The Fiddler’s
Companion
© 1996-2010 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
X:1
T:le jeune, La
M:2/4
L:1/8
S:Daubat – Cent 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
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 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.
***
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 (
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
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
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
LEAKING TAP, THE. Irish, Jig. Composed by the late
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 tuning. 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 tuning. One part. Ó
Canainn (Traditional Slow Airs),
1995; No. 100, pg. 85.
LEANBHAI I MBEITHIL, NA (The Children of
LEANDER. American, Air (6/8 time). A
Minor. Standard tuning. 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 tuning. 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 tuning. ABC. A re-titled Scottish reel, also variants of which
are also popular in
M:2/4
R:Reel
S:White’s Unique Collection (1896), No. 69
Z:AK/Fiddler’s Companion
(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 tuning. 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’Neill – Music of
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 (
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
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’Neill – Music of
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 '
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). Benton told David Holt in a 2002 interview that “Leather
Britches” was the first tune he learned on the fiddle, from his Uncle John.
***
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'
M'daddy sewed an' sewed the stitches. (Ford)
***
Sources for notated versions:
'Uncle' Am Stuart (b. 1855. East Tennessee) [Krassen]; John White (Garfield
County, Oklahoma) passed down from Uncle John MacDonald (Jack County, Texas)
[Thede]; Stick Osborn (St. Joseph, Missouri) [Christeson]; Mrs. Sarah
Armstrong, (near) Derry, Pennsylvania, November 18, 1943 [Bayard, 1944]; 15
southwestern Pa. fiddlers [Bayard, 1981]; Kenner C. Kartchner (Arizona)
[Shumway]; Ralph Sauers (Dice, Pa.) [Guntharp]; Wil Gilmer with the Leake
County Revellers and Howard Forrester [Phillips]; Walter McNew (Mt. Vernon,
Rockcastle County, Ky., 1990), who learned the tune from his father, John G.
McNew [Titon]. Adam, No. 33. Bayard (Hill
Country Tunes), 1944; No. 16. Bayard (Dance
to the Fiddle), 1981; No. 328A‑O, pgs. 293‑298. Brody (Fiddler’s Fakebook), 1983; pg. 166.
Christeson (Old Time Fiddlers Repertory,
vol. 1), 1973; pg. 88. Cole (1000 Fiddle Tunes), 1940; pg. 22. Ford (Traditional Music in America), 1940; pg.
48. Guntharp (Learning the Fiddler’s Ways),
1980; pg. 72. Jarman, 1944; pg. 5. Krassen (Masters
of Old Time Fiddling), 1983; pg. 15‑16. Lowinger (Bluegrass Fiddle), 1974; pg. 19.
Phillips (Traditional American Fiddle
Tunes, vol. 1), 1994; pg. 139. Robbins, No. 61. Shumway (Frontier
Fiddler), 1990; pg. 268. Silberberg (Tunes I Learned at Tractor Tavern),
2002; pg. 88. Ruth (Pioneer Western Folk
Tunes), 1948; No. 53, pg. 19. Thede (The
Fiddle Book), 1967; pg. 115. Thomas (Devil's
Ditties), pgs. 134 & 135. Titon (Old-Time Kentucky Fiddle Tunes), 2001; No. 90, pg. 119. White's
Excelsior Collection, pg. 27. Berea College
Appalachian Center AC003, “John Salyer Home Recordings, 1941-42, Vol. 2”
(1993). Caney Mountain Records CEP 210 (extended play LP, privately issued),
Lonnie Robertson (Mo.), c. 1965‑66. Columbia 15149 (78 RPM), The Leake
County Revelers (1927). Columbia 33397, Dave Bromberg ‑ "Midnight on
the Water"
(1975). County 201, The Old Virginia Fiddlers‑ "Rare
Recordings." County 506, The Skillet Lickers‑ "Old Time
Tunes." County 532, "The Leake County Revelers: 1927‑1930
Recordings" (1975). County 543, Earl Johnson and His Clodhoppers ‑
"Red Hot Breakdown" (originally recorded in 1927). County 707, Lewis
Franklin‑ "
X:1
T:Leather Breeches
M:2/4
L:1/8
S: Viola “Mom” Ruth – Pioneer Western Folk Tunes (1948)
Z:AK/Fiddler’s Companion
K:G
|:D/G/B/G/ A/G/B/G/|D/G/B/G/ A/G/E/G/|D/G/B/G/ A/G/B/G/|
D/E/D/C/ B,/(A,/ G,)| D/G/B/G/ A/G/B/G/|D/G/B/G/ A/G/E/G/|
c/B/A/G/ FD/D/|D/G/G/A/ B/G/G||
K:D
d>ddd|A/d/d/e/ f/(d/d)|d>ddd|A/B/A/G/ (F/E/)D|d>ddd|
A/d/d/e/ f/(d/d)|g/f/e/d/ c>A|A/d/d/e/ (f/d/)d:|
K:G
|:d/g/b/g/ a/g/b/g/|d/g/b/g/ a/g/e/g/|d/g/b/g/ a/g/b/g/|d/e/d/c/
B/A/G:|
LEATHER BUTTONS (Cnapide Leatair). AKA and see "The Highlander's Kneebuckle [1],"
"A Galway Reel [4]," "Pat Ward's Jig." Irish, Reel. D
Major. Standard tuning. AB (O'Neill/1850): AA'B (O'Neill/Krassen). Source for
notated version: Carey [O’Neill]. O'Neill (Krassen), 1976; pg. 160. O'Neill (Music
of Ireland: 1850 Melodies), 1903/1979; No. 1543, pg. 285.
X:1
T:Leather Buttons
M:C|
L:1/8
R:Reel
S:O’Neill – Music of Ireland (1903), No. 1543
Z:AK/Fiddler’s Companion
K:D
FDAD BDAD | FDAF E2 EG | FDAD BDAD |
Bdce dBAG |
FDAD BDAD | FDAF E2 EG | FDAD BDAD |
Bdce d2 d2 ||
d2 fd edfd | d2 fd e2e2 | d2 fd edfd
| agfe dABc | d2 fd edfd |
d2 af e2e2 | agfe dcBA | Bdce dBAG
||
LEATHER
LEATHER THE BOTTLE-O. AKA and see “The Grand Old Dame,”
“I-tiddly-I-ti,” “Leather away with the wattle,” “Lisdoonvarna Polka [2],” “The Little Lisdoonvarna Polka,”
“(An) tSeanbhean uasal.”
LEATHER THE WIG (Plancam Peirbig). AKA and see "The Bunter's Delight," “Curl the Wig,” "Will You Come Plank, Come
Plank," "(A) Whack at the
Whigs." Irish, English; Slip Jig. G Minor (?). Standard tuning. AABB.
An anti‑whig song published by Playford in 1713. The title means to
thresh the 'wig', as symbolizing the Whig. Cole (1000 Fiddle Tunes), 1940; pg. 51.
LEAVE MY WAY (Fag An Slige Uaim). AKA and see “Bouncing Boy.” Irish, Reel. G Major.
Standard tuning. AB (O'Neill/1850 & 1001): AABB (O'Neill/Krassen). O'Neill
(Krassen), 1976; pg. 95. O'Neill (Music of Ireland: 1850 Melodies),
1903/1979; No. 1195, pg. 225. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 472, pg. 91. Green Linnet SIF 1134, Cherish the Ladies - "Out and
About."
X:1
T:Leave My Way
M:C|
L:1/8
R:Reel
S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 472
Z:AK/Fiddler’s Companion
K:G
DE | GFGB A2 Bc | dBcA BGAF | DGGB
A2 dc | BGAF G2 FD |
GFGB A2 (3ABc | D2 gd BGAF | DGGB
ABcA | (3Bcd AF G2 ||
z2 | gfge f2 fd | e2 fg afdf | g2 ge
f2 df | egfa g2 Bd | g2 bg f2 af |
ed (3efg afdf | gabg ecAc | BGAF G2
||
LEAVE THAT AS IT IS. See “Let Us Leave That
as it Is.”
LEAVE WELL ALONE. Irish, Slide (12/8 time). D Major. Standard tuning. AABB. Source for
notated version: set dance music recorded at Na Píobairí Uilleann, in the 1980’s
[Taylor]. Taylor (Music for the Sets:
Yellow Book), 1995; pg. 13.
LEAVES BE GREEN, THE. AKA and see "Browning," "The Nutts be
browne." English, Air. The tune appears in the Fitzwilliam Virginal Book, Deuteromelia
(1609), and lute MSS in the British Museum and Cambridge University Library.
Chappell (Popular Music of the Olden Time),
vol. 1, 1859; pgs. 154‑155.
LEAVES OF SPRING. Fiddler FRLP 001, Tom Doucet (Nova
Scotia/eastern Mass.) - “The Down East Star.”
LEAVES SO GREEN Irish, Air (4/4 time). F Major (Joyce): E Flat Major (O'Neill).
Standard tuning. One part. "From R.J. Mackintosh" (Joyce). Joyce (Old Irish Folk Music and Song), 1909;
No. 650, pg. 328. O'Neill (O’Neill’s
Irish Music), 1915; No. 60, pg. 58.
X:1
T:Leaves so Green
M:C
L:1/8
R:Air
S:O’Neill’s Irish Music (1915)
Z:AK/Fiddler’s Companion
K:E_
Be | e2B2c2BG | F3E C2 EF | G2 BG AE CE | E6 BG | G2F2GA B2 |
e2f2g2ed | d2fe d2 c>B | B6 BA | G2F2 GA B2 | e2f2g2 e>d | d2 fe
dB c>B |
B6 Be | e2B2c2 BG | F3E C2 EF | G2 BG FE CE | E6 ||
LEAVING GLEN AFFRIC. Scottish, Air (3/4 time). A Major. Standard. AABB. Composed by Finlay
MacRae. Green Linnet GLCD 1102, Phil Cunningham –
“Palomino Waltz” (1988).
X:1
T:Leaving Glen Affric
C:Finlay MacRae
D:Palomino Waltz, Phil Cunningham (1988)
Z:Nigel Gatherer
L:1/8
M:3/4
K:A
e2 | A3 =GBc | A4 c2|e4 e<A | f4 a2 | e4 f2 | c4 e>c | B3 A c2 | B4 e2|
A3 =GBc | A4 c2 | e4 e<A | f4 a2 | e4 f2 | c4 e>c | B3 A c2 | A4 :|
f2 | f3 e>fa | e4 f2 | f3 efa | a4 f2 | f3 efa | A4 c2 | c4 ec | B4 e2 |
A3 =GBc | A4 c2 | e4 e<A | f4 a2 | e4 f2 | c4 e>c | B3 A c2 | A4 :|
LEAVING GLEN ALADALE (Fagail Ghleann Aladail). Scottish, March. D Major. Standard
tuning. AB. Composed by Charles MacFarlane. Neil (The Scots Fiddle), 1991; No. 120, pg. 159.
LEAVING GLEN URQUHART. Scottish, March (2/4 time). A Major. Standard tuning. AABB'CCDD.
Composed by W. Macdonald. Martin (Ceol na
Fidhle), Vol. 1, 1991; pg. 32.
LEAVING KINTAIL. Scottish, Pipe Air. There are words in Gaelic set to the air. Compass 7 4287 2, Cathal McConnell – “Long Expectant Comes
at Last” (2000. Learned from Angus Grant, a fiddler from near Lochaber on the
west coast of Scotland).
LEAVING LERWICK
HARBOUR. Shetland, Slow Air (4/4
time). D Major. Standard tuning. AA’BB’. A modern air in the Scottish style
composed in 1970 by Lerwick, Shetland, fiddler William “Willie” Hunter
(1933-1994), on the occasion of his sister Lorna’s emigrating from Shetland to
New Zealand. It is considered to be the finest composition of a fiddler who was
considered to be the best of his generation, of whom it was said he could move
an audience to tears through his sensitive rendering of slow airs. Green Linnet GLCD 1151,
Seamus McGuire - “The Wishing Tree” (1995). Greentrax, Willie Hunter – “Leaving
Lerwick Harbour” (1995). Fiddler’s Bid – “Da Farder Ben Da Welcomer.”
X:1
T:Leaving Lerwick Harbour
C:Willie Hunter
S:Matthew McGranaghan
D:The Fiddle Music of Donegal, vol 3
N:This air was composed by Willie Hunter to
recall the occasion
N:of his sister Lorna's sailing out of Lerwick Harbour on the
N:beginning of her journey of emigration to New Zealand
Z:Juergen Gier <fiddler@jgfiddler.de>
M:C
L:1/8
K:D
FE|D3F A3D|{D}B3c d3c/B/|AF3 E3D|E6FE|\
D3F A3D|{D}B3c d3c/B/|1AF3 E3D|D6:|2A2d2 c3d|d6de|:\
f3e d3D|{D}B3c d3c/B/|A2f2 e2d2|1e6de|\
f3e d3D|{D}B3c d3c/B/|AF2D {D}E3D|{C}D4 zAde:|2\
e6AG|F3G A3D|{D}B3c d3c/B/|AF2D {D}E3D|D6|]
X:2
T:Leaving Lerwick Harbour
C:Willie Hunter
S:Fiddlers' Bid
D:Da Farder Ben Da Welcomer
Z:Juergen Gier <fiddler@jgfiddler.de>
M:C
L:1/8
K:Bb
FD|B3d/c/ B3F|G2B2 F3D|E3G F2D2|C6 FD|\
B3d/c/ B3F|G2B2 F3D|E2C2 F2D2|B,6::de|\
f3d B3F|G2B2 e2g2|f3d/B/ F2D2|1C6 de|\
f3d B3F|G2B2 e2g2|f3B/F/ d2c2|B6:|2C6 FG/A/|\
B3d/c/ B3A|G2AB F3E/D/|E2C2 F2D2|B,6|]
X:3
T:Leaving Lerwick Harbour
C:Willie Hunter
S:As played by Dick Rutter, Edinburgh
Z:Nigel Gatherer
M:4/4
L:1/8
K:Bb
F2 | B3 d/c/ B3 F | G2 B2 F2 D2 | E3 G F2 D2 | C6
F2 | B3 d/c/ B3 F | G2 B2 F2 D2 | E2 C2 F2 D2 | B,6 :|
de | f3 d B3 F | G2 B2 e2 g2 | f3 d/B/ F2
D2 | C6
de | f3 d B3 F | G2 B2 e2 g2 | f2 F2 [d3F3] [cE] | [B6D6]
de | f3 d B3 F | G2 B2 e2 g2 | f3 d/B/ F2
D2 | C6
F2 | B3 d/c/ B3 F | G2 B2 F2 D2 | E2 C2 F2
A2 | B6 |]
LEAVING LISMORE (Fagail Lismor). AKA - "Lismore No More." Scottish, Pipe
Tune (6/8 time). The tune is also a popular song tune. Set in waltz time it is
called “Valse Ecossaise.”
LEAVING LOCHBOISDALE. Scottish, Slow Air (6/8 time). B Minor. Standard tuning. AABB’.
Composed by Pipe Major J. Wilson. Martin (Ceol
na Fidhle, vol. 3), 1988; pg. 9. Old Blind Dogs –
“Five.”
LEAVING MULL (Fagail Mhiule). Scottish, Slow Air (3/4 time). A Major.
Standard tuning. One part. Composed by pianist and accordionist Hamish Johnston
(b. Glasgow, 1922), who retired to the Isle of Mull. Neil (The Scots Fiddle), 1991; No. 146, pg. 187.
LEAVING PORT ASKAIG. Scottish, March (6/8 time). A Major. Standard tuning. AABB’CCDD’.
Composed by Pipe Major William Ross. Martin (Ceol na Fidhle, vol. 3), 1988; pg. 35.
LEAVING STORNOWAY. Scottish, Waltz or Slow Air (3/4 time). A Major. Standard tuning. One
part. Martin (Ceol na Fidhle), vol.
4, 1991; pg. 24. Tradition 2118, Jim MacLeod & His
Band ‑ "Scottish Dances: Jigs, Waltzes and Reels" (1979).
LEAZES HOPPING. English, Jig. England, Northumberland. G Major. Standard tuning. AABB.
Bruce & Stokoe (Northumbrian
Minstrelsy), 1882; pg. 180. Seattle (William
Vickers), 1987, Part 3; No. 569.
X:1
T:Leazes Hopping
M:6/8
L:1/8
R:Jig
S:Bruce & Stokoe – Northumbrian
Minstrelsy (1882)
Z:AK/Fiddler’s Companion
K:G
g2g g2e|dBG GBG|g2g g2e | aba agf | g2g g2e | eBG GAB | GAB g2e | dBG G3:|
|:ded dBd|cAc GAB|ded dcB | cdc ABc | ded dBd | cec GAB |
GAB g2e |dBG G3:|
LEBANON. Old-Time, Breakdown. D Major. Standard tuning. AA'AA'BCC'. Source for
notated version: James Bryan [Phillips]. Phillips (Traditional American Fiddle Tunes), vol. 1, 1994; pg. 140.
LEBURN’S HIGHLAND
BAGPIPE. Scottish, Strathspey. A Major. Standard
tuning. AABBCCDD’. Skinner (Harp and
Claymore), 1904; pg. 98.
X:1
T:Leburn’s Highland Bagpipe
M:C
L:1/8
R:Strathspey
S:Skinner – Harp and Claymore (1904)
Z:AK/Fiddler’s Companion
K:A
|: e || a>b a>f e<c c>A
| B>c d>e f2 f>g | a>b a>f e<c c>A | B>A B<c A2 A :|
|: d | c>B c>d d<e e<a |
f>e f<a e2 e>c | d<f f<a e<c c<A | B>A B<c A2 A :|
|: B | c>d c>B A<F F2 |
c<f f>^e f2 f<a | c>d c>B A<F F>g | a>f g>^e f2 f :|
|: d | c<f f2 c<f f2 | c<f
f>g e<B B2 | c<f f2 c<f f>g |1 a>f g>^e f2f :|2 a>f
g>^e f2g2 ||
LECHMERE HOUSE POLKA. New England, Polka. C Major. Standard tuning. AABB. Miller & Perron
(101 Polkas), 1978; No. 93.
LEDDY FROM CAVAN. Irish, Reel. D Major/Mixolydian/Dorian. Standard tuning. AA’BB’.
Composed by the late Philadelphia, Pa./County Cavan fiddler Ed Reavy
(1898-1988) in honor of his friend John Leddy who, like Reavy, was born in
County Cavan. Leddy and Reavy worked in the same plumbing business for many
years, according to Reavy’s son Joseph. Reavy (The Collected Compositions of Ed Reavy), No. 6, pg. 6.
X:1
T:Leddy From Cavan
M:2/2
L:1/8
C:Ed Reavy
S:The Collected Compositions of Ed Reavy
R:Reel
N:John Leddy and Ed worked in the plumbing business
N:together and became close friends over the years. John was proud of
N:Ed's accomplishments, particularly because both were Cavanmen. His son
N:John Jr. was a promising young fiddler who studied with Ed in the fortie
N:John Sr. played the fiddle a bit himself and had a great love of traditional music.
Z:Joseph Reavy
K:D
DE|:=FEDF EDCE|Dddc defd|[E2c2] cB cAFE|=FEDF EDCE|DE=FE DA,G,A,|
FGAF G2 FG|Addc defd|1=cAGE D2 EG:|2 =cAGE DEFA||d2 fd Adfd |
c2 ec Gcec | d2 [df]d Adfa |gfge fddc|defd Adfd|cdef g2 fg|(3agf (3gfe A=cBd|1
^cAGE DEFA:|2 ^cAGE D2 EG:||
LEDDY'S HORNPIPE. AKA and see "Democratic
Rage Hornpipe," “One of the Boys,”
“Reel de/du Pecheur.” Old‑Time,
Breakdown. USA, Nebraska. B Flat Major. Standard tuning. AABB. Source for
notated version: Bob Walters (Burt County, Nebraska) [Christeson]. R.P.
Christeson (Old Time Fiddlers Repertory,
Vol. 1), 1973; pg. 34.
LEDLOW’S CHIMES (Clogra Ledlow). AKA and see “Derry
Brae.” Irish, Reel. Source for notated version: from the mid-20th
century collection of Jack Wade, County Monaghan [Breathnach]. Breathnach (CRE IV), 1996; No. 150.
LEE BREAKDOWN. Rounder 0437, Jimm Beeler Kate – “Traditional Fiddle Music of the Ozarks,
Vol. 3: Down in the Border Counties.”
LEE COUNTY BLUES. Old-Time. Gennet GE 16645 (78 RPM), The Tweedy
Brothers (Harry and George on fiddles, Charles on piano), 1930, unissued.
LEE HIGHWAY BLUES. AKA and see “Going
Down the Lee Highway,” "New Lee
Highway Blues," "Opry
Fiddler's Blues," "Talkin'
Fiddle Blues." Old‑Time, Bluegrass; Breakdown. USA. D Major.
Standard tuning. AAB. Composed by North Carolina/Tennessee fiddler G.B. Grayson
in the 1920's. Stacy Phillips (1995) suggests the tune was derived from "Down Home Blues" (a version of
which was recorded by Jimmy McCarroll and the Roane County Ramblers). Roy
Parker states this tune was composed by fiddler G.B. Grayson in the back of
guitarist Henry Whitter's Model T Ford as it chugged down US 11 (Lee Highway)
on the way to the Memphis recording session. Sources for notated versions:
Highwoods String Band (Ithaca, New York) [Brody], Robert Wise [Phillips]. Brody
(Fiddler’s Fakebook), 1983; pg. 167.
Phillips (Traditional American Fiddle
Tunes), Vol. 2, 1995; pg. 76. Bay 203, Jody
Stecher‑ "Snake Baked a Hoecake." Columbia KC 32717, Dave
Bromberg‑ "Wanted Dead or Alive." County CO-CD-3511, “Rural
String Bands of Tennessee” (appears as “Going Down the Lee Highway”). Rebel
1531, Curly Ray Cline‑ "Fishin' For Another Hit." Rounder 0023,
Highwoods String Band‑ "Fire On the Mountain." Rounder 0070,
The Kentucky Colonels‑ "1965‑1967." Rounder C‑11565,
Scotty Stoneman ‑ "Lee Highway Blues" (1990). Rounder CD 11565,
Scotty Stoneman – “Rounder Fiddle.” Victor 23565 (78 RPM), 1929, G.B. Grayson
(N.C./Tenn.).
LEEDS POLKA, THE. English, Polka. England, Yorkshire. G Major
(‘A’ and ‘C’ part)s & D Major (‘B’ part). Standard tuning. AABBCC. An 18th
century tune that appears in a manuscript from a collection that predates the
Jackson collection, from the Vaughn Williams Library, marked 1752. It is curious in that the polka is a dance
form thought not to be invented until the early 19th century. Ashton
& Dyson remark in their forward: "This collection of tunes are, to the
best of my knowledge traditional tunes played in the Yorkshire area in the
1800s. The origin of the tunes is unknown, but they formed part of a tunebook
of a fiddler who lived and played in the area....the tunes in this book have
been adapted from a collection dated 1752..." Ashton & Dyson (A First Collection of
X: 1
T:Leeds Polka,The
M:2/4
L:1/8
Q:200
R:Polka
Z:C.G.P
K:D
dg g/f/g/e/|dgB2|Aff2|Bgg2|dg g/f/g/e/|dgB2|Af
af|ggg2:|!
|:A/d/f fa|ag g/f/e|A/c/e eg|gf
fe/d/|A/d/f fa|ag
g/f/e|A/c/eA/c/e|ddd2: |! |:D/G/B
BB|D/G/B BB|=c/B/A c/B/A|GB ed|D/G/B
BB|D/G/B BB|=c/B/A c/B/A|G2 g2:|]
X: 2
T:Leeds Polka,The
B:A First Collection of Yorkshire
Dance Tunes - D. Ashton & C. Dyson (1985)
M:2/4
L:1/16
R:Polka
Z: transcribed into abc by Gianni
Cunich g.cunich@tiscalinet.it
K:D
d2g2 gfge | d2g2 B4 | A2f2 f4 | B2g2
g4 |
d2g2 gfge | d2g2 B4 | A2f2 a2f2 |
g2g2 g4 ||
Adf2 f2a2 | a2g2 gfe2 | Ace2 e2g2 |
g2f2 fed2 |
Adf2 f2a2 | a2g2 gfe2 | Ace2 Ace2 |
d2d2 d4 ||
DGB2 B2B2 | DGB2 B2B2 | =cBA2 cBA2 |
G2B2 e2d2 |
DGB2 B2B2 | DGB2 B2B2 | =cBA2 cBA2 |
G4 g4 ||
LEEK SOUP. See “Cawl Cennin.”
LEE'S DOUBLE CLOG. American, Clog. F Major. Standard tuning. AABB.
X:1
T:Lee’s Double Clog
M:C|
L:1/8
R:Clog
S:Ryan’s Mammoth Collection (1883)
Z:AK/Fiddler’s Companion
K:F
(3cde | (f>a)(g>e) f>ca>f
| b>ge>g f>dc>B | A>Fc>F d>Fc>F | A>GG>^F
G>cd>e |f>ag>e f>ca>f|
b>ge>g f>dc>B |
A>Bc>d e>fg>a | b>ge>g f2 :: (f>g) | (a>f)(c>f)
A>cf>g |a>fc>f A>cf>a |
b>ag>^f g>dg>=f |
e>gf>d c>ef>g | a>fc>f A>cf>g | a>fb>g
e>cd>e |f>cd>B c>AB>G | A>FE>G F2 :|
LEE'S MARCH. Old-Time, Breakdown. G Major. Standard tuning. AB. Phillips notes that,
despite the title, the piece is played as a hoedown. Source for notated
version: Vivian Williams [Phillips]. Phillips (Traditional American Fiddle Tunes, vol. 1), 1994; pg. 140.
LEES OF LUNCARTE, THE. AKA ‑ "When You Go To the Hill
Take Your Gun." AKA – “Leys of Luncarty.” Scottish, Strathspey. G
Major. Standard tuning. AAB. Gow (1784) notes: “The original name is ‘When you
go to the hill take your gun’.” Luncarty, as it is spelled (Luncarte is
idiosyncratic to the Gow collections), is a village in central Perth and
Kinross, Scotland. It was newly created in Gow’s time, having been founded in
1752 to house the workers needed for William Sandeman’s bleachfields, a large
industrial enterprise. However, the title “Leys o’ Luncarty” refers to a battle
between the Scots and Dances about A.D. 980, which saw the Scots victorious.
Local legend has it that a Scottish peasant farmer was ennobled for his actions
in the battle, for he and his sons blocked the flight of some Danes by
employing a large yoke, allowing them to be cut down. The farmer, an elderly
man, was exhausted by his efforts, and leaned against an ancient standing stone
called The King’s Stone, and puffed to catch his breath. The Scottish king,
impressed by his efforts, supposedly said “Hech hey, say ye, and Hay shall ye
be,” upon which he bestowed the lands between two standing stones to the
peasant. Carlin (The Gow Collection),
1986; No. 113. Gow (First Collection of
Strathspey Reels), 1784 (revised 1801); pg. 4. Stewart-Robertson (The Athole Collection), 1884; pg. 171.
X:1
T:Lees of Luncarty, The
M:C
L:1/8
R:Strathspey
B:Stewart-Robertson – The
Athole Collection (1884)
Z:AK/Fiddler’s Companion
K:G
B|D<G B>G c<A B>G|A/A/A BG c>A=F>A|D<G B>G c<A B>G|A/A/A d>c B<GG:|
f|g<d d>e =f>ga>g|=f<d c>_B A<F F>^f|g<d d>e g>ab>a|g<d d>f g/f/g/a/ gb|
g<d d>e =f>ga>g|=f>dc>_B A<F Fe/f/|g>e=f>d e>cd>B|A>g f<a g<GG||
LEEZIE LINDSAY. Scottish, Waltz. D Major. Standard. AA. The tune was first published in
Johnson's Scot's Musical Museum. A song was written to the tune, of which the
poet Robert Burns contributed four lines, and the whole was published by Jamieson
in his Popular Ballads (1806). It relates the tale of Ronald MacDonald, the
heir of Kingcausie, who went to Edinburgh to seek a wife. He first had to seek
permission of his mother, who consented if only he went clothed as a poor man.
***
Will ye gang wi' me Leezie Lindsay
Will ye gang to the Highlands wi' me?
Will ye gang wi' me Leezie Lindsay
My bride and darling to be?
To gang to the Highlands wi' you, sir
I dinna ken how that may be,
For I ken nae the land that you live in,
Nor ken I the lad I'm gaun wi'.
If sae ye dinna ken me;
For my name is Lord Ronald MacDonald,
A chieftan o' high degree.
She has kilted her cots o' green satin,
She has kilted them up to the knee
And she's off wi' Lord Ronald MacDonald
The bride and darling to be.
***
Neil (The Scots Fiddle), 1991; No. 185, pg. 241.
LEFT HANDED FIDDLER, THE. Scottish, Reel. A Major. Standard. AB.
Composed by J. Scott Skinner and named for George
Taylor of
See also listings at: Alan Snyder’s Cape Breton Fiddle
Recording Index Jane Keefer’s Folk Music Index: An Index
to Recorded Sources Alan Ng’s Irishtune.info |
X:1
T:Left-Handed Fiddler, The
M:2/4
L:1/8
C:J. Scott Skinner
R:Reel
Z:AK/Fiddler’s Companion
K:A
d | c/A/c/e/ {g}ae/d/ | c/A/E/A/ G/B/B/d/
| c/A/c/e/ a/e/f/d/ | e/c/d/B/ c/A/A/d/ |
c/A/c/e/ {g}ae/d/ | c/A/E/A/
G/B/B/G/ | A/c/B/d/ c/e/d/f/ | e/c/d/B/ c/A/A/ || g/ |
a/4a/4a/ A/a/ .c/.a/.A/.a/ |
c/a/A/a/ B/c/d/B/ | a/4a/4a/ (A/a/) .c/.a/.A/.a/ |
{a}B/c/d/B/ c/A/A/g/ | a/4/a4a/
(A/a/) c/a/A/c/ | c/a/A/a/ B/c/d/B/ |
c/A/d/B/ c/A/d/B/ | e/a/g/f/
e/c/d/B/ c/A/[E/A/] ||
“variations, last two bars”
A/E/c/A/ d/B/e/c/ | f/d/g/e/
{g}a/A/A/ ||
LEFT-HANDED TUSHKAR, THE. Scottish, Reel. Scotland,
Shetland. A Major. Standard tuning. AABB. Composed by the late Ronnie Cooper,
of Lerwick, Shetland.
X:1
T:Left Handed Tushkar, The
C:Ronald Cooper
M:C
L:1/8
K:A
E2|"A"AGAc
"E7"BEEE|"A"AEAc "A7"eAce|"D"dcdf
"A"eaga|"B7"fB^df "E7"e2E2|
"A"AGAc "E7"BEEE|"A"AEAc
"A7"eAce|"D"dcdf
"E7"efge|"A"a2"D"[F2A2] "A"[E2A2]:|
cd|"A"eafa
eAce|"Bm"df^ef Bfdf|"A"eafa eAce|"B7"fB^df
"E7"e2cd|
"A"eafa
eAce|"Bm"df^ef Bfdf|"Adim"eagf
"E7"efge|"A"a2"D"[F2A2] "A"[E2A2]cd|
"A"eafa
eAce|"Bm"df^ef Bfdf|"A"eafa eAce|"B7"fB^df
"E7"e2E2|
"A"AGAc
"E7"BEEE|"A"AEAc "A7"eAce|"D"dcdf
"E7"efge|"A"a2"D"[F2A2] "A"[E2A2]:|
LEFT IN THE DARK BLUES. Old‑Time. Columbia 15085‑D, Uncle
Bunt Stevens (Tenn).
LEG OF (A) DUCK, THE (Leis Lacha). AKA and see "The Bonny Highlander," "Bucky Highlander," “Bully for
You,” "Daniel of the Sun [1],"
"Donall na Greine," "From the Court to the Cottage,"
"Girls of the West,"
"I gave to my Nelly," "Nelly's Jig," "O my Dear Judy," "Thady/Teddy you Gander," "'Tis sweet to think," "O My Dear Father, Pity your
Daughter," "The Western Jig," "She is/She’s the Girl
that can do it," "Petticoat
Loose [1]." Irish, Jig. G Major. Standard tuning. AABB. The title
comes from a song set to the tune. James Joyce gives a few lines in Ulysses:
***
I gave it to Kitty because she was pretty,
The leg of the duck, the leg of the duck.
I gave it to Molly because she was jolly,
The leg of the duck, the leg of the duck.
***
Irish uilleann piper and music
editor Terry Moylan (Johnny O’Leary) shared
a car journey in 1970 with Sean Reid and Willie Clancy, who were entertaining
each other with similar rhymes. Clancy gave the one above and also had:
***
The leg of the duck, the leg of the duck.
She has it, she's got it, wherever she put it,
The leg of the duck, the leg of the duck.
***
Moylan says: “According to Johnny
O'Leary, Denis Murphy had scores of these things. Willie could have got them
from Denis, as they were close friends.” Simple rhymes were helpful in the days
of itinerant musicians when people would employ them to describe the tune they
wanted to dance to when a visiting musician did not know the local name.
***
Source for notated version: fiddler
Brenda Stubbert (b. 1959, Point Aconi, Cape Breton, Nova Scotia) [Cranford].
Cranford (Brenda Stubbert’s), 1994;
No. 131, pg. 45. O’Brien (Irish Folk
Dance Music). Tubridy (Irish
Traditional Music, Vol. 1), 1999; pg. 33. “Johnny
Wilmot: Another Side of Cape Breton” (learned from his uncle, Northside Cape
Breton fiddler Joe Confiant, it appear as second tune of “Cape Breton
Favorites”). Brenda Stubbert - “House Sessions” (1992). Gael Linn Records,
Maire O’Keeffe - “House Party (An Coisir).” Gael Linn Records, Declan Masterson
– "Deireadh an Fhómhair (End of the Harvest)"
X:1
T:Leg of the Duck, The
M:6/8
L:1/8
R:Jig
K:G
A|BGG AGA|BAB GED|EAA AGA|EAA AGA|
BGG AGA|BAB GED|EGG GED|EGG G2:|
|:A|Bdd ABc|BAB GED|EAA AGA|EAA AGA|
Bdd ABc|BAB GED|EGG GED|EGG G2:|
X: 2
T: Leg of the Duck
S: J. O'Brien: "Irish Folk Dance
Music"
M: 6/8
L: 1/8
Q: 325
R: jig
Z: Transcribed by Bill Black
K: D
de |: fdd edd | fef dBA | Bee e2 d | Bee e2 d/e/
|
fdd edd | fef dBA | Bdd d2 A | Bdd d3 :|
fga efg | fef dBA | Bee ede | Bee e2 g |
fga
efg | fef dBA | Bdd d2 A | Bdd d3 :|
LEG OF
THE DUCK [2].
AKA and see “Jack Coen’s
(Jig) [2],” “Jim Conroy’s Jig,” “Pride of the West.” Irish, Jig. G Major. Standard tuning.
See also listings at: Jane Keefer’s Folk Music Index: An
Index to Recorded Sources Alan Ng’s Irishtune.info |
X:1
T:Leg of
the Duck [2]
M:6/8
L:1/8
R:Jig
K:G
DGG GAG|FEF Ddc|~B3 GBd|cAG FEF|DGG GAG|
FEF DBc|ded cAF|AGF G3:||:dgg def|dgg cBc|dgg def|
GFG ABc|def ~g3|agf g2e|fed cAF|AGF G3:|
LEGACY [1], THE. AKA and see "How Shall We Abstain From
Whiskey?" "Constant Billy." Scottish, American; Jig. B Flat Major
(Hardings): C Major (Raven): D Major (Cole): G Major (Kerr): A Major (Kennedy).
Standard tuning. AAB (Raven): AABB (Cole, Hardings, Kennedy, Kerr). Thomas
Moore wrote a song to the air beginning "When in death I shall calm
recline." “The Legacy” was also employed as jig for dancing and for
marital use. It appears in James Hulbert’s Complete Fifer’s Museum (Greenfield,
Mass., 1811), Paff’s Gentleman’s Amusement, No. 1 (New York, 1812),
Blake’s Gentleman’s Amusement (Philadelphia, 1824), Blake’s Martial
Music of Camp Dupont (Philadelphia, 1816), and Edward Riley’s Flute
Melodies, vol. 1 (New York, 1814). In the Camp Dupont publication it is
indicated the melody was the signal for ‘doublings of the troop’. In manuscript
form it can be found in the copybooks of fiddler John Fife (Perthshire and at
sea, 1780-1804) and in an American commonplace book entitled “Greenfields” (now
in the collection of the Litchfied, Conn., historical society). “The Legacy
[1]” is also related to "St. Patrick's Day (in the
Morning)." Cole (1000 Fiddle
Tunes), 1940; pg. 74. Hardings
All-Round Collection, 1905; No. 172, pg. 54. Hardings Original Collection (1928) and Harding Collection (1915), No. 45. Kennedy (Jigs &
Quicksteps, Trips & Humours), 1997; No. 104, pg. 26. Kerr (Merry
Melodies), vol. 3, No. 252, pg. 28. McDonald (The Gesto Collection), 1895; pg. 18. Moffat (202 Gems of Irish Melody), pg. 24. Raven (English Country Dance Tunes), 1984; pg. 127. Robbins, 1933; No.
155. Ryan’s Mammoth Collection, 1883;
pg. 105. Smith (Scottish Minstrel),
1820‑24, vol. 4; pg. 4.
X:1
T:Legacy, The [1]
M:6/8
L:1/8
R:Jig
S:Ryan’s Mammoth Collection
(1883)
Z:AK/Fiddler’s Companion
K:D
A | (d2.d) dAF | (a2.a) afd | (d2.e)
{g}fef | (B2.c) (d2.A) | (d2.d) dAF |
(a2.a) afd | (d2.e) {g}fef | (B2c)
d2 :: A | dfa (d’2.d’) | (c’b).a (ba).f | dfa (d’2.d’) |
(c’b).a (ba).f | dfa (d’2.d’) |
(c’b).a b2c’ | (b2.b) afd | (d2.e) {g}fef | (B2c) d2 :|
X:2
T:Legacy, The [1]
M:6/8
L:1/8
R:Jig
B:Kerr – Merry Melodies, vol.
3, No. 252 (c. 1880’s)
Z:AK/Fiddler’s Companion
K:G
G2G GDB,|d2d dBG|G2A BAB|E2F G3:|
|:GBd g2g|fed edB|GBd g2g|fed e2f|
ggg fdB|eee dBG|G2A BAB|E2F G2:|
LEGACY [2], THE. AKA and see “Larry Redican’s (Jig),” "The Tailor's Wedding," "Skiver the Quilt [1]." Irish,
Jig. G Major ('A' part) & E Minor ('B' part). Standard tuning. AABB. The
tune is occasionally played in the key of ‘F’ in sessions. Bulmer &
Sharpley (Music from Ireland), 1974,
vol. 3, No. 63. Mallinson (Enduring),
1995; No. 30, pg. 13. O'Neill (Krassen), 1976; pg. 32. Vallely (Learn to Play Tin Whistle with the Armagh
Pipers’ Club), vol. 2, No. 2. Bellbridge Records,
Bobby Casey – “Casey in the Cowhouse” (1992. Originally recorded 1959).
X:1
T:Legacy, The [2]
M:6/8
L:1/8
R:Jig
K:G
BA|~G3 BAB|gfg gab|G3 BAB|dBA
ABA|GFG BAB|
gfg gab|Age edB|dBA A::Bd|efe
edB|ded dBd|efe edB|
dBA ABd|efe edB|ded def|gfg ege|dBA
A:|
LEGACY [3], THE. AKA and see "Merrily Danced the
Quaker's Wife." Riley (Flute
Melodies), 1814, vol. 1; No. 314.
LEGERE, LA. French, Country Dance (2/4 time). G Major. Standard tuning. AABB. 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. 61.
X:1
T:Legere, La
M:2/4
L:1/8
S:Daubat – Cent Contredanses en Rond (1757), No. 61
Z:AK/Fiddler’s Companion
K:G
gd/e/ dc | {c}B2 A2 | {c}BA/G/ {B}AG/F/ | G/F/G/A/ GD | {f}gd/e/ dc | {c}~B2 A2 |
{c}BA/G/ {B}AG/F/ | {A}G2G2 :: (g/f/g/a/) g.b | e/d/e/f/ e.g | (c/d/e/).c (A/B/c/).A |
(F/G/A/).F .D.D | (g/f/g/a/) g.b | e/d/e/f/ eg | B/c/d/B/ A/B/c/A/ | {A}G2G2 :|
K:G Minor
B/A/B/c/ Bd | d2 cB | A/G/A/B/ Ac | {d}c2 BA | G/^F/G/A/ Bd
| G/^F/G/A/ Bd | E/d/c/B/ A/G/A/F/ | G2 G,2 :|
LEGGETT'S REEL. AKA and see “The Boys of
Ballycastle,” “Gypsy’s Hornpipe
[2].” Irish, Reel. E Minor.
Standard tuning. AABB. Kerr includes the tune in a section of “Irish Reels fro
Quadrilles and Country Dances.” It is also known in
X:1
T:Leggett’s Reel
M:C
L:1/8
R:Reel
S:Kerr – Merry Melodies, vol. 1, pg. 34
(c. 1880’s)
Z:AK/Fiddler’s Companion
K:E Minor
(ef)|gfed edBd|edge B2 (BA)|G2 (GA) BABd|e2A2
A2 (ga)|bagf gfed|
edge B2 (BA)|G2 (GA)
BcBA|G2E2E2::(gf)|e2B2B2 (gf)|e2B2B2 (gf)|
e2 (ef) gfga|b2e2e2(ga)|bagf
gfed|edge B2 (BA)|G2 (GA) BcBA|G2E2E2:|
_______________________________
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