>G | A2 BA {A}G>F | F4 :|
c>A | (f2 f>)e {e}d>c |
(c2A2) (c>A) | f2 (fed^c) | d2 {^c/d/e/}f2 || D.C.
LAST
SATURDAY NIGHT AS I LAY IN MY BED. Irish, Air (6/8 time). E Flat
Major/Mixolydian. Standard tuning. One part. “A white-boy song” [Petrie]. The “White
Boys” were an 19th century Irish political society, usually secret,
and one of many polictical groups of the era whose purpose it was to conduct a
clandestine campaign against English rule of the country. Other such
organizations carried the names Houghers, Ribbon Boys, United Irishmen,
Fenians, etc., but the White Boys were particularly strong in Tipperary. Source for notated version: “From
James O’Reilly Esq.” [Stanford/Petrie]. Stanford/Petrie (Complete Collection), 1905; No. 767, pg. 192.
X:1
T:Last Saturday night as I lay in my
bed
M:6/8
L:1/8
N:”A white-boy song”
S:Stanford/Petrie (1905), No. 7
Z:AK/Fiddler’s Companion
K:Eb
G | Bc_d cBG | FEE E2G | Bc=d efe |
dcB G2F | GGG efe dcB GAB | cde cBG |FEE E2 ||
LAST SHOT GOT HIM, THE. Old‑Time, Breakdown. USA, Mississippi. C
Major. Standard. AABB. Recorded by John Holloway and His Mississippi Possum
Hunters, May, 1930. The instrumental is derived from the song “The First Shot
Missed Him,” recorded by blues guitarist Mississippi John Hurt (who is said to
have been friendly with the Possum Hunters group), and, while the song has
parts of even measures, the tune is quite irregular. Source for notated
version: fiddler John Holloway with the Mississippi Possum Hunters (Miss.)
[Phillips]. Phillips (Traditional
American Fiddle Tunes), vol. 1, 1994; pg. 137. County
528, Mississippi Possum Hunters ‑ "Mississippi Breakdown:
Traditional Fiddle Music of Mississippi, vol. 1." County CD 3513,
Mississippi Possum Hunters (reissue of County 528). Document 8028, The Mississippi
Possum Hunters – “Mississippi String Bands, vol. 2” (reissue). Marimac 9111,
Chenoweth's Cornfield Symphony Orchestra ‑ "Goin' Up Town: Old Time
String Bands, vol. 2" (orig. rec. 1924). Victor 23644 (78 RPM),
Mississippi Possum Hunters (1930).
LAST TIME I WENT O'ER THE MOOR. AKA – “The last time I came o’er the Moor.” AKA and see "hither, dear husband, turn your eyes." Scottish, Air (4/4 time). Kidson (1922) identifies the air as an early Scottish tune. A song to it appears in Orpheus Caledonius (1725‑6), which was parodied in John Gay's Beggar's Opera of 1729. Howe (1000 Jigs and Reels), c. 1867), pg. 149. McGibbon (Scots Tunes, book III), 1762; pg. 80.
X:1
T:Last Time
I Cam’ O’er the Muir
M:4/4
S:Howe – 1000 Jigs and Reels (c. 1867)
Z:AK/Fiddler’s Companion
K:D
(A>G) |
F2 (E>D) d3e | (d/e/f) (ed) c2 (BA) | B3A (FD) (FA) | ~B3c d2 (A>G) |
F2 E>D d3e | (d/e/f) (ed) c2 (BA) | (Bc)(de) (fe)(dc) | B3c d2 :: e>d |
c2 B>A A3f |
e>c
B>c A3F | A3B (AB/c/) (dF) | A4 d3A | (BA)(Bd) B2 (AF) | (AF)(AB) d3e |
(f>e)(dB) (AB/c/) (dG) | F2E2
{F/G/}D2 :|
X:2
T:Last time I came o’er the Moor,
The
M:C
L:1/8
R:Air
N:”Slow”
S:McGibbon – Scots Tunes, book III, pg. 80
(1762)
Z:AK/Fiddler’s Companion
K:D
A>G | F2 “tr”(E>D) d3e |
({d/e/}f2) e>d c2 (BA) | ({A}B3)A “tr”(F>EF)A |
“tr”B4 ({B/c/}d2) A>G | F2
“tr”(E>D) d3e | ({d/e/}f2) ed c2 “tr”(BA) | (Bc)(de) (fe)(dc) |
“tr”B4d2 :: e>d | c2 “tr”(B>A)
A3g | (ec)(Bc) A3F | A3B A>BAF | “tr”A4d3A |
(B>A)(Bd) B2 (AF) | (AF)(AB) d3e
| (fe)(dB) (AB/c/ d)G | (F2”tr”E2)D2 :|
LAST TRAIN FROM
LOUHGREA. Irish, Jig. A composition of flute
player Vincent Broderick, at one time associated with the Kincora Ceili Band.
Broderick (The Turoe Stone).
LAST TRAIN HOME. Rounder 0437, Noel Scott – “Traditional Fiddle Music of the Ozarks,
Vol. 3: Down in the Border Counties.”
LAST TUNE, THE. Irish, Reel. C Major. Standard tuning. AA’BB’.
Composed by County Cavan/Philadelphia fiddler and compser Ed Reavy (1898-1988).
Reavy (The Collected Compositions of Ed
Reavy), No. 64, pg. 70.
X:1
T:The Last Tune
R:reel
C:Ed Reavy
M:2/2
L:1/8
Z:Joe Reavy
N:It may not be the last one, but it certainly
N:will do as a fine conclusion to a story that began
N:almost a century ago on a country farm near the
N:town of Cootehill in County Cavan.
K:C
AB | c2 GF ECCD | B,CDE FDB,D | G,A,B,C DE^FG | AB (3ccd edcB |
c2 Bd cGEG | FEDC B,CDF | (3EED EG ^FGAc |1 Bcdf eccB :|2 Bcdf ecc^f ||
g2 ^fa gece | =fedc BGGB | AFFE FGAc | (3Bcd eg ^fdBd | g2 ^fa gece |
=faaf dBGB | AFFE FGAc |1 Bcdf ecc^f :|2 BcdB cGAB ||
LAST WALTZ [1], THE. American, Waltz. A Major. Standard tuning.
ABC. Ford (Traditional Music in America),
1940; pg. 136. Rounder
0436, Bill Mustain – “Traditional
Fiddle Music of the Ozarks, Vol. 2: On the Springfield Plain.”
LAST WALTZ [2], THE. AKA and see "La Derniere Valse."
LAST WORD. AKA and see "The Scolding Wife
[1]."
LASTINGE STORPOLSKA. Swedish, Dance Tune. Dorian Discovery
DIS-80103, Helicon - "Horizons" (1992).
LASTRUM PONE. AKA and see "Langstrom's
Pony."
LATE EVENING REEL. New England, Reel. D Major. Standard tuning. AABB. Composed by Ralph
Page. Page (The Ralph Page Book of
Contras), 1969; pg. 23.
LATE FOR THE DANCE. Old‑Time, Breakdown. USA, Illinois, Mid‑West. A Major. AEae
tuning. AABB. The tune is from Jim Reed. Kuntz, Private Collection.
X:1
T:Late for the Dance
M:2/4
L:1/8
N:AEae Tuning
N:Notated as it would be fingered if
in standard tuning, not as sounded.
N:For variation, play an ocatave
lower
Z:AK/Fiddler’s Companion
K:A
[ee]>[ef] [ee]([ee]|e/)A/c
BA|f>g f(f|f/)A/c BA:|
|:[GA]>[GB] [GA][G/A/][G/B/]|[G/c/][G/B/][G/c/][G/A/]
[G/B/][G/A/][GA]|
B>A BB/(c/|c/)B/c/A/ B/A/E:|
LATE HOME AT NIGHT. AKA and see "The Peeler Jig,"
"Barney's Goat," "Skin the Peeler(s)," "Oro, a Thaidhg, a Ghra."
LATE ON A SATURDAY
NIGHT. AKA and see "Mall Rua," "Moll Roe (in the Morning),"
"Ditherum Doodle," "Though late was I plump,"
"Munsterman's Flattery,"
"I'll take a glass
with a friend," "Come
under my Dimity," "The
Night of the Fun [3]," "One
Bumper at Parting." From Goodman (ii, pg. 139).
LATE SUMMER WALTZ. Scandinavian, Waltz. D Major. Standard tuning. AA'BB'. Traditional.
Sources for notated version: Grey Larson & Bob Pasquarello (Pa.)
[Matthiesen]. Matthiesen (Waltz Book II),
1995; pg. 30.
LATHA SIUBHAIL SLEIBH
DHOMH.
See “One Day as I Travelled
the Moor.”
LATTERN BACK. An American round dance.
LAUCHIE STUBBERT’S JIG. Canadian, Jig. Canada, Cape Breton. D Major. Standard tuning. AABB’.
Composed by fiddler Brenda Stubbert (b. 1959, Point Aconi, Cape Breton, Nova
Scotia) in honor of her uncle Lauchie (1926-88), a Scottish style fiddler.
Cranford (Brenda Stubbert’s), 1994;
No. 101, pg. 36. Atlantica Music 02 77657 50222 26,
Tara Lynn Touesnard - “Atlantic Fiddles” (1994).
LAUDANUM BUNCHES. English, Morris Dance Tune (6/8 time). G Major (Mallinson, Williamson):
D Major (Bacon). Standard tuning. AABB (Williamson): AABBB, AABBB, AACCC, AACCC
(Bacon, Mallinson). "Laudanum, the readily available opium tincture, was
the downfall of such notables as De Quincey and Coleridge. Not only does it
never come in bunches, but history has cast serious aspersions on its role as a
perfect cure" (Williamson, 1976). Source for notated version: William
Kimber (Kimber was from Oxfordshire and died in 1961 at age 90. Cecil Sharp
collected many of the "thousands of tunes" Kimber knew.) {Oxfordshire,
England} [Williamson]. A corruption of the title may be seen in the morris
dance tune "Lads a Bunchum."
Morris versions were collected from the village of Headington, in England's
Cotswolds. Bacon (The Morris Ring),
1974; pgs. 179, 182. Mallinson (Mally’s
Cotswold Morris Book), 1988; No. 25, pg. 18. Williamson (English, Welsh, Scottish and Irish Fiddle
Tunes), 1976; pg. 18. Topic 12T249, "The Art
of William Kimber."
LAUDERBACH. AKA ‑ "The
Little Brown Dog Waltz" ("Oh, where, oh where, has my little dog
gone?"). American, Waltz.
LAUGH AND HALF-DAFT. According to the liner notes of Cran’s album, the tune is Welsh in
origin. Cran – “The Crooked Stair.”
LAUGH AND LAY DOWN.
English, Country Dance Tune (2/4 time). A Major. Standard tuning. AABB.
The melody is unique to London publishers Charles and Samuel Thompson’s 1765
country dance collection. Thompson (Compleat Collection of 200
Favourite Country Dances, vol. 2), 1765; No. 159.
X:1
T:Laugh and lay down
M:2/4
L:1/8
B:Thompson’s Compleat Collection of 200 Favourite Country Dances, vol. 2 (London, 1765)
Z:Transcribed and edited by Flynn Titford-Mock, 2007
Z:abc’s:AK/Fiddler’s Companion
K:A
(d<c)(B<A)|fdcB|(d<c)(B<A)|BE “tr”E2|(d<c)(B<A)|fdcB|cABG|A2 [A,2A2]:|
|:”tr”ag”tr”ag|aecA|”tr”ag”tr”ag|afec|”tr”ag”tr”ag|afed|ce
EG|A2 [A,2A2]:||
LAUGHING BOY. Texas Style, Breakdown. USA; Texas. A Major (Phillips, Silberberg): G
Major (Beisswenger & McCann). AEae or Standard tuning. AB (Silberberg):
AABB (Beisswenger & McCann, Phillips). Known as a Texas tune, but
popularised by Kenny Baker in his 1968 recording so that it has become more
widespread. Usually played in the key of ‘A’, crosstuned. Sources for notated
versions: Kenny Baker [Phillips];
Carthy Sisco [Silberberg]; Cleeson Box (b. 1919, Wright County, Missouri
[Beisswenger & McCann]. Beisswenger & McCann (Ozark Fiddle Music),
2008; pg. 172. Phillips (Traditional
American Fiddle Tunes), 1994; pg. 138. Silberberg (Tunes I Learned at
Tractor Tavern), 2002; pg. 88. County 719, Kenny
Baker - "Portrait of a Bluegrass Fiddler" (1968. Learned from Benny
Thomasson). County 724, Benny Thomasson.
See also listing at: Jane Keefer’s Folk
Music Index: An Index to Recorded Sources |
LAUGHING CHINAMAN. Old-Time, Breakdown. G Major. Standard tuning. AABB. Source for notated
version: Armin Barnett [Phillips]. Phillips (Traditional American Fiddle Tunes), vol. 1, 1994; pg. 138.
LAUGHING WATERS. Irish, Reel. Composed by County Tipperary fiddler Seán Ryan (d. 1985).
Ryan (Seán Ryan’s Dream), 8.
LAUNCH, THE. AKA and see "Off She Goes [1]."
LAUNCHING THE BOAT. AKA and see “Saitheadh
a’Bhaid.”
LAUNE RANGERS, THE. Irish, Reel. D Major. Standard tuning. AAB. Roche Collection, 1983, vol. 1; No. 187,
pg. 72.
LAURA. English, Reel. G Major. Standard tuning. AABB. Source for notated
version: the early 19th century Hardy family music manuscripts
(Dorset) [Callaghan, Trim]. Callaghan (Hardcore
English), 2007; pg. 41. Trim (Thomas
Hardy), 1990; No. 51.
X:1
T:Laura
M:C|
L:1/8
R:Reel
S:Hardy Family manuscripts, Dorset,
19th century
K:G
D2|GFGA G2B2|d^cde d2g2|edcB
cBAG|FGAB A2D2|GFGA G2B2|
d^cde d2g2|edcB AGAB|G2B2G2::D2|FEFG
A2F2|GFGA B2d2|
c2e2B2d2|AGAB A2D2|FEFG A2F2|GFGA
B2d2|c2e2d2F2|G4 G2:|
LAURA LEE. Old-time. This tune, originally a Stephen Foster song, was in the repertoire
of fiddler Archibald Alexander Shaw, Harnet County, N.C. (located in the
Sandhills section between the coastal plain and the piedmont). It was
supposedly unique to the area and not played in other parts of the state,
according to Evelyn Shaw (OTH).
LAURA LYNN CUNNINGHAM. Scottish, Air. Composed by Scottish accordion player Phil Cunningham. Green Linnet GLCD 1145, Wolfstone – “Year of the Dog.” Green
Linnet GLCD 1200, Lunasa – “Otherworld” (1999).
LAURA MULHAIRE’S REEL. Irish,
Reel. G Major. Standard tuning. AABB. Composed by New York button accordion
player Martin Mulhaire. Source for notated version: Clare accordion maker and
player Martin Connolly [Treoir]. Treoir,
vol. 37, No. 2, 2005; pg. 29.
X:1
T:Laura Mulhaire’s Reel
M:C|
L:1/8
R:Reel
C:Martin Mulhaire
S:Treoir, vol. 37, No. 2
(2005)
Z:AK/Fiddler’s Companion
K:G
Bd | gdBd cBcA | BdAG FDDC | B,CDE
FGAB | c2 dB cAFA |
BGGF GDB,D | EC (3CB,C DEFG | A^GAB
cdeg | fdcA G2 :|
|:Bd | dggf gdBd | ec (3cBc dBGB |
Aaa^g aba=g | fgag fdcA |
BdBd cA (3AGA | BG (3GFG AFDE | FGAB
cdeg | fdcA G2 :|
LAURA SUSAN. New England, Reel or Polka. F Major. Standard tuning. AABB. Miller &
Perron (Irish Traditional Fiddle Music),
1978; No. 55. Sannella, Balance and Swing
(CDSS). F&W Records 1, "F&W String Band."
LAURA’S DELIGHT (Aoibhneas Laura). Irish, Double Jig. Standard tuning. AABB.
Composed by County Fermanagh flute player James McMahon. Source for notated
version: Liam Donnelly (County Tyrone) [Breathnach]. Breathnach (CRÉ IV), 1996; No. 28, pg. 14.
LAUREL AND LINDSAY. English, Reel. D Major. Standard tuning. AABB. Huntington (William Litton's), 1977; pg. 19.
LAUREL BRANCH. Old‑Time, Breakdown. Composed by Madison County, N.C. fiddler
Tommy Hunter. Front Hall FHR‑021, John
McCutcheon ‑ "Barefoot Boys with Boots On" (1981). June Appal
007, Tommy Hunter ‑ "Deep in Tradition" (1976).
LAUREL BUSH, THE. AKA – “The Laurel Tree.” AKA and see "The Castlebar Traveler," “Cat in the Can,” "The Gossan that beat his father," "The Humours of Loughrea,"
"Lough Aisles Return,”
"The Reel of Bogie," "The Showman's Reel," "Spence's Reel [1]," "Tuehey's Reel," "The West Gale," "The Yeoman's Reel." Irish, Reel. A
Dorian. Standard tuning. AAB (Flaherty, Taylor): AABB (McNulty, Vallely). See
also the similar first part of “Lochiel’s Rant.” “The Gossan/Gasúr that beat
his father” is a related tune. Sources for notated versions: accordion player
Joe Fallon (b. 1935, Collooney, County Sligo) [Flaherty]; set dance music
recorded at Na Píobairí Uilleann in the 1980’s [Taylor]. Flaherty (Trip to Sligo), 1990; pg. 100 (appears
as "The Laurel Tree"). Giblin (Collection
of Traditional Irish Dance Music), 1928; 24. McNulty (Dance Music of Ireland), 1965; pg. 10. Taylor (Music for the Sets: Yellow Book), 1995; pg. 11. Vallely (Armagh Pipers Club Play 50 Reels), 1982;
No. 32, pg. 17 (appears as “The Laurel Tree”). Coleman
Center CD CC004, Michael Hurley, Mairead Hurley & Jim Corry – “The Mountain
Road” (1999. Various artists. “A Compilation of tunes popular in South Sligo.”
Appears as “The Laurel Tree”). Green Linnet SIF 3005, The Bothy Band - “Old Hag
You Have Killed Me” (1981. A reissue of the 1976 Mulligan LP).
T:Laurel
Bush, The
T:Laurel
Tree, The
M:C|
L:1/8
R:Reel
K:Ador
Bd
| E~A3 e2 dc | B~G3 Bcdg | e~A3 e2 dc | BGGB A4 | e~A3 e2 dc |
B~G3
Bc d2 | ~e3f gbaf | gedB A2 :: Bd | eaag e2 dc | B~G3 Bcdg |
eaag a2 ga | bagb a3g |
eaag e2 dc | B~G3 Bc d2 | e3f gbaf gedB A2 :|
LAUREL TREE, THE. AKA and see "The
Laurel Bush."
LAUREL GROVES, THE. AKA and see "Cill Beathach," “Kilbaha,” “Killavil Reel [1],” "Tom(m) Steele."
LAUREL’S REEL.
Canadian, Reel. Canada, Cape Breton. A Major. Standard tuning. AABB’.
Composed by Cape Breton musician Allie Bennett, a multi-instrumentalist (fiddle
among others). The tune was written in honor of his daughter. The tune has some
currency in Irish sessions as well as Cape Breton, either in the original Key
(‘A’) or transposed to ‘G’. Cranford (Jerry
Holland: The Second Collection), 2000; No. 21, pg. 9. Allie Bennett – “Its About Time” (2004)
LAURIESTON. Scottish, Jig. G Major. Standard tuning. One part. Composed by Hugh
Foss (d. 1971), more famous as Scottish country dance composer. He composed the
tune for his Cairn Edward Jig, an unusual 24 bar, three couple dance. Anselm
Lingnau writes that Foss “was a mathematician by training and worked at
Bletchley Park during WWII, cracking Japanese codes. He used to live in or near
London but upon his retirement moved to Castle Douglas, in southwest Scotland.
Although not Scots himself, he was an avid Scottish country dancer pretty much
all his life, and he himself probably did more to extend the Scottish Country
Dance tradition into novel areas than anybody else before him or after him.”
X:1
T:Laurieston
C:Hugh Foss
B:The Galloway Album (Castle Douglas 1964)
Z:Nigel Gatherer
L:1/8
M:6/8
K:G
B | GAB d2B | e2B d2B | c2B A2B | G2B d2B | e2B d2A | B2A G2B |
G2B d2B | e2B d2B | c2B A2B | GAB d2B | edB d2B | B2A G2d |
gfe d2B | d3 B2d | c2B A2d | gfe d2B | cde d2A | B2A G2d |
gfe d2B | d3 B2d | c2B A2d | gfe dcB | ABc B2A | B2A G2 |]
LAUSIN WATER. AKA and see "Logan Water."
The title is a corruption of "Logan Water." Hulbert, 181‑? 182‑?;
pg. 11.
LAVENA. AKA and see "Picking
of/Up Sticks." English, Jig. D Minor. Standard tuning. One part.
Published by Playford in his English
Dancing Master (1651). Cecil Sharp, in his Country Dance Book of 1916 set the dance Picking Up Sticks to the
tune of another Playford dance, “Lavena.” Karpeles & Schofield (A Selection
of 100 English Folk Dance Airs), 1951; pg. 18 (appears as "Picking Up
Sticks"). Raven (English Country
Dance Tunes), 1984; pg. 21 & 43.
X:1
T:Lavena
M:6/8
L:1/8
K:Dmin
d|d2d ^c>=Bc|d2d A2A|d3
^c>=Bc|d3 A2_B|B>dc B>cB|A>A G>FE|F>GA G>AF|E3D2||
LAVENDER GIRL, THE. American, Reel. G Major. Standard tuning.
AABB. Cole (1000 Fiddle Tunes), 1940;
pg. 17. Ryan’s Mammoth Collection,
1883; pg. 40.
X:1
T:Lavender Girl, The
M:2/4
L:1/8
R:Reel
S:Ryan’s Mammoth Collection (1883)
Z:AK/Fiddler’s Companion
K:G
d | g b/g/ d/B/c/A/ | c/e/B/d/
A/G/E/G/ | G/F/G/E/ D/F/A/B/ | c/e/B/d/ A/c/e/f/ |
gb/g/ d/B/c/A/ | c/e/B/d/ A/G/E/G/ |
G/F/E/z/ g2f/g/ | e/c/A/F/ G :: D/E/F/G/ A/B/c/A/ |
B/G/A/F/ G/B/d/f/ | {a}g/f/g/e/
d/d/e/f/ | g/b/f/a/ e/d/e/f/ | g/a/f/g/ e/d/A/B/ |
c/e/B/d/ A/G/E/F/ | G/F/G/E/ z/
g/f/g/ | e/c/A/F/ G z :|
LAVEN'S FAVORITE. American (?), Reel. D major. Standard tuning. AABB. Cole (1000 Fiddle Tunes), 1940; pg. 13. Ryan’s Mammoth Collection, 1883; pg. 37.
X:1
T:Laven’s Favorite
M:C|
L:1/8
R:Reel
S:Ryan’s Mammoth Collection (1883)
Z:AK/Fiddler’s Companion
K:D
d/B/ |: A2 FA ABdf | edfe fddB |
A2FA ABdB | AFEG FD D2 | A2FA ABdf |
edfe fddB | A2 FA ABdB | AFEG FD D2
:: FAdA FAdA | Beed cA A2 |
FAdA FAdB | AFEG FD D2 | FAdA FAdA |
Beed cA A2 | FAAc BAdB | AFEG FD D2 :|
LAVERTY’S REEL. Irish, Reel. E Dorian. Standard tuning. AABB. Source for notated
version: Frank McCollam (Ballycastle, County Antrim) [Mulvihill]. Mulvihill (1st Collection), 1986; No.
97, pg. 25.
LAW LIES A-BLEEDING. AKA and see "The
Dominion/Power of the Sword," "Dove's Catastrophe, or Lawyers
your pleading." English, Country Dance Tune (4/4 time). D Minor. Standard
tuning. One part. The air appears is Playford's English Dancing Master (1665, 1686 and subsequent editions), Loyal Songs (1685 and later editions),
Walsh's Dancing Master, and Pills to Purge Melancholy. The earliest
reference Chappell (1859) found to the tune was 1659. The title comes from the
first line of the song, which goes:
***
Lay by your pleading, Law lies a‑bleeding,
Burn all your studies, and throw away your reading.
(The
Loyal Garland, 5th edition, 1686).
***
Chappell (Popular Music of the Olden Times), vol. 2, 1859; pg. 5.
LAW OF ABUNDANCE, THE. Irish, Reel. E Minor. Standard tuning. AA’BB.
Composed by banjo player Peter Fitzgerald, originally from County Meath and
late of Baltimore. Black (Music’s the
Very Best Thing), 1996; No. 239, pg. 128.
X:1
T: The Law of Abundance
C: Peter Fitzgerald
Q: 350
R: reel
Z:Transcribed by Bill Black
M: 4/4
L: 1/8
K: G
GA |: BE E2 D2 FA | GE E2 cEBE | GEFA B2 GB | cAFA cABc |
BE E2 D2 FA | GE E2 cEBE | BA A2 ADAd |1 dABd F3 A :|
|2 dABd f3 g || gdBA Be e2 | geae eafe | dA A2 FDDE |
FAde fdef | gdBA Be e2 | geae eafe | edBA GBEB |
|1
A2 FA d2 ef :|2 A2 FA GE E2 ||
LAWER'S HOUSE. Scottish, Scottish Measure. A Minor. Standard tuning. AAB. The melody
was composed by Niel Gow (1727-1807) and appears in his Fifth Collection of 1809, though previously the air was published
by Malcolm MacDonald in his Second Collection of 1789 (dedicated to
the Earl of Breadalbane). MacDonald was the bass player in Nathaniel
Gow's band at the end of the 18th century and probably heard Gow
play the melody; he perhaps did not know that Gow composed it. Lawers House was
a pink limestone mansion located near Comrie, Perthshire, originally built by
architect William Adam for Lieutenant General James Campbell of Lawers. It
passed to the Drummond family and was extensively remodelled in 1783 for London
banker Henry Drummond, and remodelled again around 1815 for David Williamson,
Lord Balgary, a judge. Carlin (The Gow
Collection), 1986; No. 112. Gow (Fifth Collection of Strathspey Reels),
1809; pg. 33. MacDonald (A Second
Collection of Strathspey Reels), 1789; pg. 11.
X:1
T:Lawer’s House
M:C
L:1/8
R:Scottish Measure
S:MacDonald – 2nd Collection of Strathspey Reels (1789)
Z:AK/Fiddler’s Companion
K:Amin
ed | {d}c2 (BA) A2 (ed) | {d}c2 BA
[A3g3]e | dega egdg | {c}c2 BA a3g | egdg caBg | c2A2A2 :|
eg | agab abag | dega (g/a/b) ag |
degb egdg | {c}B2G2G2 e/g/ | agab abag | dega (g/a/b) ag |
degb egdg | B2A2A2 eg | agab abag |
dega (g/a/b) ag | degb egdg |
{c}B2G2G2 (ed) | {c}c2 BA A2 ed |
{d}c2 BA a3g | egdg caBg | c2A2A2 ||
LAWLAND LADS WI' HIGHLAND KILTS. AKA and see "Never out of Humour." Scottish. John
Glen (1891) finds the earliest appearance of this tune with a protest title in
print in Robert Ross's 1780 collection
(pg. 18).
LAWRIES. Irish, Reel. G Dorian. Standard tuning. AA’BBCC. Composed by Armagh
fiddler Brendan McGlinchey. Named for a family in Birmingham, England, whose
home was a center for music at the time McGlinchey was there.
X:1
T:Lawries
M:4/4
L:1/8
C:Brendan McGlinchey
R:Reel
Z:N. Ishii
K:Gdor
cBAc BGGF|G2 (3DE^F GABG|G2AF
F2Bc|dggf g2ag|
fd (3ddd gfdc|BABc A3c|(3Bcd cA
BGAc|1BGGF G4:|2BGGF G2Bc|
|:dBcA BdcA|(3Bcd AF G2AG|FEFG FC
(3CCC|FEFG (3ABc BA|
GABc dc (3ccc|dBAG AF (3FFF|DGGF
GABc|dgfa g2Bc:|
|:dg (3ggg dg (3ggg|dggf d2cB|cf
(3fff cfef|gfcA F2Bc|
d3B c3A|BGAF GFDC|DGGF GABc|dgfa
g2Bc:||
"Alternate ending"
B,DGA (3Bcd cA|BdAF G4||
X:2
T:Lawries
C:Brendan McGlinchey
S:Brendan McGlinchey
Z:Juergen.Gier@post.rwth-aachen.de
L:1/8
M:C|
K:Gdor
cBAc BGG^F|G2(3DE^F GABG|(3GGG AF
(3FFF Bc|dggf g2ag|\
fd ~d2gfdc|~B3 c ~A3 c|cdcA BG
(3BBc|1BGG^F G4:|2\
BGG^F G2Bc|:(3ccB BA BdcA|(3Bcd AF
G2DE|~F3 G FCCC|\
FEFG AcBA|GABc d~c3|dBAG A~F3|DG^FD
GABc|dg^fa g2Bc::\
dg (3ggg g2^fg|dgg^f d2cB|cf (3fff
cfef|gfcA F2Bc|\
~d3 B ~c3 A|BABG AFDC|B,DGA
BdcA|^cd^FA G2B=c:|
LAWSON'S FAVORITE ("Roga Ui Lauson" or "Roga Mic
Laid"). AKA and see "Farewell to Leitrim," "Fiddler's Frolic [1]," “Hawthorn’s Reel,” “Kennaw’s Reel,” ”Maude Miller [1],” "Molloy's Favourite [1]," “Patsy Campbell’s,” “Reidy Johnson’s [1],” “Roll Her in the Haystack,”
"Take Her Out and Air Her
[2]." Irish, Reel. D Mixolydian. Standard tuning. AB (O'Neill/1850
& 1001): AA'B (O'Neill/Krassen). O'Neill (Krassen), 1976; pg. 115. O'Neill
(Music of Ireland: 1850 Melodies), 1903/1979; No. 1307, pg. 245. O'Neill
(Dance Music of Ireland: 1001 Gems),
1907/1986; No. 570, pg. 105.
X:1
T:Lawson’s Favorite
M:C|
L:1/8
R:Reel
S:O’Neill – Dance Music of
Ireland: 1001 Gems (1907), No.
570
Z:AK/Fiddler’s Companion
K:D
d2 AG FDDF|E>c (3ccc E>c
(3ccc|(3edB (3cBA BGAG|FGEF Dgfe|d2 AG FDDF|
E>c (3ccc ABce|dBcA BGAG|FGEF D2||g2|f>d
(3ddd fdad|edcd efge|f>d (3ddd fdad|
CAGE D2 de|f>d (3ddd fdad|edcd
efge|(3fga ge fdec|Agfe defe||
LAWSON'S
HORNPIPE (Cornphiopa Mhic
Labhrais).
Irish, Hornpipe. G Major. Standard tuning. AABB. Source for notated version:
piper Jim Brophy, 1972 (Dublin, Ireland) [Breathnach]. Breathnach (CRE II), 1976; No. 309, pg. 158.
Mulvihill (1st Collection),
1986; No. 20, pg. 94. O’Brien (Jerry
O’Brien’s Accordion Instructor), 1949. Taylor (Through the Half‑door), 1992; No. 64, pg. 46. Shaskeen ‑ "The
Joys of Life."
X:1
T:Lawson’s Hornpipe
L:1/8
M:C|
S:Jerry O’Brien’s Accordion Instructor (1949)
Z:AK/Fiddler’s Companion
K:G
ef|g2 d>B G>Bd>g|e>cA>F G2 A>B|(3cBA d>Bc>A f>g|a>fd>c d2 e>f|
g2 d>B G>Bd>g|e>cA>F G2 AB|(3cBA dBcA FA|G2 G/B/G/F/ G2:|
|:dc|BGD>G BGA>B|(3cBA eBcA e>c|BGD>G BGD>G|FADA FADG|
BGD>G
BGA>B|(3cBA e>B cAe>^c|d>gf>e d>cB>A|G2 G/B/G/F/ G2:|
LAWSON’S STRATHSPEY. Scottish, Strathspey. D Major. Standard tuning. AAB. Nigel Gatherer
found this strathspey, probably unpublished, by James
Scott Skinner in the author’s hand on a scrap of paper in Perth
Library. A note with the tune read:
"Composed in Perth Station…Lawson's Strathspey…by J S Skinner…while
waiting for a train…Died in Canada…April 1920.”
X:1
T:Lawson's Strathspey
C:James Scott Skinner
Z:Nigel Gatherer
M:4/4
L:1/8
K:D
z|D<DA>D B>DAc|d>cB<d
A>DC<E|D<DA>D B>DA>F|G/F/E A>G F<DD:|]
g|(3fed (3edc (3dcB A>F|(3GAB
(3AFD G>EC>g|(3fed (3edc (3dDE (3FGA| B<dA>G F<DDg|\
(3fed (3edc (3dcB A>F|(3GAB (3AFD
G>EC>E|D<DA>D B>D A>g|\ (3fga (3gfe d<DD|]
LAWYER’S WHIM, THE. English, Country Dance Tune (whole time). G
Minor. Standard tuning. AABB. The melody is unique to London publisher Charles
and Samuel Thompson’s 1765 country dance collection. Thompson (Compleat
Collection of 200 Favourite Country Dances, vol. 2), 1765; No. 116.
X:116
T:Lawyer’s Whim, The
M:C
L:1/8
B:Thompson’s Compleat Collection of 200 Favourite Country Dances, vol. 2 (London, 1765)
N:The f note in the 4th measure may be played sharp.
Z:Transcribed and edited by Flynn Titford-Mock, 2007
Z:abc’s:AK/Fiddler’s Companion
K:Gmin
g|gd(dB) (ec)(cA)|(dB)(BG) GB/B/ (Bd)|(gd)(dB) (ec)(cA)|BA/G/ D=E/F/ G3:|
|:G|(GB)(Bd) (df)(fg)-|g)f/e/ fe/d/ ed/c/ BG|(GB)(Bd) (df)(fg)|(f/g/f/e/) dc BB/B/ (dB)|
(gd)(dB)
(ec)(cA)|(dB)(BG) GB/B/ (dB)|GB(Bd) (d^f)(fg)|dc/B/ DE/^F/ G3:||
LAWTELL WALTZ. Cajun, Waltz. See related song "Valse de Ville Platte." Arhoolie 5027, Harry Choates ‑ "The Fiddle King
of Cajun Swing: Original Recordings 1946‑1949."
LAXO BURN. Scottish, Reel. Scotland,
Shetland Islands. D Major. Standard tuning. AABB. Composed by Scottish national
champion fiddler Arthur Scott Robertson. Robertson’s son told Randy Miller that
Laxo Burn was his father’s favourite (sea) trout-fishing stream in the
Shetlands. Laxo Burn flows into Laxo Voe. The ‘A’ part is shared with “The Chamberlain,” “Reel à/de Rémi,” and “Reel de l’hôtelier,” however, the ‘B’
part appears original to Robertson. Miller (Fiddler’s
Throne), 2004; No. 192, pg. 121.
LAY DEE AT DEE [1]. Shetland, Shetland Reel. Shetland,
North Yell. D Major. Standard tuning. AAB (Carlin): AABB (Bain, Martin). Tom
Anderson (1978) relates that when Shetland fisherman returned to land from
fishing the farther reaches (the Far Haaf) they would sleep in a shared bed in
a stone hut called a lodge. "If one took up too much room in the bed he
was told to 'lay dee at dee' or 'shift up.'" Christine Martin (2002) uses
the tune as an example of a traditional Shetland tune that is often played with
‘ringing strings’ i.e. with drones (two strings played at the same time)
throughout. Bain (50 Fiddle Solos),
1989; pg. 39. Carlin (Master Collection),
1984; No. 125, pg. 78. Martin (Traditional
Scottish Fiddling), 2002; pg. 92. Topic 12TS379,
Aly Bain & Tom Anderson ‑ "Shetland Folk Fiddling, vol. 2"
(1978).
See also listing at: Jane Keefer’s Folk Music Index: An
Index to Recorded Sources |
X:1
T:Lay Dee at Dee [1]
S:Tom Anderson \& Aly Bain
Z:Juergen.Gier@post.rwth-aachen.de
L:1/8
M:C|
K:D
AB|defe d2d2|ABAG FED2|d2ef gfed|efed cBA2|\
defe d2d2|ABAG FED2|d2ef gfec|e2d2 d3:|
|:e|f2df afdf|afdf g3f|e2Ae ecAc|edcB A3e|\
f2df afdf|afdf g3f|efgf edcB|A2d2d2:|
LAY DEE AT DE [2]. Scottish, Reel. D Major. Standard. AABB.
X:1
T:Lay Dee at De [2]
M:4/4
L:1/8
R:Reel
K:D
Bc|d2d2d2d2|efed c2A2|BcdB ABAF|G2E2E2c2|
d2d2d2d2|efed c2A2|BcdB AGFE|D2 d2d2:|
|:
e2|f2f2f2f2|fgag fed2|e2e2e2e2|efgf ede2|f2f2f2f2|fgag fed2|efgf edcB|A2 d2d2:|
LAY THE BENT TO THE
BONNY BROOM. English, Air (3/4 time, "slowly").
England, Northumberland. G Minor. Standard tuning. One part. "'Lay the
Bent' was communicated to the Local
Historian's Table Book by Mr. J. H. Dixon, who found it in the Bodleian
Library Collection of Ballads, in a folio printed in the reign of Charles II.;
it also occurs in D'Urfey's Wit and Mirth,
1699, and in Jamieson's Popular Songs and
Ballads, 1806. The melody is from D'Urfey's works, and is supposed to be
the original and ancient tune" (Bruce & Stokoe). Chappell (1859) notes
it appears in Pills to Purge Melancholy;
in the Pepys, Douce, and Halliwell Collections entitled "A noble riddle
wisely expounded; or, The Maid's answer to the Knights three questions."
***
There was a lady in the North countrie,
Lay the bent to the bonny broom,
And she had lovely daughters three,
Faa la la la la la la la re. (Stokoe)
***
Chappell (Popular Music of the Olden Time), vol. 2, 1859; pgs. 80‑81.
Bruce & Stokoe (Northumbrian
Minstrelsy), 1882; pgs. 76‑78.
X:1
T:Lay the Bent to the Bonny Broom
M:3/4
L:1/8
R:Air
S:Bruce
& Stokoe – Northumbrian Minstrelsy
(1882)
Z:AK/Fiddler’s Companion
K:G
DBA|GG
AB cB|A4 Bc|d2 d>c df|d3d dc|B2d2 cB|A4 GA|cB AG AB|G3||
LAY YOUR GOOD MONEY
DOWN. AKA and see "Good Money," “Sadie.” Old-Time, Breakdown. USA, Missouri. D
Major. Standard tuning. AABBCC. Source Art Galbraith’s family learned the first
three parts of the tune from a local Ozark African-American fiddler named Bud
Price (Strafford, Mo.) before Art was born in 1909. The final section on his
Rounder recording was originally another blues-tempered tune called “Want to Go
to Memphis So Bad,” that Art’s brother’s habit to attach when he played for
dances (Mark Wilson). Source for notated version: the late Art Galbraith
(Springfield, Mo.) [Phillips]. Phillips (Traditional
American Fiddle Tunes, vol. 1), 1994; pg. 138. Rounder 0157, Art Galbraith - "Simple Pleasures."
Rounder Heritage Series 1166-11592-2, Art Galbraith (et al) – “The Art of
Traditional Fiddle” (2001).
LAYBOURN’S HORNPIPE.
AKA and see “Kohler’s Hornpipe,”
“Pachelbel’s Frolics.” Scottish,
Hornpipe. C Major. Standard tuning. AABB. The tune was an untitled hornpipe in Kohler’s
Violin Repository, a volume compiled by W. B. Laybourn. Paul Stewart
Cranford says that Cape Breton fiddler Buddy MacMaster played it as a reel.
Cranford (Jerry Holland: The Second Collection), 2000; No. 75, pg. 30. Kohler’s
Violin Repository (1881-1885).
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:Hornpipe from Kohler’s
R:hornpipe
Z:2006 John Chambers <jc:trillian.mit.edu>
S:MS of unknown origin
M:C|
L:1/8
F:http://trillian.mit.edu/~jc/music/abc/Scotland/hornpipe/HornpipeFromKohlers_C.abc
K: C
G2 \
| "C"cBcd cdef | g^fga gedc | "F"AGAB cdcA | "C"GEcA GECE | "F"FEFG "Dm"AGAB |
| "C"cBcd "Am"egag | "F"fedc "G"AcBd | "C"eccB c2 :: gf | "C"egcg ecg | "G"dgBg dgBg |
|
"Am"ceAe ceAe | "C"GcEc GcEG | "F"FEFG
"Dm"AGAB | "C"cBcd "Am"egag | "F"fedc
"G"AcBd | "C"eccB c2 :|
LAZARUS. Samuel Bayard’s "protean air" for a variety of tunes,
including the "Gilderoy [2]"
("Red‑Haired Boy")
family of tunes. See Bayard's (1944) note for "Bonaparte's Retreat [5]".
LAZY JOHN. Old-Time, Breakdown. G Major. Standard tuning. AB. From Clyde
Davenport, and a largely different tune (and song) from the similarly titled “Sleepy (Eyed) John,” with only small
similarities in the chorus. Source for notated version: W. Bruce Reid
[Silberberg]. Silberberg (Tunes I Learned at Tractor Tavern), 2002; pg.
88. Brad Leftwich – “Say Old Man.”
LAZY KATE [1]. Old‑Time, Breakdown. USA; Alabama, Arkansas, Missouri, Nebraska.
A Major. Standard tuning. AABB. The tune was described in Adams' book as a
typical Ozark Mountain tune of about 1840, and it appears in a list of
traditional Ozark Mountain fiddle tunes compiled by musicologist/folklorist
Vance Randolph, published in 1954. “Lazy Kate” is one of ‘100 essential Missouri
tunes’ listed by Missouri fiddler Charlie Walden. The tune was mentioned by the
Northwest Alabamian of September 4,
1930, as one of the examples of "acceptable old‑time numbers"
for an upcoming fiddlers' convention in Fayette (Cauthen, 1990). Sources for
notated versions: Bob Walters (Burt County, Nebraska) [Christeson]; Becky
Miller [Phillips]. R.P. Christeson (Old
Time Fiddlers Repertory, vol. 1), 1973; pg. 3. Phillips (Traditional American Fiddle Tunes, vol.
1), 1994; pg. 138.
See also listing at: Jane Keefer’s Folk
Music Index: An Index to Recorded Sources |
LAZY KATE [2]. Old-Time, Breakdown. USA, Mississippi. D Major. Standard tuning. AA'BB.
The tune was originally recorded by the Mississippi string band the Leake
County Revelers for Columbia Records in December, 1930 (Columbia, 1576D).
Source for notated version: fiddler Wil Gilmer (b. 1895, Sebastapol,
Mississippi) with the Leake County Revelers [Phillips]. Phillips (Traditional American Fiddle Tunes, vol.
1), 1994; pg. 139. Document Records, DOCD-8030, “Leake
County Revelers, vol. 2: 1929-1930.” 5 String Productions 5SP05002, The Hoover
Uprights – “Known by their Reputation” (2006).
_______________________________
HOME ALPHABETICAL
FILES REFERENCES
© 1996-2010 Andrew Kuntz
Please help maintain the viability of the Fiddler’s
Companion on the Web by respecting the copyright.
For further
information see Copyright and Permissions
Policy or contact the author.