The Fiddler’s Companion

© 1996-2008 Andrew Kuntz

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LEA - LEG

 

 

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]

 

 

 

LE JEUNE, LA.  French, Country Dance (2/4 time). F Major. Standard tuning. AABBAA. From the contradance book (tunes with dance instructions) of Robert Daubat (who styled himself Robert d’Aubat de Saint-Flour), born in Saint-Flour, Cantal, France, in 1714, dying in Gent, Belgium, in 1782. According to Belgian fiddler Luc De Cat, at the time of the publication of his collection (1757) Daubat was a dancing master in Gent and taught at several schools and theaters.  He also was the leader of a choir and was a violin player in a theater. Mr. De Cat identifies a list of subscribers of the original publication, numbering 132 individuals, of the higher level of society and the nobility, but also including musicians and dance-masters (including the ballet-master from the Italian opera in London). Many of the tunes are written with parts for various instruments, and include a numbered bass. Daubat (Cent Contredanses en Rond), 1757; No. 17.

X:1

T:le jeune, La

M:2/4

L:1/8

S:DaubatCent Contredanses en Rond (1757), No. 17

Z:AK/Fiddler’s Companion

K:F

.F/.C/.F/.A/ .G/.E/.G/.B/ | .A/.F/.A/.c/ .B/.G/.B/.d/ | .c/.A/.G/.F/ .B/.G/.F/.E/ |

.F/.G/.A/.B/ .c/.d/.e/.f/ | .F/.C/.F/.A/ .G/.E/.G/.B/ | .A/.F/.A/.c/ .B/.G/.B/.d/ |

.c/.A/.G/.F/ .B/.G/.F/.E/ | F4 :: a/f/c/f/ a/f/a/f/ | g/f/e/d/ c/e/g/e/ | a/g/f/e/ f/e/d/c/ |

=B/A/G/=F/ G/=B/d/e/ | f/e/d/c/ =B/A/G/F/ | .E/(c/=B/c/) .e/(c/g/e/) |

f/e/d/c/ =B/A/G/F/ | .E/(c/=B/c/) .e/(c/g/e/) | a/g/f/e/ d/c/=B/A/ | =B/G/A/B/ c/d/(e/4f/4)g/ |

a/g/f/e/ d/c/=B/A/ | B/>G/ ~G c/>G/ ~G | d/>G/ ~G e/>G/ ~G | {G}f4 | {f}e(d/c/) {e}d(c/=B/) | {=B}c>d c/B/A/G/ :|

                       

LE PETRE'S HORNPIPE. American; Hornpipe. D Major ('A' part) & A Major ('B' part). Standard. AA'BB. Cole (1000 Fiddle Tunes), 1940; pg. 109. Ford (Traditional Music in America), 1940; pg. 82. Ryan’s Mammoth Collection, 1883; pg. 145.

X:1

T:Le Petre’s

M:2/4

L:1/8

R:Hornpipe

S:Ryan’s Mammoth Collection (1883)

Z:AK/Fiddler’s Companion

K:D

f>g |: (3.a.a.a d’>b | a>g f>a | g>e B>c | d2 e>f | (3.g.g.g B>g | (3.f.f.f A>f |1

e>^de>f | e2 f>g :|2 e>AB>c | d2 || c>d |: (3.e.e.e ^d>e | c>e a>c’ | (3.e.e.e ^d>e |

B>e g>b | e’>e d’>e | c’>e b>e | c>e c’>b |1 a>g f>e :|2 a2 ||

                       

LEA CASTLE. Irish, Single Jig. G Major. Standard tuning. AABB. Source for notated version: Joe Keegan, father of fiddler and pianist Josephine Keegan, and himself a flute player, “from the County Laois side of Partartington” [McGuire & Keegan]. McGuire & Keegan (Irish Tunes by the 100, vol. 1), 1975; No. 97, pg. 27.

                       

LEA RIG(GES), THE. AKA ‑ "The Old Lea Rig." AKA and see "(My) Own Kind Deary O," "Ain Kind Dearie O," “Maggie Pickins/Pickie/Piggy,” "An Oidhche a Bha Bhainis Ann" (The Night the Wedding Was), “Wedding Night.” Scottish, English, Canadian; Reel and Air. England, Northumberland. Canada, Cape Breton. A Major (Athole, Dunlay & Greenberg, Hall & Stafford, Johnson, Skye): G Major (S. Johnson). Standard or AEae tuning. AAB (Dunlay & Greenberg, Skye): AABB (S. Johnson): AABB' (Athole, Kerr): AABBCCDD (Johnson): AABBCCDDEEFFGGHHIIJJ (Johnson). A 'lea rig' has been variously defined as is a ‘grassy ridge’, an ‘unploughed field’, and the ‘ridge in a field left unploughed between ridges bearing grain’. The tune appears in seven early manuscripts: the McFarlane (1740), Bremner's Scots Reels of c. 1765, the McLean Collection of 1772 (appears as "My Own Kind Dearie O"), the Gillespie Manuscript of 1768, the Sharpe Manuscript of c. 1790, as well as Riddel's 1794 volume (in the latter it appears set as a sonata). James Oswald published it with variations in his Caledonian Pocket Companion, Book VIII, London, c. 1750's. There were lyrics to the tune which were published in 1698 in Thomas D’Urfey’s Wit and Mirth, which were in common currency in the 18th century. They were reportedly rude or risqué, and began:

***

I'll lay thee o'er the lea rig,

My ain kind dearie O.

***

The word “rowe” or ‘roll’ is sometimes substituted for ‘lay’.

Robert Burns reworked and revised the lyrics for his song "My Ain Kind Dearie, O":

***

Although the night were ne'er sae wild,

And I were ne'er sae wearie, O,

I'd meet thee on the lea rig,

My ain kind dearie, O.

(See The Songs of Scotland, 1977).

***

Johnson (1983) states that the tune was probably played on the fiddle in two versions; one a song‑tune with decorative variations, and a reel version. He has plausibly and extensively traced the routes the early versions took with regard to each other. In a fine example of the reel version, Hall & Stafford (Charlton Memorial) print the tune with six variations by Northumbrian piper Tom Clough (1881-1964). Clough was a member of a very influential Northumbrian piping family, whose tradition went back some 250 years. He was recorded in the 1930’s on some of the first commercially available examples of Northumbrian piping, and he was active in the Northumbrian Pipers Society. His playing is often described as crisp and staccato, while at the same time highly rhythmic.

***

Sources for notated versions: Gillespie MS and Riddel's Scotch, Galwegian and Border Tunes, pg. 28 (a variation sonata form) [Johnson]; Donald MacLellan (Cape Breton) [Dunlay & Greenberg]. Aird (Selection), vol. 1; No. 44. Dunlay & Greenberg (Traditional Celtic Violin Music of Cape Breton), 1996; pg. 134. Hall & Stafford (Charlton Memorial Tune Book), 1974; pgs. 62‑63. Johnson (Scottish Fiddle Music in the 18th Century), 1984; Nos. 37 & 67, pgs. 96‑97 & 183‑185. Johnson, S. (The Kitchen Musician's Occasional: Waltz, Air and Misc.), No. 1, 1991; pg. 10. Northumbrian Pipers' Tune Book, Book 1, pg. 1. Kerr (Merry Melodies), vol. 3; No. 96, pg. 12. MacDonald (The Skye Collection), 1887; pg. 28. Oswald (Caledonian Pocket Companion), vol. 2; pg. 54. Stewart-Robertson (The Athole Collection), 1884; pg. 10 (appears as "An Oidhche A Bha Bhainis Ann"). Beltona BL2096, Edinburgh Highland Reel and Strathspey Society (1936). Celtic CX 35, Donald MacLellan (c. 1950's). Appears as “The Leigh Reel”). Culburnie Records 102, Alasdair Fraser & Jody Stecher ‑ "The Driven Bow" (1988). Rounder 7059, Alex Francis MacKay with Gordon MacLean – “Gaelic in the Bow” (2005).

X:1

T:An Oidhche a Bha Bhainis Ann

T:Lea Rig, The

M:C|

L:1/8

S:Reel

B:The Athole Collection

Z:AK/Fiddler’s Companion

K:A

c|AFEF A2AB|A/B/c BA BFFB|AFEF A2Aa|f2ec eAA:|

|:a|f2 (ec) efac|B/B/B (BA) BFFB|1 AFEF A2 (Aa)|f2 (ec) eAA:|2

AFEF ABce|faea cAA|]

X:2
T:Lea Rig, The
D:Swarbrick, Ceilidh Album
Z:Nigel Gatherer
M:2/4
L:1/16
K:A
cB | c2E2 E2F2 | A3B  A2c2 | B3c  dcBA | c2F2 F2
cB | c2E2 E2F2 | A3B  Acea | f2fe fgae | c2A2 A2  :|
e2 | fefg a2c2 | dcde f2A2 | BABc dcBA | c2F2 F2
cB | c2E2 E2F2 | A3B  Acea | f2fe fgae | c2A2 A2 :|]

                       

LEABAR NA G-CEART. AKA and see "The Book of Rights."

                       

LEAD OUT. AKA and see "Buffalo Nickel [1]," "Chinky Pin," "Darling Child," “Eber Atkins Tune,” “Farmer Had a Dog,” "Fourth of July," “Grey-Eyed Cat,” "Hair in the Butter," "I'm My Momma's Darling (Child)," "Love Somebody [2]," "Midnight Serenade [1]," "My Love Is/She's but a Lassie Yet [1]," “Raymondville,” “Richmond Blues,” “Soapsuds Over the Fence [3],” "Sweet Sixteen," "Ten Nights in a Bar (Room)," “Too Young to Marry [1],” "Yellow Eyed Cat." Old-Time. USA, Missouri. “Lead Out” is what some fiddlers call the tune in the Little Dixie region of Missouri. The title is not particular to Missouri, however, for hammered dulcimer player Paul Van Arsdale (who learned his repertorie from his grandfather Jesse Martin of Frewsburg, N.Y.) also calls the melody “Lead Out” (although he has another variant he calls “Highland Fling”). Tommy Jackson also recorded it under this title. Marimac AHS #3, Glen Smith – “Say Old Man” (1990. Learned from Tommy Jackson). MSOTFA 292-CD, Nile Wilson (Linn County, Mo.) - “The Tie-Hacker Hoedown.”

                       

LEAD THE KNAVE. Irish, Reel. Composed by Irish fretted-instruments player Arty McGlynn. Henrik Norbeck points out the tune is remarkably similar to a tune in the Joyce collection called “Johnny from Gandsey.” GIFT 10007, Arty McGlynn & Nollaig Casey – “Lead the Knave.” Popcorn Behavior – “Journeywork” (1997). 

           

LEADER HAUGHS AND YARROW. Scottish. 'Haugh' (rhymes with loch) means the low ground by a river. Composition of the melody is attributed to the 17th century Border minstrel Nichol Burne (who was born c. 1650 according to Stenhouse and c. 1750 by Laing), also called 'Minstrel Burne' or 'Burne the Violer', whose portrait once hung in Thirlestane Castle, "a douce old man leading a cow by a straw rope". Collinson (1966) identifies it as a "pleasant and innocuous song air" that has no particular characteristics which would identify it as fiddle music. Some of the words of the song are but place‑names, though "these fall as music on the Border ear ‑‑ 'Wanton‑wa's', 'Whitslaid Shaws', "Braidwoodshiel', "Kaidslie Birds', etc."  Williamson relates a story which has become attached to the tune:

***

A beauty named Midside Maggie lived with her husband, Thomas

Hardie, on their sheep farm high in the hills of Lauder parish. Tollishill

the farm was called. So Beautiful was she that their landlord, the Laird

of Thirlestane Castle, known as a hard hearted blackguard, was willing

to forego their rent, one year of terrible hardship, in exchange for a kiss.

This she spiritedly refused him, and he with a guffaw, suggested instead

that if the winters up in Tollishill were as cold as she claimed, let her

bring him a snowball next June for her rent. She packed snow in a high

cleft in the hills and brought it to him the following June, and he was

as good as his word. But Thirlestane, a Royalist, lost his lands after the

Civil War and found himself prisoned in the Tower of London. During

those years, Maggie and her husband set aside all rent due him. They

baked it into a bannock and set off to walk the 400 miles to London,

Maggie disguised as a man. Arriving at the Tower, they were admitted

as simple ballad singers, and sang beneath the gaol bars an air their

landlord would be sure to recognize. When he peered through the bars,

they tossed him the bannock full of money, with which he was able to

purchase his freedom. This gave rise to the saying "every bannock has

its maik (equal) but the bannock of Tollishill." The air they whistled

was Leader Haughs and Yarrow.

***

Flying Fish, Robin Williamson‑ "Legacy of the Scottish Harpers, Vol. 2."

                       

LEADING OF THE STAR, THE. Irish, Air (4/4 time). G Major. Standard. AB. Joyce had the tune from the Pigot Collection. Joyce (Old Irish Folk Music and Song), 1909; No. 694, pg. 348.

X:1

T:Leading of the Star

M:C

L:1/8

R:Air

S:Joyce – Old Irish Folk Music and Songs (1909), No. 694

Z:AK/Fiddler’s Companion

K:G

(3def | g>agf edBd | degb a2g2 | {d/e/f/}gagf edBd | degb a2g2 ||

{B}c>dec B>dBA | GA Bd e2d2 | {g/a/}b2 ag gfed | d>e c/B/A/G/ A2G2 ||

                                   

LEADING ROLE, THE. Irish, Reel. A Major. Standard. AABB. Composed by Chicago fiddler and composer Liz Carroll.

X:1

T:Leading Role, The

M:C|

L:1/8

C:Liz Carroll

R:reel

Z:transcribed by Philippe Varlet

D:Trian (FF 70586)

K:A

B|c2 BA FECB,|~A,2 CE {G}FECE|c2 BA FAeB|cFAF cFAF|

c2 BA FECB,|~A,2 CE {G}FECE|c2 BA FECB,| {C}B,A,CE A3 :||

c|eAcA eAce|~f2 ec {c}BAFA|cFAF cFAB|c2 BA FECE|

eAcA eAce|~f2 ec {c}BAFA|c2 BA FECB,| {C}B,A,CE A3 :||

                                   

LEADING THE CALVES (IN THE PASTURE). AKA and see “The Driving of the Calves” (Seoladh na nGamhan), “Boyne Water [1].”

                       

LEAG AN TÁILLIÚR. AKA and see “Tumble the Tailor.”

                       

LEAGRAVE, THE.  Irish, March (2/4 time). D Major. Standard tuning. AA’BB. Lesl Harker (2005) notes that accordion player John Whelan’s father Denis was a founding member of the Leagrave Comhaltas branch in England. Source for notated version: New Jersey flute player Mike Rafferty, born in Ballinakill, Co. Galway, in 1926 [Harker]. Harker (300 Tunes from Mike Rafferty), 2005; No. 277, pg. 88.

 


LEAGUE AND SLASHER. AKA and see "The Atholl Brae(s)," "The Drinking Reel," "The Drunken Tailor," "Gallagher's Best,"  "Lagan Slashers," "Pigeon on the Pier [2]," "The Pigeon on the Gate [1]," "Reidy's Reel,” "The Scotch Braes,” “The Wandering Tinker.” Irish, Reel. E Dorian. Standard tuning. AABB. The title is a corruption of the name “Lagan Slashers.” See Bayard's note for "Paddy On the Turnpike." Cole (1000 Fiddle Tunes), 1940; pg. 12. Ryan’s Mammoth Collection, 1883; pg. 35.

X:1

T: League & slashers

S: R. M. O'Mealy

M: 2/4

L:1/16

Z:Transcribed by Thomas Johnson

K:D

ADFA BABd |  dEE2 | ADFA BGBc | DBAF D2D2 :|

d2fd Adfd | e2fe d2cB | d2fd Adfe | dBAF D2D2 |

d2fd Adfd | e2fe d2cB  d2ef g2ef | dBAF D2D2 |

                                               

LEAGUE REEL, THE. Irish, Reel. G Major. Standard tuning. AA’B. Source for notated version: the Rice-Walsh manuscript, a collection of music from the repertoire of Jeremiah Breen, a blind fiddler from North Kerry, notated by his student [O’Neill]. O’Neill (Waifs and Strays of Gaelic Melody), 1922; No. 273.

X1

T:League Reel, The

M:4/4

L:1/8

S:Rice-Walsh manuscript

Z:Paul Kinder

R:Reel

K:G

D2|:G2 Bd gdBd|cBAG FADA|GFED CE ag|1fdcA BGAF:|2fdcA G2||

ga|bg g2 bgdg|af f2 afdg|bgaf gefd|ecdB cABF|

G2 Bd gdBd|cBAG FADA|GFED CE ag|fdcA G2 z2||

                       

LEAHY'S JIG (Port Uí Laochdha). Irish, Double Jig. D Mixolydian. Standard tuning. AABB. Breathnach (1976) explains that Leahy was a dancing master and a fiddler. Source for notated version: whistle player Michael Murphy, 1967 (Ballydesmond, Co. Cork, Ireland) [Breathnach]. Breathnach (CRE II), 1976; No. 44, pg. 25.

                       

LEAKE COUNTY BLUES. Old‑Time, (fast) Blues Tune. USA, Mississippi. C Major. Standard tuning. AABB. This is an eleven‑bar blues (most standard blues tunes are in twelve or sixteen bar form) tune recorded in the early 1930's by the central Mississippi string band the Leake County Revellers, who recorded an "extensive colleciton of breakdowns waltzes, two-steps, blues, rags and sentimental songs--a repertory which reflects a wide variety of 'outside' influences" (Tom Carter). A shift to the second or third position on the violin will facilitate this tune. Source for notated versions: Wil Gilmer and the Leake County Revellers (central Mississippi) [Phillips]. Phillips (Fiddlecase Tunebook), 1989; pg. 26‑27. Phillips (Traditional American Fiddle Tunes), vol. 2, 1995; pg. 75. County 511, Leake County Revellers - "Mountain Blues."

                       

LEAKE COUNTY TWO-STEP, THE. Old‑Time, Two-Step. USA, Mississippi. G Major. Standard tuning. AB (Silberberg): ABB' (Phillips): AABB (Songer). The melody is played slower than a normal breakdown tempo, notes Stacy Phillips. Kerry Blech remembers the Rhythm Gorillas of Kent, Ohio, played this tune extensively in the early 1980's, and Blech himself popularized it in Seattle when he moved there in 1984. Sources for notated versions: Leslie Freeny with Freeny's Barn Dance Band (Miss.) [Phillips]; Peter Boveng [Silberberg]. Phillips (Traditional American Fiddle Tunes), vol. 2, 1995; pg. 75. Silberberg (Tunes I Learned at Tractor Tavern), 2002; pg. 89. Songer (Portland Collection), 1997; pg. 123. OKeh 45524 (78 RPM), 1930, Freeny's Barn Dance Band (twin fiddle band from Leake County, Mississippi).

                       

LEAKING TAP, THE. Irish, Jig. Composed by the late County Tipperary fiddler Seán Ryan (d. 1985). Ryan (Seán Ryan’s Dream), 27.

 

LEAN GO CEATHARLACH SIOS ME. AKA and see "Follow me down to Carlow."

                       

LEAN ME SIOS. AKA and see "Follow Me Down."

 

LEAN ME SIOS GO CEATARLOC. AKA and see "Follow Me Down to Carlow."

 

LEANBH AIMHREIDH, AN. AKA and see "The Troubled Child."

 

LEANBH MO CHROÍ (Lannamacree). AKA and see “Jackson’s Babes,” “Lanamacree,” “The Rose in Full Bloom.” Irish, Double Jig. G Major. Standard. AB. “Leanbh mo chroí” means ‘child of my heart’. Source for notated version: fiddler and uilleann piper Stephen Grier (Farnaght, Co. Leitrim), who wrote his manuscripts in the 1880's [Breathnach]. Breathnach (CRÉ IV), 1996; No. 10, pg. 7.

 

LEANBH SI, AN. Irish, Slow Air (4/4 time). G Major. Standard. One part. Ó Canainn (Traditional Slow Airs), 1995; No. 100, pg. 85.


 

LEANBHAI I MBEITHIL, NA (The Children of Bethlehem). Irish, Air(?). D Major. Standard. One part. Miller & Perron (Irish Traditional Fiddle Music), 1977; vol. 3, No. 70. Miller & Perron (Irish Traditional Fiddle Music), 2nd Edition, 2006; pg. 142. Tradition TLP 1024, Mary O'Hara – “Songs of Ireland” (1958).

 

LEANDER.  American, Air (6/8 time). A Minor. Standard. AABB. An air from The Original Sacred Harp (Denson Revision). Miller (Fiddler’s Throne), 2004; No. 69, pg. 52.

 

LEAP OVER THE GARTER. Irish?, Polka. C Major. Standard tuning. AB. Hardings All-Round Collection, 1905; No. 194; pg. 61.

X:1

T:Leap Over the Garter

M:2/4

L:1/8

S:Harding’s All-Round Collection (1905)

Z:AK/Fiddler’s Companion

K:C

g>a g/f/e/d/|ccce|dfBd|c/B/c/d/ c/d/e/f/|g>a g/f/e/d/|

ccce|dfBd|czcz||.e.e(eg)|.d.d(df)|eg/e/ fd|B/c/d/B/ cG|

.e.e(eg)|.d.d(df)|eg/e/ fd|(g/^f/).g/.a/ (g/=f/).e/.d/||

 

LEAP OVER THE STONE, A. Welsh, Country Dance Tune (6/8 time). G Minor. Standard. AAB. The tune is from Edward Jones's Musical and Poetical Relicks of the Welsh Bards (1794). Mellor (Welsh Dance Tunes), 1935; pg. 12.

 

LEAP YEAR [1]. AKA and see “Cheap Meal,” “The Dear Meal (is Cheap Again),” “Lucy Campbell [2].” American, Reel. D Major. Standard. ABC. A re-titled Scottish reel, also variants of which are also popular in Ireland. Cole (1000 Fiddle Tunes), 1940; pg. 20. Ryan’s Mammoth Collection, 1883; pg. 45. White’s Unique Collection, 1896; No. 69, pg. 13.

X:1

T:Leap Year [1]

M:2/4

L:1/8

R:Reel

S:White’s Unique Collection (1896), No. 69

Z:AK/Fiddler’s Companion

K:D

(F/G/) | A/D/F/D/ A/D/F/D/ | A/D/F/D/ (B/E/)E | (A/D/)F/G/ (A/g/)f/e/ |

d/B/(A/F/) (A/D/)D/F/ | A/D/F/D/ A/D/F/D/ | A/D/F/D/ (B/E/)E | (A/D/)F/G/ (A/g/)f/e/ |

(d/B/)A/F/ (A/D/)D || A/ | d/e/d/c/ d/e/f/e/ | d/B/A/F/ (G/E/)E | d/e/d/c/ (d/e/)f/e/ |

(d/B/)A/F/ A/D/D/A/ | d/e/d/c/ d/e/f/e/ | d/B/A/F/ (G/E/)E | (d/e/)d/c/ (d/e/)f/e/ |

(d/B/)A/F/ (A/D/)D/ || f/ | a/b/a/f/ d/e/f/d/ | e/f/g/e/ (b/e/)e | a/b/a/f/ e/g/f/e/ |

(d/B/)A/F/ A/D/D | a/b/a/f/ d/e/f/d/ | e/f/g/a/ ee | a/f/g/e/ f/d/e/d/ | c/A/B/c/ d ||

 

LEAP YEAR [2] (Bliadain Bisig). AKA and see "The Dear Meal (is Cheap Again)," "Lucy Campbell [2]," "Cairngorum." Irish, Air (6/8 time). G Major/Mixolydian. Standard. AB. O'Neill (Music of Ireland: 1850 Melodies), 1979; No. 414, pg. 72.

X:1

T:Leap Year [2]

M:6/8

L:1/8

R:Air

N:”Moderate”

S:O’NeillMusic of Ireland (1903), No. 414

Z:AK/Fiddler’s Companion

K:G

B/c/|d>ed de=f|fee ege/e/|dBG GEF|AGE ED B/c/|d>ed de=f|fee ege/e/|

DBG GEF|G>AG G2||B/c/|ded efg|fed {f}edc|dcB {d}cBA|BAG {G}FED|

BAG {d}cBA|dcB ege|dBG {A}GEF|G3 z2||

 

LEAPFROG [1]. English, Morris Dance Tune (4/4 time). D Major (Mallinson): D Major (Bacon). Standard. AB, x4. The title is descriptive of the dance, whose tune was collected from the villages of Bledington (Gloucestershire) and Headington (Oxfordshire), in England's Cotswolds. Bacon (The Morris Ring), 1974; pg. 193. Mallinson (Mally’s Cotswold Morris Book), 1988, Vol. 2; No. 24, pg. 13.

 

LEAPFROG [2]. AKA and see "Glorishears [2]". English, Morris Dance Tune (6/8 time). The title "Leapfrog" is Cecil Sharpe's descriptive name for the Fieldtown (Leafield), Oxfordshire, dance "Glorishears."

 

LEAPFROG [3]. AKA and see “Year of Jubilo,” “Kingdom Coming.”

 

LEAPING LULU. American, Jig. B Minor (‘A’ part) & A Major (‘B’ part). Standard tuning. AA’BB. According to Sue Songer’s notes, the melody was composed in 1972 while travelling in England by Greg Boardman, fiddler for the Maine band The Moosetones, on the occasion of hearing of  friends’ expecting a child to be named Lulu. Source for notated version: Creighton Lindsay (Portland, Oregon) [Songer]. Songer (Portland Collection), 1997; pg. 124.

 

LEARTOG, AN. AKA and see "The Skylark [2]."

 

LEASOWES LUCK. English, Reel. A Minor. Standard tuning. AABB. A modern composition by editor Michael Raven. Raven (English Country Dance Tunes), 1984; pg. 192.

 

LEATHER APRON. AKA and see "Oh, How They Frisk It," "Under the Greenwood Tree." English, Air (6/4 time). G Major. Standard tuning. AAB. A song composed by Charles Coffey, 1748, from his opera The Devil to Pay. Scott (English Song Book), 1926; pg. 14.

 


LEATHER AWAY WITH THE WATTLE (Buail Leat Leis An Bata). AKA – “Leather Away the Wattle-O.” AKA and see “The Grand Old Dame,” “The Halfdoor,” “I-tiddly-I-ti,” “Leather the Bottle-o,” “Lisdoonvarna Polka [2],” “The Little Lisdoonvana Polka,” “The London Bridge Polka,” “Rose Tree [2],” “(An) tSeanbhean uasal,” “The Water Street Polka.” Irish, Polka and Air (2/4 time, "lively"). D Major. Standard tuning. AB (O’Neill): AABB (Tubridy). The Philadelphia-based band The Four Provinces Orchestra recorded the tune (under the title “Leather Away”) in 1924. Bayard (1981) suggests that the first part of this air was the derivation of the second part of the minstrel tune "Mary Run Away With the Coon." The title “Leather Away with the Wattle” breaks down as: ‘leather away’ i.e. to go at something vigorously, and ‘wattle’ i.e. a stick, or ‘to have a vigorous go with the stick’.  This phrase could apply to various things, but is also a euphemism for male masturbation. Source for notated version: Pádraig O’Keeffe (Sliabh Luachra) [Breathnach]. Breathnach (The Man & his Music), 1996; pg. 95. Levey Collection. O'Daly (The Poets and Poetry of Munster) 1849; pg. 192. O'Daly‑Meehan, 1885; pg. 232. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 413, pg. 72. Petrie‑Stanford (Complete Collection), 1903‑06; No. 1203. Tubridy (Irish Traditional Music, Book Two), 1999; pg. 8.

X:1

T:Leather Away the Wattle

L:1/8

M:2/4

S:Based on Pádraig O’Keeffe’s version

K:D

A|(dA) (FA)|(dc) dc/d/|(ed) (cd)|ef ge|(af) (ge)|dc AF|(GB) (A/B/A/G/)|(FD) D:|

|:e|f2 (fd)|g2 (ge)|f2 (fa)|(gf) ef/g/|(af) (ge)|dc A>F|(GB) (A/B/A/G/)|(FD) D:|

X:2

T:Leather Away with the Wattle

M:2/4

L:1/8

R:Air

N:”Lively”

S:O’NeillMusic of Ireland (1903), No. 413

Z:AK/Fiddler’s Companion

K:D

A/B/c|dAFA|d2 d/e/f/g/|edcd|e/f/g fg|af ge|d2 AF|G/A/B/c/ AG|FD D2||

d/e/|ff fd|gg ge|ff fa|gf ef/g/|af ge|d2 AF|G/A/B/c/ AG|FD D||

 

LEATHER BAGS DONNEL. Irish, Air (3/4 time). D Minor. Standard tuning. AB. Source for notated version: “From P. Carew’s’ MS” [Stanford/Petrie]. Stanford/Petrie (Complete Collection), 1905; No. 393, pg. 100.

X:1

T:Leather Bags Donnel

M:3/4

L:1/8

R:Air

S:Stanford/Petrie (1905), No. 393

Z:AK/Fiddler’s Companion

K:D Minor

A2d2d2 | A2d2d2 | A2d2d2 | c2A2 AG | A2d2d2 | A2d2d2 | Ac G2 AG | E2D2D2 |

A2d2d2 | A2d2d2 | A2c2 de | f2e2d2 | e2c2d2 | Ac G2 AG | F3 GAF | E2D2D2 ||

F4 G2 | A3 cGA | F3 GAF | E2D2D2 | F4 G2 | A3 cGA | F3 GAF | E2C2C2 |

F4G2 | A3 BAG | A2c2 de | f2e2d2 | e2c2d2 | Ac G2 AG | F3 GAF | E2D2D2 ||

 

LEATHER BOTTLE, THE. English, Air (6/4 time). G Major. Standard tuning. ABCD. Chappell believes this ballad to date to pre‑Elizabethan times based on his analysis of irregularities in the metre which "gives it the character rather of a minstrel production, such as Richard Sheale's 'Chevy Chase'...". The air can be found in Pills to Purge Melancholy, 1707, and in the Bagford, Roxburghe, and other collections. The Leather Bottle was the name of many inns or taverns. A notable Leather Bottle was “the clean and comfortable village ale-house” to which Charles Dickens’ characters Mr. Pickwick, Mr. Winkle, and Mr. Snodgrass found their way in their search for the truant Tupman, whom they discovered in the parlor of that establishment. Chappell (Popular Music of the Olden Time), Vol. 2, 1859; pgs. 141‑142.

                       

LEATHER BREECHES/BRITCHES. See "Lord MacDonald('s Reel) [4]" which is thought to be the origin of the American version. AKA and see “Breeches On,” “The Irish Lad(‘s a Jolly Boy),” "Old Leather Britches [2]," "Oh Those Britches Full of Stitches," "Lord MacDonald('s Reel) [4]," "McDonald's Reel," “Reel McDonnell,” "Slanty Gart." Old‑Time, Bluegrass; Breakdown. USA, very widely known. G Major. Standard tuning. AB (Bayard, Silberberg): AABB (Brody, Lowinger): AABCC (Titon): ABCDD (Christeson): AABBCC (Shumway, Thede): AA'BB'CC' (Phillips): AABCCDDC' (Krassen). 'Leather Breeches' was a nickname in some parts of the American South and West for green (snap) beans dried in the pod and later cooked, although many verses connected with the tune have referred to garments made out of leather. Sometimes the beans would be pieced with a needle and thread and strung together, then hung to dry where they would last the winter (but would need to be soaked to re-hydrate them prior to cooking). Professor Samuel Bayard notes the tune is descended from, or related to, an Irish air called "The Breeches On" or "The Irish Lad" and a widespread Scottish reel generally called "(Lord) McDonald's Reel." Generally, the order of the parts is reversed from the ‘MacDonald’ tune. Paul Gifford believes that the earliest version of “Leather Breeches” in print (under that title) appears in numerical tablature in Music for the Piano Dulcimer by R.J. Rudisill (of Missouri), published by Stedman (New York) & Milton (Kentucky) with a date of 1859, sold by L.S. & H. Wade. The volume, says Paul, was apparently written to accompany the dulcimers manufactured by the Wades in Chautaqua County, New York.

***

Many sources note this tunes popularity in the United States: for example, Marion Thede said it was "among the most frequently heard fiddle tunes in the Southwest," while Arizona fiddler Kenner C. Kartchner stated it was "a great favorite in early Texas cattle country" (Shumway). Bell Wiley listed it among the popular fiddle tunes played by fiddlers in the Confederate army in his book The Life of Johnny Reb. It was in repertory of Alabama fiddler D. Dix Hollis (1861‑1927) who considered it one of "the good old tunes of long ago" (as quoted in the Opelika Daily News of April 17th, 1926), and it was commonly played by Rock Ridge Alabama fiddlers around 1920 (Bailey). It was mentioned in the autobiography of fiddler Tom Freeman of Cullman County, Alabama, and was listed in the Tuscaloosa News of March 28th, 1971 as a specialty of "Monkey" Brown of Tuscaloosa, Alabama, who had a local reputation in the 20's and 30's (Cauthen, 1990). The tune was recorded for the Library of Congress (by musicologist/folklorist Vance Randolph) from the playing of Ozark Mountain fiddlers in the early 1940's, and (by Herbert Halpert) from the playing of Mississippi fiddlers John Hatcher, Stephen B. Tucker, and Hardy Sharp in 1939. “Leather Breeches” was played in the non-standard key of ‘D’ Major by Surry County, North Carolina, fiddler Benton Flippen (b. 1920).

***

The melody was a standard at fiddlers' contests in many areas of the South and Mid-West. It was a 'category tune' for an 1899 fiddle contest in Gallatin, Tenn., in which each fiddler would play his version; the best rendition won a prize (C. Wolfe, The Devil's Box, vol. 14, No. 4, 12/1/80). Larkin Hicks of Broadhead, Kentucky, played “Leather Breeches” in the 1919 Berea, Kentucky, fiddle contest, as recorded in lists of tunes played at the event (Titon, 2001). It was predicted to "vie with the latest jazz nerve wreckers for first place" at a fiddlers' convention in Chilton County, Alabama, according to the Chilton County News of June 1, 1922 (Cauthen, 1990), and was also predicted by the Northwest Alabamian of August 29th, 1929, that it was likely to be played at an upcoming contest. A.B. Moore, in his 1934 History of Alabama, said it was one of the standard tunes in the square dance fiddler's repertoire, and it was listed as one of the definitive fiddle tunes for a contest in Jackson, Alabama, in the Clarke County Democrat of May 6, 1926 (Cauthen, 1990). It was a tune in the repertoire of fiddler and Confederate veteran Arnold A. Parrish (Willow Springs, Wake County, N.C.), as recorded by the old Raleigh News and Observer. Parrish was a contestant at fiddler’s conventions held in Raleigh prior to World War I.  “Leather Breeches” has retained popularity to this day as a contest tune.  A story has been told of California old-time mandolin player Kenny Hall who played this tune in the 1970’s at the ‘national’ contest at Weiser, Idaho, a hot-bed of Texas-style or ‘contest’ fiddling that dominated the stage. Hall said he had learned “Leather Britches” from an old Texas fiddler, and that his was what “real” Texas fiddling was all about, which did not endear him to many Texans that weekend. Compounding his faux pas, was his reference to Dick Barrett’s Texas version: “That ain’t Leather Britches, its Perma Press.” The Texans were not amused. 

***

Samuel Bayard suggests the rhyme sung to the melody by old‑time musicians is borrowed from an Irish air (song) called "The Britches On." Researcher and fiddler Lisa Ornstein, however, says the only association she could find to support this was in Irish novelist and Fenian Charles J. Kickham’s novel Knocknagow, or the Homes of Tipperary (1879), in which a jews-harper plays the tune and then sings: “Oh, my breeches full of stitches, Oh, my breeches buckled on, Oh, my breeches full of stitches, Oh my breeches buckled on” to a visitor who has a torn pant-leg (Chapter 19). "This (Bayard's 1944 set) is the best set of 'Leather Breeches' yet to turn up in western Pennsylvania. The tune is often accompanied by a rhyme that in Greene County (Pa.) tradition runs:

***

Leather breeches full of stitches,

Old shoes and stockings on‑‑

My wife she kicked me out of bed

Because I had my breeches on.

***

Bayard’s source Mrs. Armstrong recalled only two lines:

***

Leather breeches, full of stitches,

Mammy sewed the buttons on.

***

Ford (1940) prints these words:

***

Leather Breeches full of stitches,

Leather Breeches, Leather Breeches;

Mammy cut 'em out an'