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 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: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 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.

 

LEAMINGTON DANCE, THE.  English, Country Dance Tunes (2/4 time). D Major. Standard tuning. AABA. Sourced to Wheatstone Bk. 13. Barnes (English Country Dance Tunes, vol. 2), 2005; pg. 74.

 

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 Bethlehem). Irish, Air(?). D Major. Standard tuning. 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 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 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 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 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’Neill – Music 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). 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‑ "Texas Fiddle Favorites." County 714, Kenny Baker and Joe Greene‑ "High Country." County 733, Clark Kessinger‑ "The Legend of Clark Kessinger." Edison 51548 (78 RPM), 1923, John Baltzell (appears as last tune of "Drunken Sailor Medley"). Flying Cloud FC-023, Kirk Sutphin - "Fiddlin' Around." Flying Fish FF‑336, Pete Sutherland ‑ "Poor Man's Dream" (1984). Folkways FA2336, Clark Kessinger – “Fiddler” (1966). Folkways FTS 31098, Ken Perlman ‑ "Clawhammer Banjo and Fingerstyle Guitar Solos." Hilltop Records 6022, Uncle Jimmy Thompson. June Appal 024, Luke Smathers String Band‑ "Mountain Swing." June Appal 028, Wry Staw ‑ "From Earth to Heaven" (1978. Learned from Virgil Cravens of Cedar Falls, N.C. "one of the last of the traditional southern hammer dulcimer players). Library of Congress AFS 4804‑B‑1, 1941, Osey and Ernest Helton (Western N.C.). Marimac AHS #3, Glen Smith – “Say Old Man” (1990. Learned from Bob Crawford). Marimac 9038, Dan Gellert & Brad Leftwich - "A Moment in Time." Marimac 9060, Jim Bowles - "Railroading Through the Rocky Mountians" (1992). Marimac 9030, Lotus Dickey – “Fiddle Tunes from Orange County, Ind., vol. 2” (1992). Marimac 9111, Carter Brothers and Son ‑ "Goin' Up Town: Old Time String Bands, vol. 2" (orig. rec. 1928). Mississippi Department of Archives and History AH‑002, John Hatcher ‑ "Great Big Yam Potatoes: Anglo‑American Fiddle Music from Mississippi" (1985). PearlMae Muisc 004-2, Jim Taylor – “The Civil War Collection” (1996). Philo 1051, Boys of the Lough (with mandolinist Kenny Hall) ‑ "Good Friends, Good Music" (1977). Rounder 0024, Alan Jabbour – “The Hollow Rock String Band” (1974). Rounder 1027, Johnnie Lee Wills‑ "Tulsa Swing." Rounder 0024, "Hollow Rock String Band." Rounder 0436, Art Galbraith – “Traditional Fiddle Music of the Ozarks, vol. 2: On the Springfield Plain.” Rounder 82161-1108-2, Lon Jordan – “Ozark Folksongs.” Silvertone 8176 (78 RPM), Doc Roberts (1928). Vocalion 5456 (78 RPM), Uncle Jimmy Thompson (Tenn., Texas) {4/1930}. Vocalion (78 RPM), Uncle Am Stuart (b. 1856, Morristown, Tenn.), 1924. Voyager 309, Benny and Jerry Thomasson‑ "The Weiser Reunion: A Jam Session" (1993).

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 LAKE HOUSE.  English, Country Dance Tune (4/4 time). A Major. Standard tuning. AABB. The melody and dance appears in London publisher Longman & Broderip’s Six New Minuets and Twelve Country Dances…for the year 1788. Barnes (English Country Dance Tunes, vol. 2), 2005; pg.75.

           

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 Yorkshire Dance Music), 1985. Callaghan (Hardcore English), 2007; pg. 67. Davenport (South Riding {Yorkshire} Tunebook, col. 2), 1997.

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. New York musician, researcher and writer Don Meade identifies this as a version of the “Irish-American Reel,” also printed by Ryan (pg. 25). See also the related “Narrowback.” Cole (1000 Fiddle Tunes), 1940; pg. 121. Ryan’s Mammoth Collection, 1883; pg. 160.

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'.

O Leezie, lass, ye maun ken little

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 Aberdeen, whose son also was a left‑handed fiddler. Skinner’s father also became a left-handed fiddler after an accident with machinery that left his right hand mangled. Hunter (Fiddle Music of Scotland), 1988; No. 240. Skinner (The Scottish Violinist), pg. 5. Skinner (Harp and Claymore), 1904; pg. 95.

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:

***

I gave it to Nelly to stick in her belly

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 Ireland as “The Boys of Ballycastle” and in England as one of the several “Gypsy’s Hornpipes.” Kerr (Merry Melodies), vol. 1; No. 6, pg. 34.

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

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