The Fiddler’s
Companion
© 1996-2010 Andrew Kuntz
_______________________________
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Notation
Note: The tunes below are recorded in what
is called “abc notation.” They
can easily be converted to standard musical notation via highlighting with
your cursor starting at “X:1” through to the end of the abc’s, then
“cutting-and-pasting” the highlighted notation into one of the many abc
conversion programs available, or at concertina.net’s incredibly handy “ABC
Convert-A-Matic” at http://www.concertina.net/tunes_convert.html **Please note that the abc’s in the Fiddler’s
Companion work fine in most abc conversion programs. For example, I use
abc2win and abcNavigator 2 with no problems whatsoever with direct cut-and-pasting.
However, due to an anomaly of the html, pasting the abc’s into the
concertina.net converter results in double-spacing. For concertina.net’s
conversion program to work you must remove the spaces between all the lines
of abc notation after pasting, so that they are single-spaced, with no
intervening blank lines. This being done, the F/C abc’s will convert to
standard notation nicely. Or, get a copy of abcNavigator 2 – its well worth
it. [AK] |
LITTEN HORNPIPE. English, Hornpipe. F Major (Huntington/Litten): D Major (Miller).
Standard tuning. AAB (Huntington/Litten): AABB (Miller). Presumably composed by
ship's fiddler William Litten at the very beginning of the 19th century.
Huntington (William Litten's), 1977;
pg. 18. Miller (Fiddler’s Throne),
2004; No. 296, pg. 176.
LITTLE AND BIG SHIP, THE. English, Jig. A Minor. Standard tuning. AABB.
A modern composition by editor Michael Raven. Raven (English Country Dance Tunes), 1984; pg. 193.
LITTLE ARK. AKA and see “Highland a’ choille,”
“Loudon’s/Louden’s
Bonnie Woods (and Braes).” Irish, Reel. G Major. Standard tuning. AB. The
tune is popular as a schottische in Scotland, notes Nigel Gatherer, under the
title “Louden’s Bonnie Woods.” In County Donegal the tune is played set as a
Highland called “Highland a’ choille.”
X:
1
T: Little Ark
S: "Johnny O'Leary of Sliabh Luachra" (#4 as gan ainm)
Z: B.Black
L: 1/8
M: 4/4
R: reel
K: G
G2 GA/B/ dedB|cABG AGEB|G2 GB d4|e/f/gfa gedB|
G2 GB dedB|cABG AGEF|G2 GB d2 d2|e/f/gfa g4 ||
gabg aged|egge dB B2|gabg aged|e/f/gfa g4|
gabg aged|efge dBBA|G2 GB d2 d2|e/f/gfa gedB ||
LITTLE BAG OF MEAL, THE. AKA and see "Ruaig an Mí‑ádh" (Banish Misfortune [1]), "The Bag of Meal," "Humors of Mullina(a)fauna
[1]," "Judy Hynes,” "Máire
Ní Eidhinn,” "Nancy Hines," “Nancy
Hynes,” “Parish Girl [2],” "Round the Cart House." Irish,
Double Jig. D Mixolydian. Standard tuning. AABB'. Roche Collection, 1983, Vol. 1; No. 85, pg. 38.
LITTLE BAG OF POTATOES
[1], THE (An Mála beag
Fataí). AKA and
see "The Bag of Potatoes."
Irish, Reel. G Major (Breathnach): D Major (Tubridy). Standard tuning. AB
(Tubridy): AABB (Breathnach). Breathnach’s source, flute player Michael
Tubridy, called the tune “The Bag of Potatoes,” but since Breathnach had a reel
by that title he changed it a bit. The tune consists of one phrase, repeated,
which Tubridy told him was very widespread in County Clare. Source for notated
version: Michael Tubridy/Michael Ó Tiobraide (Ireland) [Breathnach]. Breathnach
(CRÉ I), 1963; No. 94, pg. 41.
Tubridy (Irish Traditional Music, vol. 1),
1999; pg. 17 (appears as “The Little Bag of Peaties”).
X:1
T:Little Bag of Potatoes [1]
M:4/4
L:1/8
R:Reel
K:D
FAAA FBBA|FAAF E2 DE|FAAA FBBA|defd
e2d2|FAAA FBBA|
FAAF E2 DE|FAAA FBBA|defd e2d2||defd
Be e2|defd B2A2|
defd Be e2|dBAF E2D2|defd Be e2|defd
B2A2|defd Be e2|dBAF E2D2||
LITTLE BAG OF POTATOES
[2], THE. Irish, Reel. D Major. Standard
tuning. AABB’. Kerr (Merry Melodies),
vol. 4; No. 162, pg. 19.
X:1
T:Little Bag of Potatoes, The [2]
M:C|
L:1/8
R:Reel
S:Kerr – Merry Melodies, vol. 4, No. 162 (c. 1880’s)
Z:AK/Fiddler’s Companion
K:D
d2 (df) edBA|Bdef e2 (de)|faaf g2
(fe)|fedB A2(AB):||
fdad fddd|faaf g2 (fe)|faae
fddd|fedB A2 (AB)|
fdad fddd|faaf g2 (fe)|faaa b2
(ba)|g2 fe g2fe||
LITTLE BARLY-CORNE, THE. See "Stingo."
LITTLE BEAUTY WALTZ. Scottish, Waltz. G Major. Standard tuning. AABB. Kerr (Merry Melodies), vol. 1; No. 4, pg. 50.
X:1
T:Little Beauty Waltz
M:3/4
L:1/8
R:Waltz
B:Kerr – Merry Melodies, vol.
1, pg. 50, No. 4 (c. 1880’s)
Z:AK/Fiddler’s Companion
K:G
D2|(G4 B2)|d2B2g2|(f4 e2)|(c4
A2)|G2F2G2|D2G2B2|d6|A4D2|
(G4B2)|d2B2g2|(f4e2)|(c4A2)|G2A2G2|F2e2d2|1
(G6|G4):||2 (G6|G2)||
|:(A2G2)|(F4 A2)|c2e2d2|(B6|B2)d2g2|(f4
a2)|e2f2d2|(g6|g4)d2|
b2z2
a2|g2f2e2|d2g2g2|A2e2e2|d2e2d2|c2A2d2|1 (G6|G4):|2 (G6|G4)||
LITTLE BEGGAR BOY. AKA and see "Little Beggarman,"
"Red Haired Boy," "Gilderoy [2]" etc.
LITTLE BEGGARMAN. AKA and see "The Duck Chews Tobacco,"
“The First of May [3],” "Gilderoy [2]" (Ire.), "Giolla
Rua" (Ire.), "Johnny Dhu,"
"The Little Beggar Boy," "An Maidrin Rua(dh)" (The Little Red
Fox),” "The
Old Soldier (with a Wooden Leg) [2]" (W.Va.), "Old Soldier,"
“Red Haired Boy,” "The Red Haired Lad," "The Red Headed/Haired Irishman"
(Ky.), "Wooden Leg" (W.Va.). Irish, Hornpipe. A Mixolydian
(Kennedy, Mallinson): G Major/Mixolydian (Tubridy). Standard. AABB. Words to
the tune begin:
***
I am a little beggarman, a begging I have been,
For three score years in this little isle of green;
And everybody calls me by the name of Johnny Dhu.
***
Of all the trades a going, sure the begging is the best,
For when a man is tired he can sit him down and rest;
He can beg for his dinner, he has nothing else to do,
But to slip around the corner with his old rigadoo.
***
Kennedy (Traditional Dance Music of Britain and Ireland: Reels and Rants),
1997; No. 102, pg. 26. Mallinson (Enduring),
1995; No. 85, pg. 36. Tubridy (Irish
Traditional Music, Book Two), 1999; pg. 13.
X:1
T:Little Beggarman
M:4/4
L:1/8
K:G
GF|DGGF GABc|dedB c2 Bc|dGGF
GABG|AFDE =F2 FE|
DGGF GABc|dedB c2 Bc|dggf
gedc|B2G2G2:|
|:de|=f2 fe fede|=fedB c2 Bc|dGGF
GABG|AFDE =F2 FE|
DGGF GABc|dedB c2 Bc|dggf
gedc|B2G2G2:|
LITTLE BENCH OF RUSHES
[1] (An Beinsin Luacra). AKA and see "The Black Rogue [1]," "O! Pleasant Was the Moon,"
"Bunch of Green Rushes [2],"
"Bonny Bunch of Roses,"
"Life is All Chequered with
Plasures and Woes," "The Bark Is On the Swelling
Wave." Irish, Air (4/4 time, "gracefully"). D Minor
(O'Neill): D Dorian (Darley & McCall). Standard. AB. Darley & McCall
note the air became popular in Ireland and was adapted in England to a
Napoleonic ballad called "The Bonny Bunch of Roses, O!" Both titles
are allegorical, with "The Bonny Bunch of Roses" being England and
"The Little Bench of Rushes" standing for Ireland. Source for notated
version: a MS by Mr. A. Lowe (Fairview, Ireland), containing a number of airs
played by piper Hugh O'Beirne (Co, Leitrim) in 1846 [Darley & McCall].
Darley & McCall (Darley & McCall
Collection of Traditional Irish Music), 1914; No. 55, pg. 24. O'Neill (Music
of Ireland: 1850 Melodies), 1979; No. 136, pg. 24.
X:1
T:Little Bench of Rushes, The [1]
M:C
L:1/8
R:Air
S:O’Neill – Music of Ireland
(1903), No. 136
Z:AK/Fiddler’s Companion
K:D Minor
(A/=B/^c/d/4e/4) | ~f3g (agfe) | d4
(edcA) | c4 (dcAG) | A2A2A2 (A/=B/^c/d/4e/4) |
~f3g (agfe) | d4 (edcA) | c4 (dcAG)
| “tr”E3D D2 || (DE) | (~F3G) (.A2.A2) |
(AGFE) F2 (FA) | ~c3f (d>cAG) |
A2A2A2 (A/=B/^c/d/4e/4) | ~f3g (agfe) |
d4 (edcA) | c4 (dcAG) | “tr”E3D D2
||
LITTLE BENCH OF RUSHES
[2] (An Beinsin Luacra). Irish, Slow Air (4/4 time). A
Mixolydian/D Major. Standard. One part. Source Dowd was a fiddler who played the
tune in the Feis Ceoil held in Belfast in the year 1900. Some of the tunes in
the “Unpublished Airs” competition were recorded on Edison cylinders, and were
later transcribed for publication, including Dowd’s “Little Bench of Rushes.”
Source for notated version: fiddler James Dowd (Ireland) [Darley & McCall].
Darley & McCall (Darley & McCall
Collection of Traditional Irish Music), 1914; No. 16, pg. 7.
X:1
T:Little Bench of Rushes [2]
M:4/4
L:1/8
R:Air
S:transcription of cylinder
recording of James Dowd, Ceol (1986)
Z:AK/Fiddler’s Companion
K:C
G>E | D2 DE G2 A<c | d2 dc e2
d>c | A2 G>A c2 c>d | c6 G>E | D2 DE G2 A<c |
d2 dc e2 d>c | A2 G>A c2
c>d | c6 z A/c/ | G2 cA G2E2 | D2 DC A,2 C>D |
E2 ED C2 CA, | C2C2G2 A<c | d2 cA
G2E2 | D2 DC A,2 C>D | E2 ED C2 CA, | C6 ||
LITTLE BERTHA. Old-Time, Air (4/4 time). D
Major. Standard tuning. AB. Source for notated version: Gil Kiesecker
[Silberberg]. Silberberg (93 Fiddle Tunes
I Didn’t Learn at the Tractor Tavern), 2004; pg. 27.
LITTLE BETSY BROWN. Old‑Time. The title appears in a list of traditional Ozark
Mountain fiddle tunes compiled by musicologist/folklorist Vance Randolph,
published in 1954.
LITTLE BETTY. Canadian, Jig. Canada, Cape Breton. D Major. Standard tuning. AABBCC.
Composed October 15th, 1953, by Cape Breton fiddler and composer Dan R.
MacDonald (1911-1976) and dedicated to Betty Lou MacMaster of Judique, Cape
Breton. Cameron (Trip to Windsor),
1994; pg. 54.
LITTLE BETTY ANN. American. A Texas fiddle favorite.
LITTLE BETTY BROWN. Old-Time, Breakdown. USA, West Virginia. D Major. Standard tuning.
AA'BB'. See also the related melody "Angeline
the Baker." An old pop song recorded on a 78 RPM by Kanawha County,
West Virginia, fiddler Clark Kessinger (1896-1975). Sources for notated
versions: Clark Kessinger (W.Va.) [Phillips]; Jime Evans [Silberberg]. Phillips
(Traditional American Fiddle Tunes, Vol.
1), 1994; pg. 142. Silberberg (93
Fiddle Tunes I Didn’t Learn at the Tractor Tavern), 2004; pg. 27.
LITTLE BILLY WILSON. AKA and see "Billy Wilson
[1]."
LITTLE BIRD IN THE
ASHBROOK/ASHBANK. Old-Time. A Major. AEac# tuning.
From Jesse James (J.J.) Abbott, Toledo, Illionis. The tune features pizzicato
or plucked notes.
LITTLE BIRDIE. Old‑Time, Song and Breakdown. Despite the similarity in names,
the song “Little Birdie” has nothing to do with the West Virginia fiddler tune
called “Birdie,” a ‘ragtime’ influenced piece.
***
Little birdie, little birdie,
Come sing to me your song.
Have a short time to be with you,
And a long time to be gone.
***
Flying Fish 102, New
Lost City Ramblers ‑ "20 Years/Concert Performances" (1978.
Learned from Wade Mainer and Zeke Morris).
LITTLE BIRDS OF THE
MOUNTAIN JIG. English, Jig. G Major. Standard
tuning. AABB. Composed by Michael Raven. Raven (English Country Dance Tunes), 1984; pg. 192.
LITTLE BITTY ACORN IN
A GREAT BIG TREE.
Old-Time, Breakdown. D Major. Standard tuning. AABB. Source for notated
version: Floyd Engstrom [Silberberg]. Silberberg (93 Fiddle Tunes I Didn’t Learn at the Tractor Tavern), 2004; pg.
28.
LITTLE BLACK BULL. Old‑Time. The title appears in a list of traditional Ozark
Mountain fiddle tunes compiled by musicologist/folklorist Vance Randolph,
published in 1954.
LITTLE
BLACK DOG (COME A-TROTTIN’ DOWN THE ROAD). Old-Time, Breakdown. D Major.
LITTLE BLACK EYES. AKA and see "'Tits Yeux
Noirs."
LITTLE BLACK FOOT. Old‑Time, Breakdown. USA, North Ga. The tune may have plantation
origins. It was recorded by the Skillet Lickers as a fragment in their skit
"A Day at a Country Fair." Old Homestead
OHSC‑145, Skillet Lickers‑‑"A Day at the Country
Fair."
LITTLE BLACK MOUSTACHE
[1]. French‑Canadian, Reel. D
Major. Standard tuning. AABB. The first part is shared with the tunes "Elk's Festival" and "Texas Quickstep [2]," and an
untitled Lancer's tune in Bayard (Dance
to the Fiddle), 1981; Appendix No. 5, pg. 574. Messer (Way Down East), 1948; No. 22. Messer (Anthology of Favorite Fiddle Tunes), 1980; No. 42, pg. 31.
X:1
T:Little
Black Moustache [1]
M:4/4
L:1/8
Z:Transcribed
by Bruce Osborne
K:D
AG|FDFG
A2dc|BGBd g2ag|fedf edcA|BcdA BdAG|
FDFG
A2dc|BGBd g2ag|fedf edce|d2f2 d2:|
|:A2|f4
a4-|a2ba ^g2a2|f4 f4-|f2e/fa/ g2f2|
e4 B4-|B2ed
cABc|d8-|d2A2 F2A2|
f4 a4-|a2ba
^g2a2|f4 f4-|f2e/fa/ g2f2|
e4 B4-|B2ed cABc|d2cB AGFE|D6:|
LITTLE BLACK MUSTACHE
[2]. Old-Time, Breakdown. C Major.
Standard tuning. County 3514, Gene Clardy –
“Mississippi Fiddle Bands, vol. 2.” Document 8028, Gene Clardy – “Mississippe
String Bands, vol. 2.” Musical Traditions MT 104, the Nations Brothers
(Mississippi) - "Where the Southern Crosses the Dog: Mississippi Fiddle
Music 1928-35."
LITTLE BLACK PIG. AKA and see “Bobby Casey’s
Jig [2],” “Diamond [2],” “Hag’s Purse,” “Roscommon Jig.” Irish, Double Jig. D
Mixolydian. Standard tuning. AABB. Similar to “Walls of Liscarroll [1].”
X:1
T:Little Black Pig, The
R:double jig
B:The Cumann na bPi/obai/ri/ Collection of Pipe-Friendly Tunes
B:by John B. Walsh
Z:Phil Sexton
M:6/8
L:1/8
K:Dmix
G|(3A.c.A .A DFA|dcA AGF|GEE cGE|GAB cAG|
(3A.c.A .A D (3FG.A|dcA AGF|GEE cEE|~D3 D2:|
A|d2d ecA|~A2d ecA|GEE cGE|GAB cAG|
d2d ecA|~A2d ecA|GEE cEE|~D3 D2:|
LITTLE BLACK ROSE [1], THE (An Róisín Dub). AKA and see "The Black Rose," "Little Black Rose Bud." Irish, Air (3/4
time, "tenderly"). C Minor. Standard tuning. AB. O'Neill (Music of
Ireland: 1850 Melodies), 1903/1979; No. 70, pg. 12.
X:1
T:Little Black Rose [1]
M:3/4
L:1/8
R:Air
N:”Tenderly”
S:O’Neill – Music of Ireland
(1903), No. 70
Z:AK/Fiddler’s Companion
K:Cmin
G=A | (B2G2) e>c | (d>c) (BG)
(FD) | D2C2C2 | C4 (cd) | e2e2 dc |
e2 (dc) (BG) | c3B GF | G4 (cd) ||
e2 (ef) (dc) | e2 (dc) (BG) |
c3 B GF | D4 (G=A) | B2 c>d ec |
d>c BG FD | C4 C2 | C4 ||
LITTLE BLACK ROSE [2], THE (An Róisín Dub). AKA and see "Margaret Roche [1]." Irish,
Air (3/4 time, "tenderly"). C Minor. Standard tuning. AB. O'Neill (Music
of Ireland: 1850 Melodies), 1903/1979; No. 71, pg. 13.
X:1
T:Little Black Rose [3]
M:3/4
L:1/8
R:Air
N:”Tenderly”
S:O’Neill – Music of Ireland
(1903), No. 71
Z:AK/Fiddler’s Companion
K:Cmin
c>B | G2G2 {A}G^F | G2G2
(5G/A/=B/c/d/ | e2d2 {d}c=B | c4 cd | e2g2 f>d |
c>B GA =Bc | “tr”e2c2 c>d | c4
|| cd | e2d2 g>f | f2d2 c>B | G2F2 GA |
B4 (GB) | c2e2 dc | B3c B>G |
F2E2 C>=B, | C4 ||
LITTLE BLACK ROSE [3] (An Róisín Dub). AKA and see "Rois Bheag Dhubh," "Róisín Dubh [1]." Irish, Slow Air
(3/4 time). G Dorian. Standard tuning. AB. See notes for "Rois Bheag
Dhubh." O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No.
181, pg. 32.
X:1
T:Little Black Rose [3]
M:3/4
L:1/8
R:Air
N:”Slow”
S:O’Neill – Music of Ireland
(1903), No. 181
Z:AK/Fiddler’s Companion
K:Gdor
{A}(G>F) | D2D2 {A}(G>F) |
D2D2 (G>A) | B4A2 | G4 (G>A) | (B2 B)(dcB) |
(A2 A)(cBA) | G4 G2 | G4 ||
(D>=E) | (F2 F)(.G.A.B) | (c2 c>)d (c/B/A/G/ ) |
F2 D=E “tr”E2 | (F2 F)(D.A.c) |
{B/c/}(B2 B)(.A.G.^F) | (.G.A.B.c) A>G | G4 G2 |
G4 (D=E) | (F2 F)(.G.A.B) | c2
c>d (c/B/A/G/) | F2 D=E “tr”E2 | (F2 F)D.A.c |
{B/c/}(B2 B)(AG^F) | (.G.A.B.c.)
(A>G) | G4 G2 | G4 ||
LITTLE BLACK ROSE BUD. See "Rois Bheag
Dhubh," "Roisin Dubh [1]."
LITTLE BLACK-HAIRED
ROSE. See "Rois Bheag Dhubh," "Roisin Dubh [1]."
LITTLE BLUE EYES. AKA and see "'Tits Yeux
Bleus."
LITTLE BOGTROTTER. AKA and see “Basket of
Oysters [2],” “Bunch of
Currents [1],” “The Bunch of Roses
[3],” "Greensleeves,"
"I'm a Silly Old Man,” “Shady Lane,” “Spring in the Air.” Irish, Jig.
LITTLE BOSS. AKA and se “Richmond Cotillion.”
LITTLE BOBBY. Old-Time, Breakdown. USA, Kentucky. D Major. Standard tuning. AA’BB.
John Harrod has identified the tune as part of the “Boatman” family of tunes.
Source for notated version: John M. Salyer (Salyersville, Magoffin County, Ky.,
1941) [Titon]. Titon (Old-Time Kentucky Fiddle Tunes), 2001; No. 91, pg.
120. Berea College Appalachian Center ACC03, John M.
Salyer – “Home Recordings, 1941-42, Vol.1” (1993).
LITTLE BOY, LITTLE BOY. See “Little Boy,
Where’d You Get Your Britches?”
LITTLE BOY WENT
A-COURTIN'. Old‑Time, Breakdown. USA,
Mississippi. A Major. Recorded for the Library of Congress in 1939 by Herbert
Halpert from the playing of Lauderdale County, Mississippi, fiddler Frank
Kittrell.
LITTLE
BOY, WHERE'D YOU GET YOUR BRITCHES?
AKA and see "Little Boy, Little
Boy." Old-Time, Breakdown. USA, Kentucky. G Major. Standard tuning.
AAB (Titon): AABB (Phillips). The ‘B’ part is a variant of the ‘A’ part of the
Kentucky tune “Huldy in the
Sinkhole.” Source Davenport learned the tune from his father, Will
Davenport, and is the only source for the melody. He sang this ditty to the
tune:
***
Daddy cut ‘em out and Mammy sewed
the stitches.
***
Source for notated versions: Clyde
Davenport (Monticello, Wayne County, Ky.) [Phillips, Titon, Kuntz]. Kuntz,
Private Collection (via Liz Slade). Phillips (Traditional American Fiddle Tunes, Vol. 1), 1994; pg. 142. Titon (Old-Time
Kentucky Fiddle Tunes), 2001; No. 92, pg . 121. Berea
College Appalachian Center AC002, Clyde Davenport – “Puncheon Camps “
(1992). Rounder 0197, Bob Carlin ‑
"Banging & Sawing" (1985. Learned from fiddler Clyde Davenport
via New York revival fiddler Liz Slade).
LITTLE BOY WORKING ON
THE ROAD [1]. Old‑Time, Breakdown. USA,
East Kentucky. A Mixolydian. Standard or AEae tuning. AAB. Source J.W. Day
recorded the tune in New York in 1928. Source for notated versions: James W.
Day {real name ‑ Jilson Setters, b. 1860, Rowan County, Tenn} [Krassen,
Titon]. Krassen (Masters of Old Time
Fiddling), 1983; pg. 23. Titon (Old-Time Kentucky Fiddle Tunes),
2001; No. 93A, pg. 122. Victor 40025 (78 RPM), Blind
Bill Day (1928).
LITTLE BOY WORKING ON
THE ROAD [2]. Old‑Time, Breakdown. USA,
East Kentucky. A Mixolydian. AEae tuning. AA’B. Words sung to the melody,
according to Razor Wolfenbarger (see Rounder 0394) went:
***
Little boy, little boy, working on
the road,
Working for a dollar to pay his
board.
***
Source for notated version: Effie
Pierson (Green Hall, Owsley County, Ky., 1979) [Titon]. Titon (Old-Time
Kentucky Fiddle Tunes), 2001; No. 93B, pg. 122.
LITTLE BRANCH OF NUTS. See "Little Cluster of
Nuts."
LITTLE BROTHER OF MY
HEART ("Dearbratairin
O Mo Croide" or "Drahaareen-O Mochree"). Irish, Air (3/4 time). D Major
(Joyce/1909, Roche): F Major (Joyce/1890). Standard tuning. One part. In his
1890 edition of Ancient Irish Music
P.W. Joyce notes that this air was well-known all over the south of Ireland,
and that he had known both air and words since his childhood (in the 1840's in
Limerick). "This song, sung to the same air as 'Jemmy, My Thousand Treasures'
(which is an older song), was perhaps more familiar in Munster than that song.
I have many copies of it on ballad‑sheets, printed by 'Haly, Printer,
Cork'" (Joyce).
***
I am a young follow that always loved rural sport;
The fairs and the patrons of Erin I used to resort;
The true sons of Bacchus were always my companie,
Until I was deprived of my Draharee-O-Machree!
***
Howe (1000 Jigs and Reels), c. 1867; pg. 24.
Joyce (Ancient Irish Music), 1890;
No. 38, pg. 40. Joyce (Old Irish Folk
Music and Song), 1909; No. 402, pgs. 212‑213. Roche Collection, 1982, vol. 1; No. 18, pg. 12.
X:1
T:Drahareen-O-Machree
T:Little
Brother of My Heart
M:3/4
L:1/8
R:Air
S:Joyce – Ancient
Irish Music (1890)
Z:AK/Fiddler’s
Companon
K:F
DE | F2G2A2
| A f3 ed | c2d2A2 | G4F2 | F4 c2 | f2A2A2 | c3d e2 |
f4 (3gfe |
d4 (3cAG | A4 (3cde | f2A2A2 | c2d2e2 | f4 (3gfe |
d4 (3cAG |
A4 DE | F2G2A2 | A f3 ed | c2d2A2 | G4F2 | F4 ||
LITTLE BROWN DOG WALTZ. ("Oh where, oh where, has my little dog gone?") AKA and see
"Lauderbach."
LITTLE BROWN HAND. AKA and see “Brown Leaf Rag.”
Old-Time. In the repertoire of Virginia fiddler Albert Hash.
LITTLE BROWN JUG. American; Jig, Schottische (2/4 time) and Song Tune. D Major ('A' part)
& D Mixolydian ('B' part) [Cole]: D Major [Bayard, Ruth, Silberberg,
Sweet]: C Major [Ford]: G Major [Phillips]. Standard tuning. AB (Ruth,
Silberberg): AA'B (Bayard): AABB (Phillips): AA'BB' (Sweet). The tune goes to a
once‑popular college song, but it appears to have originally been
composed for the minstrel stage by one 'Eastburn', believed to be a pseudonym
for Joseph E(astburn) Winner (1837-1918). He copyrighted the melody in 1869.
J.E. Winner, as the name on the copyright goes, of Philadelphia, was the
younger brother of the composer and publisher Septimus Winner. “Little Brown
Jug” is credited to one Jas. Hand in Ryan’s
Mammoth Collection (1883), although this is considered unreliable. It has
been suggested that the second strain of the “Jug” tune is a variant of the
first strain of Irish melody “Tatter Jack
Walsh.”
***
Me and my wife, little black dog,
Crossed the creek on a hickory log;
She fell in, got stuck in the mud,
But I still hung to my little brown jug.
***
Despite its stage origins, the tune
quickly entered traditional repertoire and appears to have been widely
disseminated. “Little Brown Jug” was cited as having commonly been played at
Orange County, New York, country dances in the 1930's (Lettie Osborn, New York Folklore Quarterly), and it was
known at the same time at the other end of the country by Arizona fiddler
Kenner C. Kartchner, who said, "many an amateur plays this simple old
song" (Shumway). The tune was recorded for the Library of Congress by
musicologist/folklorist Vance Randolph from Ozark Mountain fiddlers in the
early 1940's. Mt. Airy, North Carolina, fiddler Tommy Jarrell learned the tune
from his father, because the lyric "tickled" him. African-American
fiddler Cuje Bertram (Ky.) recorded the tune in 1970 on a home recording made
for his family. Another African-American fiddler, North Carolinian Joe
Thompson, played the tune in FCGD tuning. It was recorded on a 78 RPM by
Kanawha County, West Virginia fiddler Clark Kessinger (1896-1975).
***
“Little Brown Jug” was the second
tune that Missouri fiddler Art Galbraith learned as a boy, who received
instruction from his Uncle Mark (a three-fingered fiddler, the result of an
accident chopping corncobs), his cousin and others. Art’s father, no musician,
was proud of his son’s budding talent and was constantly prodding him to play
for anyone who would listen, and this was well-known in the family. One day the
young Galbraith attended a Fourth of July picnic on the James River that
featured a square dance:
***
So most of the time while they were dancing, all I was doing was
listening to the music. Dancing didn’t interest me much. Then (his
cousin) said, “Come here a minute. Take this fiddle and play. I want
to dance one.” And, oh, it just scared me to death to get up before
all those hundreds of people. I knew nearly every one of them and
they knew me, but that was the worst thing that could happen.
But he kept on. He said, “Why, you can do it. I showed you how
to play it. Play Little Brown Jug.” So I got up
there and the
guitar player says, “Well, I’ll play with you!” So I played for
a square dance set. It scared me. I was just miserable. But I got
through it and they danced, so I guess it was all right. And later
on I played with him and others for dancing after I got to
learning more tunes. (Bittersweet Magazine, 1981)
***
Phillip's version is only loosely
based on the familiar song tune. Sources for notated versions: Wilbur Neal
(elderly fiddler from Jefferson County, Pa., 1948) [Bayard]; Brian Hubbard
[Phillips]; caller George Van Kleeck (Woodland Valley, Catskill Mtns., New
York) [Cazden]; Mark Gaponoff [Silberberg].
***
Adam, No. 7. Bayard (Dance to the Fiddle), 1981; No. 428, pg.
406. Cazden (Dances from Woodland),
1945; pg. 6. Cole (1000 Fiddle Tunes),
1940; pg. 54. Ford (Traditional Music in
America), 1940; pg. 33. Jarman (Square
Dance Tunes), No. or pg. 20. Phillips (Traditional
American Fiddle Tunes), vol. 1, 1994; pg. 142. Ruth (Pioneer Western Folk Tunes), 1948; No. 12, pg. 6. Ryan’s Mammoth Collection, 1883; pg. 82.
Silberberg (Tunes I Learned at Tractor Tavern), 2002; pg. 91. Sweet (Fifer’s Delight), 1965/1981; pg. 10. County 778, Tommy Jarrell ‑ "Pickin' on Tommy's
Porch" (1984).
X:1
T:Little Brown Jug
M:2/4
L:1/8
S:Ruth – Pioneer Western Folk Tunes (1948)
Z:AK/Fiddler’s Companion
K:D
F[F/A/][F/A/]
[F/A/][F/A/][F/A/][F/A/]|G[GB][G2B2]|
A[E/c/][E/c/]
[E/c/][E/c/][E/c/][E/c/]|A[Fd] [d2f2]|
F[F/A/][F/A/] [F/A/][F/A/][F/A/][F/A/]|G[GB][G2B2]|
A[Ec] c/B/c/d/|e[Fd] [F2d2]||f/g/a/f/ d2|fe g2|gc c/d/e/f/|
ed f2|f/g/a/f/ d2|fe g2|{a/}bc
c/d/e/f/|ed d2||
LITTLE BUNCH OF RUSHES, THE. AKA and see “(An) Beinsín Luachra.” Irish. The
melody appears in Bunting’s second volume of Irish tunes (1809).
LITTLE BURNT POTATO. AKA ‑ "Burnt Potato." American, Canadian, Irish; Single
Jig. USA; New England, New York, Missouri. Canada; Maritimes, Ontario. D Major.
Standard tuning. AB (Begin): AABB (Brody): AA'BB' (Barnes, Bayard, Carlin,
Messer, Miller & Perron, Perlman, Phillips). “Little Burnt Potato” was
popularized by Canadian Maritime radio and TV fiddler Don Messer. The tune has
been characterized as Irish in origin, although in fact it is the composition
of fiddler Colin Boyd. Boyd was born in West Lakeville, Nova Scotia, in 1891,
and learned to play the fiddle as a child. He later studied violin in Boston,
and had the distinction of being the first Nova Scotian fiddler to record in
1932. He died in 1975. “Little Burnt Potato” was in the repertoire of Cyril
Stinnett (1912-1986), a fiddler who epitomized the "North Missouri
Hornpipe Style," and who knew many Canadian tunes from listening to
late-night radio when northern stations came in loud and clear. Omer Marcoux's
version is a combination of "Blackberry
Quadrille" and "Little Burnt Potato." Sources for notated
versions: Bradley Grimshaw (northern N.Y.; 1958) [Bayard]; Dawson Girdwood
(Perth, Ottawa) [Begin]; transplanted French-Canadian fiddler Omer Marcoux
{1898-1982} (Concord, N.H.), who identified the tune as “Irish” [Miskoe &
Paul]; Francis MacDonald (b. 1940, Morell Rear, North-East Kings County, Prince
Edward Island) [Perlman]. Barnes (English
Country Dance Tunes, vol. 2), 2005; pg. 5 (appears as “Arnold’s Circle,”
the name of a dance set to the jig). Bayard (Dance to the Fiddle), 1981; No. 573, pg. 510. Begin (Fiddle Music in the Ottawa Valley: Dawson
Girdwood), 1985; No. 1, pg. 15. Brody (Fiddler’s
Fakebook), 1983; pg. 170. Carlin (Master
Collection), 1984; No. 235, pg. 137. Messer (Anthology of Favorite Fiddle Tunes), 1980; No. 157, pg. 106. Miller
& Perron (New England Fiddlers
Repertoire), 1983; No. 24. Miskoe & Paul (Omer Marcoux), 1994; pg. 45. Perlman (The Fiddle Music of Prince Edward Island), 1996; pg. 131. Phillips
(Traditional American Fiddle Tunes),
vol. 2, 1995; pg. 371. F&W Records 6, The Fireside
String Band‑‑ "Square Dance Tunes for a Yankee Caller."
Fretless 119, Rodney and Randy Miller‑ "Castles in the Air."
Fretless 122, William Santos‑ "Ole Time Fiddling 1976."
X:1
T:Little Burnt Potato
M:6/8
L:1/8
R:Jig
K:D
a^ga bag|afd A2d|f2a g2f|e3 Bcd|e2f e2d|cAc a2a|1 a^ga ba=g|f3 fg^g:||2
a^ga b2c| d3 a2g||:f2A f2A|f3 f2e|dcd agf|g3 gef|gba gfe|dcB A3|1
a^ga
ba=g|f3 a2g:||2 a^ga b2c|d3 d3||
LITTLE CASCADE, THE. Scottish, Reel. E Minor. Standard tuning.
AA’BBCC’DDEEFF. A pipe tune composed by Pipe Major George S. MacLennan
(1883-1927), a revered piper in Highland circles. Martin (Ceol na Fidhle), vol. 4, 1991; pg. 7. McLennan (Highland Bagpipe Music). Rounder 3067, Alan Stivell ‑ "Renaissance of the
Celtic Harp" (1982).
X:1
T:Little Cascade, The
C: G.S, McLennan
M:4/4
L:1/8
R:Reel
K:Em
Beeg geBg | gfeB gBeg | Beeg geBg
|1fdAf fagf :|2fagf f3 e |: g | fBgf eg
bg | fBag g2 f>g | fBgf egBg |
fagf f2 eg :|: G2 Be Bege | g2 fg egbe |1G2 Be Bege |
fdAd fagf :|2 G2 be geBg | fagf f2
e>|: f | gefg efge | fdef defd | gefg efge | fagf f2 e> :|:
g | Begf e2 fd | Bedf edBA | Begf e2
fd | Bedf f2 e> :|:
g | GdBe df e2 | gfge Bega |1 GdBe
df e2 |2 gfge fded | Bedf f2 d :|
LITTLE CAT. Old-Time, Breakdown.
USA, West Virginia. Elderberry Records, Lee Triplett –
“The Music Never Dies, A Vandalia Sampler, 1977-1987” (1988).
LITTLE CELIA CONNELLAN
[1] (Sile Bheag Ni
Chonnalain).
AKA - "Sheala Ni Chonallain,"
"Sheela Beg Ni Chonallain,"
"Little Mary Cullinan." Irish,
Slow Air (4/4 or 2/4 time). D Dorian (Joyce): F Minor. Standard tuning. AB
(Joyce). There are several versions of this once-popular Irish song, composed
by the great Sligo harper Thomas Connallon, in either 1650 or 1660. "(The
Irish collector) Forde took a setting from Hugh O'Beirne and another from Paddy
Conneely (p. 254). I give these two settings here, as they differ considerably
from Bunting's two: notably they are plainer and less interrupted by
instrumental ornaments and variations...I think it likely that these two
versions from two skilled native players of (the composer Thomas) O'Connallon's
neighbourhood better represent his original composition than Bunting's do.
There is a simple and very pretty Irish song to tis air (sighile Bheag ni
Choindealbhain: Edw. Walsh, Irish Popular Songs, p. 94: Hardiman's Ir. Minstr.
I. 220), which sings smoothly to the two versions of the air given here. But
Bunting's two settings are so complicated ‑‑especially the first‑‑that
it is impossible to sing the words to them" (Joyce). Bunting's 1st version
is probably a harp rather than vocal version. Sources for notated version: the
version in Joyce was noted in 1846 from Hugh O'Beirne, professional fiddler
(Ballinamore, Co. Leitrim); Bunting noted his from harper Arthur O'Neill in
1792, according the the index of his 1840 collection. Joyce (Old Irish Folk Music and Songs), 1909;
No. 586, pg. 306. O'Sullivan/Bunting, 1983; No. 49, pgs. 78-79.
LITTLE CELIA O'CONNELLAN
[2]. Irish, Slow Air (4/4 time). D
Dorian. Standard. AB. Source of notated version: Paddy Conneely, the Galway
piper. Joyce (Old Irish Folk Music and
Songs), 1909; No. 587, pgs. 306‑307.
LITTLE CLUSTER/BRANCH
OF NUTS (Craoibin Cno). Irish, Air (6/8 time). C Major.
Standard tuning. AB. Darley & McCall identify this as a lullaby air. Source
for notated version: the lilting of Mrs. Elizabeth McCall (Ireland) [Darley
& McCall]. Darley & McCall (The
Darley & McCall Collection of Traditional Irish Music), 1914; No. 62,
pg. 28.
LITTLE CREEK RAG. Old‑Time, Country Rag. USA, Missouri. A Major. Standard tuning.
AABB. A fast breakdown piece composed by Missouri fiddler Lonnie Robertson.
Source for notated version: Lonnie Robertson (1908-1981, Springfield, Mo.)
[Beisswenger & McCann]. Beisswenger & McCann (Ozark Fiddle Music),
2008; pg. 119. Caney Mountain Records CEP 207
(privately issued extended play LP), Lonnie Robertson – “Missouri Fiddling” (c.
1965‑66).
LITTLE CUCKOO OF ARD
PATRICK, THE. Irish, Air (3/4 time). G Major.
Standard tuning. ABB. Source for notated version: “From Father Walsh”
[Stanford/Petrie]. Stanford/Petrie (Complete
Collection), 1905; No. 583, pg. 147.
X:1
T:Little cuckoo of Ard Patrick, The
M:3/4
L:1/8
N:”Allegro”
S:Stanford/Petrie (1905), No. 583
Z:AK/Fiddler’s Companion
K:G
dc | B2 A>B c2 | B2B2 cA | G2G2
GF | GA B2 z2 | A2 FA G2 | F2F2 G>E |
D2D2 E^C | DE D2 |: D/E/F/G/ | A2 AB
c2 | B2B2 c>A | G2G2 GF |
GA c2 (3def | g2 a>g g>e | d2
d>B cA | G2G2 cA | GA G2 :|
LITTLE DAISY. Old‑Time. USA, Southern Kentucky. Source: Pat Kingerey (southern
Ky.).
LITTLE DIAMOND [1]. American, Dance Tune (2/4 or 4/4 time). A Major. Standard tuning. AABB.
Listed as a 'jig' in Ryan’s Mammoth
Collection, meaning a type of syncopated 19th century old-time
banjo tune rather than the more familiar Irish jig. Tunes such as this were
often called “straight” or “sand” jigs (the latter from the practice of
spreading sand on a stage floor to reduce friction). Cole (1000 Fiddle Tunes), 1940; pg. 82. Kerr (Merry Melodies), vol. 2; No. 430, pg. 49. Ryan’s Mammoth Collection, 1883; pg. 115.
X:1
T:Little Diamond [1]
M:2/4
L:1/8
R:”Sand” Jig
S:Ryan’s Mammoth Collection (1883)
Z:AK/Fiddler’s Companion
K:A
e/c/z/e/ z/c/e | e/c/z/A/ B/c/A |
f/d/zf/ z/d/f | e/c/z/A/ B/c/A :|
|: E/A/ (3A/A/A/ c/c/z/c/ | z/d/z/f/
e2 | (3e/f/g/ a/A/ B/c/A | E/c/z/A/ B/c/A :|
LITTLE DIAMOND [2]. AKA and see “The Girl from
Lettermore.” Irish, Polka. D Major. Standard tuning. AA'BB (Callaghan,
Taylor): AA’BB’ (Mallinson). The tune was recorded in New York in 1936 on a 78
RPM disc by the master Irish fiddler from County Sligo, James Morrison, with
his band. He paired “Little Diamond” with “The Magic Slipper [2].” Philippe
Varlet finds that the Martin Flaherty Band recorded it for Copley as "The
Girl from Lettermore." No relation to version #1. The tune has been picked
up by English traditional musicians and can be heard in sessions in that
country. Callaghan (Hardcore English),
2007; pg. 41. Mallinson (100 Polkas),
1997; No. 35, pg. 14. Taylor (Crossroads
Dance), 1992; No. 59, pg. 46. Treoir.
Columbia (78 RPM), James Morrison & Band (Co.
Sligo/New York) {1936}. Mulligan LUNCD 059, Gerry Harrington, Eoghan
O’Sullivan, Sceal Eile. Shaskeen ‑ "The Mouse Behind the Door."
Seamus Begley & Steve Cooney – “Meitheal.”
X:1
T:Little Diamond [2]
T:Girl from Lettermore, The
M:2/4
L:1/8
Z:Tacey Deyrup
K:D
A>B AF|DF Ad|A>B AF|GF EF/E/|DEFG|ABcd|e>d ce|1 dA GE:|2 d2 de||
fd g>e|fd cB|Ad cd|fe e>g|fd g>e|fe cB|Ag ec|1 d2 de:|2 dA GE||
X: 2
T: Little Diamond [2]
S: Treoir
M: 2/4
L: 1/8
Q: 275
R: polka
Z: Transcribed by Bill Black
K: D
A>B AF | DF AF | A>B AF | GF EF/E/ |
DE FG | AB cd | e>d ce | dA GE ||
A>B AF | DF Ad | A>B AF | GF EF/E/ |
DE FG | AB cd | e/f/e/d/ ce | d2 d>e ||
fd ge | fd cB | Ad cd | fe e>g |
fd
ge | fd cB | Ag ec | d2 d2 :|
LITTLE DOG, TROTTIN'
DOWN THE RIVER. Old-Time, Breakdown. USA, Missouri.
G Major. Standard tuning. Known as a Missouri tune. Missouri
State Old Time Fiddlers' Association, Cyril Stinnett (1912-1986) - "Plain
Old Time Fiddling."
X:1
T:Little Dog Trottin Down The River
M:4/4
L:1/8
K:G
B d3|B d3 dedB|A G3 B d3|D2 D2 D/E3/2{D }EG|A G3 B d3|B d3 dedB |
A G3 {B}d2 B2|AGEG DEGA |B G3 A B3|A B3 GBAG |BA G2 B d2 B |
AG
E2 DDEG |A G3 A B3 |A B2 A GBAG|B G3 {B}d2 B2 |AGEG DEGA |B G3 ||
LITTLE DONALD IN THE
PIGPEN. Canadian, Reel. Canada, Prince
Edward Island. A Mixolydian. Standard tuning. AB (Dunlay): AAB (Perlman): AABB
(Songer). Ken Perlman, in The Fiddle
Music of Prince Edward Island (1996), writes that fiddler Hector MacDonald
(Bangor, Kings County, PEI) came up with the name in the 1930's while
performing it on the radio. Dunlay & Greenberg note that the second turn of
the tune sounds like some settings of “Pigeon on the Gate.” Sources for
notated versions: Stanley Myers (of Holbrook, Mass., originally from Marinvale,
Prince Edward Island) [Dunlay & Greenberg, Dunlay and Reich]; Leonard
MacDonald (b. 1933, Emyvale, Queens County, Prince Edward Island) [Perlman];
Oregon fiddler David Reich via Rick Macquoid (Portland, Oregon) [Songer].
Dunlay & Greenberg (Traditional
Celtic Violin Music of Cape Breton), 1996; pg. 54. Dunlay and Reich (Traditional Celtic Fiddle Music of Cape
Breton), 1986; pg. 37. Perlman (The
Fiddle Music of Prince Edward Island), 1996; pg. 98. Songer (Portland Collection), 1997; pg. 126. CEI 8001, Winnie Chafe - “Echoes” (1988). RF-9001, John Morris
Rankin - “Fare Thee Well Love.” Nimbus NI 5383, John Morris Rankin et al. -
“Traditional Music from Cape Breton Island” (1993).
X:1
T:Little Donald in the Pigpen
M:2/4
L:1/8
R:Reel
K:D
cd|:e2 cA eAcA|Aeec defa|e2 cA eA c2|BABc defa| e2 cA eAcA|
Aeec defa|e2 cA eA c2|BABc defd| eaaf gfed|eaaf g2 fd|eaaf gfed|
cABc defd| eaaf gfed|eaaf g2 fg|afge faed|BGGd BGBd:||
LITTLE DONALD'S WIFE. AKA and see "(An)
Gabh Thu Bean, A Dho'ill Bhig."
LITTLE DRIVER.
English, Jig. G Major. Standard tuning. AABB. The melody also appears in
John Johnson’s 200 Favourite Country Dances, vol. 8 (London, 1758).
Thompson (Compleat Collection of 200 Favourite Country Dances, vol. 1),
1757; No. 154.
X:1
T:Little Driver
M:6/8
L:1/8
B:Thompson’s Compleat Collection of 200 Favourite Country Dances, vol. 1 (London, 1757)
Z:Transcribed and edited by Flynn Titford-Mock, 2007
Z:abc’s:AK/Fiddler’s Companion
K:G
“tr”G3
ABc|def gdB|”tr”G3 ABc|BGE AFD|”tr”G3 ABc|def gdB|ede AB^c|”tr”d3 D3:|
|:”tr”d3 ede|ABc BAG|”tr”e3 fef|gfe dcB|D3 EFG|ABc def|gdB cAF|G3 G,3:||
LITTLE DRUMMERS, THE. Irish, Double Jig. D Major. Standard tuning.
AABB. Roche Collection, 1983, vol. 1;
No. 102, pg. 44.
LITTLE DUKE'S. American, Reel. G Major. Standard tuning. AABB. Cole (1000 Fiddle Tunes), 1940; pg. 39. Ryan’s Mammoth Collection, 1883; pg. 67.
X:1
T:Little Duke’s
M:C|
L:1/8
R:Reel
S:Ryan’s Mammoth Collection (1883)
Z:AK/Fiddler’s Companion
K:G
G2 ge dBAG | .F(DA)(D B)(DA).D | G2
ge dBAG | .F(GA)(c B).G G2 :|
|: g(ed)(B c).A(Aa) | .f(da)(d
b)(da).d | .g(ed)(B c).A.A(c | d)(fg)(a b).g g2 :|
LITTLE DUTCH GIRL [1]. AKA and See "Goin'
Down the River." Old‑Time, Breakdown. USA; Missouri, Oklahoma. A
Major (Thede). AEae or Standard tunings. AABBCC. Thede speculates that the tune
originated in Dutchtown, Missouri. There appears to be two tunes called “Little
Dutch Girl” in the Ozark region, both connected with the Collins family. The
first, printed by Thede is from Willie Collins, the father of Earl, who is the
source for the second (see “Little Dutch Girl [2]”). Thede gives the following
lyric, sung to the tune.
***
Boat begin to rock, her heart began to quiver,
I up with a rock and knocked her in the river.
***
Little Dutch Girl, if you don't do me better,
I'll build me a boat, float you down the river.
***
Source for notated version: W.S.
Collins (Pottawatomie County, Oklahoma) [Thede]. Thede (The Fiddle Book), 1967; pg. 85.
LITTLE DUTCH GIRL [2].
AKA and see “Liza Jane [3].” Old-time,
Breakdown. USA, Missouri. A Major (Beisswenger & McCann): G Major
(Phillips). Standard tuning. AB (Silberberg): AABB (Beissenger & McCann,
Phillips). According to Drew Beisswenger
(2008), both source Earl Collins and Missouri fiddler Bob Holt heard the tune
played in Douglas County, Mo., when they were young. This is the second “Little
Dutch Girl” tune associated with the Collins family; however, Marion Thede did
include this melody in The Fiddle Book (1967, collected from Oklahoma
fiddler Joe Wilsie) albeit under the title “Liza Jane No. 3,” perhaps because
these lyrics are associated with it:
***
I’ll go down the new cut road,
And Liza down the lane;
I’ll throw my hat in the corner
fence,
And scare poor Liza Jane.
***
Sources for notated versions: Earl
Collins (1911-1975, originally from Douglas County, Mo.) [Beisswenger &
McCann]; Pete Sutherland with Tom MacKenzie [Phillips]. Phillips (Traditional American Fiddle Tunes), vol.
1, 1994; pg. 142. Silberberg (Tunes I Learned at Tractor Tavern), 2002;
pg. 91. Beisswenger & McCann (Ozark Fiddle Music), 2008; pg. 176. Rounder CD0364, The Boiled Buzzards - “The Marimac
Anthology: Deep in Old-Time Music.” Sierra/Briar Records SBR-4204, Earl Collins
– “That’s Earl” (1975).
See also listing at: Jane Keefer’s Folk Music Index: An
Index to Recorded Sources |
X:1
T:Little
Dutch Girl
M:C|
L:1/8
S:Bruce
Molsky
Z:AK/Fiddler’s
Companion
K:A
e2 f>g
a2c2 | e>fe>d c>Ac>d | e2 f>g a2c2 | (e3fe4) | e2 fg a2c2 |
efed cAAB |
cA2c BA G2 | (A3B A4) :: e2 ef e2d2 | c3c c2 {B}(c2 |
c)A cA dc3 | B3c B2 (A2 | A2) A>f
f3f | efed c2 AB | cA2c B2G2 | (A3BA4) :||
LITTLE EDDY. Canadian, Reel. Canada, Cape Breton. E Major. Standard tuning. AB.
Composed by Cape Breton fiddler and composer Dan R. MacDonald (1911-1976).
Cameron (Trip to Windsor), 1994; pg.
32.
LITTLE FAIR CANNAVANS, THE (Na Ceannabháin Bhána). See “(Na) Ceannabháin Bhána.”
LITTLE FAIR CHILD [1] (An Paisdin Fionn). AKA and see “The Fair-Haired Child [1],” “Paisdin/Paistin Fionn [1].”
Irish, Air (6/8 time). D Dorian (Roche): D Major (O’Neill). Standard tuning.
AB. O’Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 7, pg. 2. Roche Collection, 1983, vol. 1; No. 21,
pg. 13.
X:1
T:Little Fair Child, The [1]
T:An Paisdin Fionn
M:6/8
L:1/8
R:Air
N:”Tenderly”
S:O’Neill – Music of Ireland (1903), No. 7
Z:AK/Fiddler’s Companion
K:D
G|Add dcd|eg f2e|dcA AGA|{A}B2G
A2z/G/|Add dcd|efg f2e|dcA GEA|D3D2||
D|FGA BGG|cAG AFD|FGA cAG|Ade
d2D|FGA cAG|AGA fde|dcA GEA|D3D2||
X:2
T:Little Fair Child, The [2]
T:An Paisdin Fionn
M:6/8
L:1/8
N:”Moderato”
S:Roche (vol. 1, 21)
K:D
A|Add {e}dcd|{e}f2d {f}e2d|dcA
{E}FGA|Bc>A B2A|Add {e}dcd|
{e}f2d {f}e2d|dcA GEA|EDD
D2||E|F>GA cAG|cAG cAG|
F>GA cAG|Add d2E|F>GA cAG|Ade
{e}f2e|dcA GEA|EDD D2||
LITTLE FAIR CHILD [2] (An Paisdin Fionn). Irish, Air (6/8 time). D Major (‘A’ part)
& D Minor (‘B’ part) {O’Neill}: E Dorian {Roche}. Standard tuning. AB.
Source for notated version: Sergeant James O’Neill [O’Neill]. O’Neill (Music
of Ireland: 1850 Melodies), 1903/1979; No. 8, pg. 2.
X:1
T:Little Fair Child [2]
M:6/8
L:1/8
R:Air
S:O’Neill – Music of Ireland (1903), No. 8
Z:AK/Fiddler’s Companion
K:D
A/A/|d>ed cde|f>ed e2
f/e/|d>cA/G/ FGA/B/|c2A A2 A/A/|d>ed cde|f2d e2f/e/|
dcA G2 A/G/|FDD D2||
K:Dmin
D/E/|F>GA/B/ cAA|BGG
cAG|F>GA/B/ cAG|Add d2 D/E/|F>GA/B/ cAG|
Ade fge/d/|cAF G>BA/G/|FDD D2||
X:2
T:Little Fair Child [2]
M:6/8
L:1/8
S:Roche
K:Edor
B|e>fe def|g2e f2 {a}g/f/|ed B/A/
G>AB/c/|d/>f/ e/d/B/A/ B2 B/d/|
e>gf/e/ dB (7E/G/A/B/d/e/f/|g2e
f2 g/f/|edB AGF|E3 E2||E/F/|
G>AB/c/ dBB|cAA
dB>A|G>AB/c/ d/>f/ e/d/B/A/|Be/>g/ (f/2e/2d/2e/2f/2e/2) e2 E/F/|
G>AB/c/ dBA|Bef ga g/f/|edB
A>=cB/A/|GEE E2||
LITTLE FANNY'S FANCY. AKA and see “Bliven’s
Favorite,” "The Butchers
of Bristol [1]", "By your leave, Larry Grogan,"
"Coppers and Brass [2]",
“The County Limerick Buckhunt,"
"Finerty's Frolic," “Green
Sleeves [3]," "Groom," "Hartigan's Fancy," “The Humors of Ennistymon [1],"
"The Humours of
Milltown [2]," "Larry
Grogan(‘s) [1]", "The Lasses of Melrose," “Lasses of Melross,” "Lynn's Favourite," "Lynny's
Favourite," "Pingneacha Rua agus Pras," “Queen of the Rushes,” "The Waves of Tramore," “Willie Clancy’s.” Irish, Jig. O’Neill
gives this title as an alternate for “Hartigan’s Fancy” in his Dance Music of Ireland (1907), obviously
part of a rather large tune family. See note for “Groom.”
LITTLE
FANNY'S LOVE [1]. English, Dance Tune (2/4 time). G
Major. Standard tuning. AABB. Huntington (William
Litten's), 1977; pg. 21.
X:1
T:Little Fanny’s Love [1]
M:2/4
L:1/8
S:Huntington – William Litten’s Fiddle Tunes 1800-1802
Z:AK/Fiddler’s Companion
K:G
d>e d>B | dgbg | dB AG | AG AB
| d>e d>B | dg bg | dB AB | G2G2 :|
|: b>c’ b>a | ge ge | dg bg |
ag eg | d>c B>g | ed cc’ | bg d’b | b2a2 |
g>a b>a | gf ec’ | ab c’b | ag
fd’ | ba ge | db ge | dB AB | G2G2 :|
LITTLE FANNY’S LOVE
[2]. English, Reel. D Major. Standard
tuning. AABB. Kennedy (Traditional Dance
Music of Britain and Ireland: Reels and Rants), 1997; No. 104, pg. 26.
LITTLE FIELD OF BARLEY, THE. AKA and see "An Goirtin Earnan."
LITTLE FISHIE. English, Old Hornpipe (3/2 time). England, Northumberland. G Major.
Standard tuning. AABB. Leitrim piper Brian McNamara finds the second part of
this tune very similar to that of the hop jig “Do it Fair.” Bruce & Stokoe
(Northumbrian Minstrelsy), 1882; pg.
180.
X:1
T:Little Fishie
M:3/2
L:1/8
S:Bruce & Stokoe – Northumbrian
Minstrelsy (1882)
Z:AK/Fiddler’s Companion
K:G
(D2G2)G2 G2(F2A2)|(G2B2)B2 B2(c2e2)|(d2B2)B2 G2(F2G2)|/
A2B2c2E2F4|(D2G2)G2G2(F2A2)|(B2G2)G2G2(F2A2)|/
(G2B2)B2 B2(c2e2)|(d2B2)B2G2 (Ac)(Bd)|c2E2E2F2G4:|/
d2(g2f2)(g2d2)B2|(A2B2)c2d2B4|d2(g2f2)(g2f2)g2|(e2b2) a2^c2(d4|/
d2)=f2e2d2c2B2|(c2e2)A2G2F4|(d2B2)B2G2
(Ac)(Bd)|c2E2E2F2G4:|
LITTLE FLORRIE. AKA and see “Little Hennie.” English,
Hornpipe. England, Northumberland. G Major. Standard tuning. AABBCC. Composed
by Robert Whinham (1814-1893), a musician, teacher, composer, dancing master
and fiddler, originally from Morpeth. Graham Dixon (1995) believes the
"Little Hennie" title in the Charlton Memorial publication was a
misinterpretation of Whinham's "Little Florrie" owing to the florid
sytle of writing in the orginal manuscript the tune was copied from. Other that
the title, both versions are musically identical. Source for notated version:
T. Armstrong manuscript c. 1850 in John Armstrong of Carrick’s collection
[Dixon]. Dixon (Remember Me), 1995;
pg. 29.
LITTLE FOOT UP AND BIG
FOOT DOWN. Old‑Time. The title appears
in a list of traditional Ozark Mountain fiddle tunes compiled by
musicologist/folklorist Vance Randolph, published in 1954.
LITTLE FOX, THE. AKA and see "An Maidrin Rua."
LITTLE FOOT PRINTS. See “Footprints in the
Snow.”
LITTLE GAL’LL FOOL YA. Old-Time, Breakdown. D Major. From fiddler Joe Birchfield.
LITTLE GIRL DRESSED IN
BLUE. Old‑Time. The title appears
in a list of traditional Ozark Mountain fiddle tunes compiled by
musicologist/folklorist Vance Randolph, published in 1954.
LITTLE GIRL IN
HAMPERTOWN. Old‑Time, Breakdown. USA;
Missouri, Oklahoma. G Major. Standard tuning. AABB. Source for notated version:
Earl Collins (Pottawatomie County, Oklahoma) [Thede]. Thede (The Fiddle Book), 1967; pg. 88.
LITTLE GIRL OF MY
HEART (Cailín beag mo
Chroidhe). AKA
and see "Colleen Bheag Machree,"
"How Can I Marry You."
Irish, Air (4/4 time). D Major/Mixolydian. Standard tuning. AB. O’Neill states
he frequently heard his parents sing this song when a boy near Bantry in west
Cork. The song tells of a girl who tries to conclude an engagement, only to
have her reluctant beau put her off by telling her he has a shortage in his
wardrobe; when she supplies the article, he demures and says he needs one more,
and so on. O'Neill (O’Neill’s Irish Music),
1915/1987; No. 19, pg. 19. O’Neill (Music of Ireland: 1850 Melodies),
1903; No. 4, pg. 1.
X:1
T:Little Girl of My Heart
M:C
L:1/8
R:Air
N:”Slow”
S:O’Neill – Music of Ireland (1903), No. 4
Z:AK/Fiddler’s Companion
K:D
FG|Add>c d2 cd|efgg f2 d>e|fd
c/A/G A2 cd|e2 {=f/e/}d2 d2 ^FG|Add>c d2 cd|
eage d2 de|fdc{d/c/}A
GB{c/B/}A>G|F2D2D2||d>c|
B2 BG A2 de|fdc{d/c/}A G2 FG|AB{d}cB
Adce|d2d2d2 dc|
B2 BG A2 de|fdc{d/c/}A G2 FG|AB{d}cB
A{B/c/}BG>A|F2D2D2||
LITTLE
GIRL WITH HER HAIR ALL DOWN BEHIND. Old‑Time, Breakdown. USA,
Oklahoma. A Major. AEae tuning. AABB. Source for notated version: W.S. Collins
(Pottawatomie County, Oklahoma) [Thede].
***
Sixteen miles away form home
Chickens a‑crowin' for day,
Sitting and a‑talkin' to my pretty little girl,
I'd better be gettin away.
***
Can you change a nickel?
Can you change a dime?
Can you change a pretty little girl
With her hair all down behind.
***
I can change a nickel,
I can change a dime,
I can change a pretty little girl
With her hair all down behind.
***
Thede (The Fiddle Book), 1967; pg. 24‑25.
LITTLE GOOD WIFE. Scottish, Slow Jig. One Part. A "goodwife" was once a term
for the mistress of a household. The tune appears in the Panmure MS #9454,
"Seventy Seven Dances, Songs and Scots Airs for Violin," c. 1675. Flying Fish, Robin Williamson ‑ "Legacy of the
Scottish Harpers, vol. 2."
LITTLE GRAVE ON
GEORGIA. Old-Time, Waltz. From North Georgia
fiddler Earl Johnson. The melody was also used by Uncle Dave Macon for his “Over
the Mountains.”
LITTLE GREEN COTTAGE, THE. AKA and see “Din Tarrant’s [5],” “The Humours of Ballydesmond,”
“Knocknaboul Polka [1],” “Knocknabower Polka [1],” “The Scartaglen Polka [1].”
LITTLE GREY CHURCH, THE (An Cillin-Liat). Irish, Jig. G Major. Standard
tuning. AB (O'Neill/1850): AABB (O'Neill/Krassen). O'Neill (Krassen), 1976; pg.
64. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1069, pg.
201.
X:1
T:Little Grey Church, The
M:6/8
L:1/8
R:Jig
S:O’Neill – Music of Ireland (1903),
No. 1069
Z:AK/Fiddler’s Companion
K:G
D | GAG GDE | GAG GAB | cec BdB |
ABG “tr”E2D | GDE GAB |
cBA Bcd | edc BAG | AEF G2 :: (A/B/)
| c2c cde | gdc Bcd | cdc BdB |
ABG AFD | GBd cAF | GAG Bcd | edc
BAG | AEF G2 :|
LITTLE GREY MARE OF
THE BRANCHES, THE (Glaisin Og Na
G-craobh).
Irish, Air (2/4 time). F Major. Standard tuning. One part. "i.e. that won
races" (Joyce). Source for notated version: Hugh O'Beirne, professional
fiddler from Ballinamore, Co. Leitrim, 1846. Joyce (Old Irish Folk Music and Songs), 1909; No. 635, pg. 323.
LITTLE HARVEST ROSE, THE (Ros Beag An Fogmair). Irish, Air or Planxty (4/4 time). F
Major. Standard tuning. AB. The composition is included in a section of tunes
credited to blind Irish harper Turlough O'Carolan (1678-1736) by O’Neill.
O'Neill (Krassen), 1976; pg. 232. O'Neill (Music of Ireland: 1850 Melodies),
1903/1979; No. 646, pg. 116.
X:1
T:Little Harvest Rose, The
M:4/4
L:1/8
R:Air
S:O’Neill – Music of Ireland (1903),
No. 646
Z:AK/Fiddler’s Companion
K:F
FG | A2 BA G2 AG | F2 ff f2 (c/d/f)
| (g/a/b) ag {f/g/}(fe) {d/e/}(dc) |
c2 “tr”d2 {c/d/}c2 FG | (A>cBA)
(G>BAG) | F2 ff f2 (c/d/f) | (gbag) (fedc) |
c2=B2c2 || fe | (ed)(dc) (cAGF) |
(FA/c/) ff f2 (g/f/d) | (c>BAG) (BAGF) |
(DF)FG F2 fe | (ed)(dc) (cA)(GF) |
Ac f2f2 (g/f/e/d/) | c2 AG (BAGF) | (DF)FG F2 ||
LITTLE HEATHY HILL [1], THE (An Cnoicin Fraoic). AKA and see "What Joyful Times." Irish, Air
(4/4 time) or Set Dance. B Minor (Roche): G Minor (Howe, O'Neill). Standard
tuning. AABB (Roche): AB (Howe, O'Neill). The Irish title is pronounced
“Knockeen-Free.” O’Neill’s version is note-for-note that printed earlier in
Howe’s 1000 under the title “Cnuicin Fraoigh.” Paul de Grae points out the
cleric James Goodman’s mid-19th century-collected melody “An Garbh Chnoicín Fraoich” (The
rough heathery little hill) may be a version of the tune in major mode (D
major), suggesting it may be an instance of a “creative mistake” in
transcription of the version later printed by O’Neill (or vice versa). Source
for notated version: John Doonan [Bulmer & Sharpley]. Bulmer & Sharpley
(Music from Ireland), 1974, vol. 1,
No. 78. Howe (1000 Jigs and Reels),
c. 1867; pg. 18 (appears as “Cnuicin Fraoigh”). O'Neill (O’Neill’s Irish Music), 1915/1987; No. 18, pg. 19. O’Neill (Music
of Ireland: 1850 Melodies), 1903/1979; No. 3, pg. 1. Roche Collection, 1983, vol.1; No. 23, pg. 13.
X:1
T:Little Heathy Hill, The [1]
M:C
R:Air
N:”Moderate”
S:O’Neill – Music of Ireland (1903), No. 3
Z:AK/Fiddler’s Companion
K:Gmin
B/c/|d2 d>c B2 AB|GBAG F2
DF|G>AGF D>CDF|G2 G>A B3c|
d>edc B2 A>G|GBAG F2
DF|G>AGF D>CDF|G2 G>A G2||D|
GABc d2 d=e|f2 =ed
c>AF>c|d>edc B2 AB|GFD=E F2 Bc|d>edc B2A2|
GBAG F2 DF|G>AGF D>CDF|G2
G>A G3||
LITTLE
HEATHY HILL [2], THE (An Chnoicin
Fraoich). AKA -
“Knuckeen Free.” Irish, Air and Hornpipe. A Minor (O’Neill): G Minor (Joyce).
Standard tuning. AB (Joyce): AABB’ (O’Neill). O’Niell (1922) remarks: “In
the days of our fathers, ‘An Chnoicin Fraoich’, or ‘Little Heathy Hill’, both
as song and air enjoyed no little popularity in the province of Munster,
particularly in the counties of Cork and Kerry. As an air several settings of
the melody have been printed, but never as a hornpipe until now, and under its
colloquial name among the peasantry. It will be remembered that many notable
dance tunes, especially hornpipes and long dances, have been derived from song
airs, such as ‘The Blackbird’, ‘The Job of Journeywork’, ‘The Garden of
Daisies’, ‘Rodney's Glory’, and many others.” Joyce (1873) says “A setting of
this air has been given in Mr. John O’Daly’s Poets and Poetry of Munster (2nd ed., p. 70) with one
strain of an Irish song.” The title has been Englished as “Knocken Free” or
“Knucken Free.” Source for notated version: piper James Buckely (Limerick)
[Joyce]. Joyce (Ancient Irish Music),
1873; No. 71, pg. 72. O’Neill
(Waifs and Strays of Gaelic Melody),
1922; No. 312.
X:1
T:An Chnoicin Fraoich
T:Little Heathy Hill, The [2]
T:Knuckeen Free, The
M:4/4
L:1/8
S:Capt. F. O'Neill
Z:Paul Kinder
R:Hornpipe
K:Amin
cd|(3efg ed c2 Bc|AcBA G2 (3EFG|ABAG "tr"EDEG|AGAB cBcd|
(3efg ed c2 Bc|AcBA G2 (3EFG|ABAG "tr"EDEG|A2 AA A2:|
|:E2|ABcd e2 ef|gage dBG>d|(3efg ed c2 Bc|AGEF G2 cd|
1(3efg ed c2 Bc|AcBA G2 (3EFG|ABAG "tr"EDEG|A2 AA A2:|
2(3efg ed cedB|AcBA G2 (3EFG|ABAG "tr"EDEG|A2 AA A2||
X:2
T:An Cnuicín Fraoigh
T:Heathy Little Hill, The
M:C
L:1/8
R:Air
S:Joyce – Ancient Irish Music (1873)
Z:AK/Fiddler’s Companion
K:Gmin
B/c/|d2 d>c B2 AB|GBAG F2 DF|G>AGF DCDF|G2 G>A [D3B3]c|
d>edc B2 AB|G>BAG F2DF|G>AGF DCDF|G2 G>A G3||D|
GABc d2 d=e|f2 =ed c>AF>c|d>edc B2 AB|GFD=E F2 B/c/|
d>edc B2A2|G>BAG F2 DF|GAGF DCDF|G2 G>A G3||
LITTLE HENNIE. AKA and see “Little Florrie.” English,
Hornpipe. England, Northumberland. G Major. Standard tuning. AAB. Composed by
Northumbrian musician Robert Whinham (1814-1893). See note for “Little
Florrie.” Hall & Stafford (The
Charlton Memorial Tune Book), 1974; pg. 41. Topic
12TS413, Cut & Dry Band – “No. 2.”
LITTLE HOME TO GO TO
[1]. AKA – “Got a Little
Home to Go to,” “I’m on My Way to Texas to Eat Cornbread and ‘Lasses.” AKA and
see “John Hoban’s Polka,” “Get Out of the Way of the Federals,”
“Seneca Square Dance,” “Waiting for the Federals.” Old‑Time,
Breakdown. USA; Illinois, Missouri, Texas, Oklahoma. G Major (Thede): D Major
(Beisswenger & McCann). GDad (W.S. Collins) or Standard (Bob Holt) tuning.
AABB. The tune has been recorded under this title by Missouri fiddlers Fred
Stoneking of Springfield, and Bill Graves, of Phillipsburg. Marion Thede
maintains that related tunes are “Saddle Old Mike,” “Saddle Old Spike” and “Saddle Old
Bob,” although this seems to be because of the lyrics and not the music.
***
O saddle ole Mike I tell you,
For I'm goin' away to leave you;
I'm goin' away to Texas,
To eat cornbread and 'lasses.
***
Got a little home to go to,
Got a little home to go to;
Oh I've got a little home to go to,
Oh I've got a little home to go to. [W.S. Collins]
***
Another version of the
words (from Arkansas) is "Goin Back to Arkansas to Eat Corn Bread and
'Possum Jaw" according to Thede, perhaps the inspiration for Arkansas
fiddler Skeeter Walden’s name for the tune as “I’m on My Way to Texas to Eat
Cornbread and ‘Lasses.” Mark Wilson identifies “Got a Little Home to Go to” as
a member of a family of tunes that includes “Old Coon Dog,” “Seneca Square Dance,” “Waiting for the Federals,” and
“Shoot that Turkey Buzzard,”
and gives the alternate title “Get Out of the Way of the Federals.” “Jones
County” is also a related tune. Wilson also sees melodic relationships with
“Pretty Little Girl with the Blue Dress On.” Drew Beisswenger adds that it is
similar to north Georgia fiddler Fiddlin’ John Carson’s “Hell Bound for Alabama.” Ira Ford
and R.P. Christeson both thought versions of “Hell Among the Yearlings” to be
similar to “Got a Little Home to Go to.” Beisswenger & McCann (2008) find
some evidence that the lyrics were linked to play-party fragments. Source for
notated version: W.S. Collins (Pottawatomie County, Oklahoma) [Thede]; Bob Holt
(1930-2004, Ava, Missouri) [Beissenger & McCann]. Beisswenger & McCann
(Ozark Fiddle Music), 2008; pgs. 62-63. Thede (The Fiddle Book), 1967; pg. 18‑19. Kicking Mule, Art Rosenbaum. Rounder
Records CD –532, Bob Holt – “Got a
Little Home to Go to” (1998).
See also listing at: Jane Keefer’s Folk Music Index: An
Index to Recorded Sources |
LITTLE HOME TO GO TO
[2]. Old-Time, Breakdown. USA, Missouri. A Minor.
AEae tuning. AA’BB’. A second tune of the same name in Bob Holt’s repertory,
perhaps related to “Little Home to Go to [1].” According to Holt’s source, Doc
Gentry, the tune arrived in Missouri before the turn of the 20th
century from an Arkansas fiddler named Bob Wood. Wood was murdered on a saloon
porch in Missouri by a man in a jealous rage over a woman. Source for notated
version: Bob Holt (1930-2004, Ava, Missouri), learned from rural M.D. and
fiddler Doc Gentry (Douglas County, Mo.) [Beisswenger & McCann].
Beisswenger & McCann (Ozark Fiddle Music), 2008; pg. 63. Rounder Records CD –532, Bob Holt – “Got a Little Home to Go to” (1998).
See also listing at: Jane Keefer’s Folk Music Index: An
Index to Recorded Sources |
LITTLE HORNPIPE. American, Hornpipe or Reel. USA, Pa. D Major. Standard tuning. AAB.
"In this tune we again have a piece with an unstable and changeable second
strain. A Greene County tune in the Bayard Coll. (No. 243) has this first part
and an entirely different second. But it is not improbable that the two halves
of (this tune) really belong with each other, since when taken together they make
up a tune which gives strong indications of being derived from the well‑known
'Durang's Hornpipe,' a fiddle
tune popular among country musicians everywhere. Almost any popular collection
of country dances contains a version of 'Durangs;' a good set is in Ford, pg.
53; another is in Adam, No. 19" (Bayard, 1944). Source for notated
version: Mrs. Sarah Armstrong, (near) Derry, Pennsylvania, November 18, 1943
[Bayard]. Bayard (Hill Country Tunes),
1944; No. 34.
LITTLE HORSE TIED AT A PUBLIC HOUSE, THE. Irish, Jig. F Major. Standard tuning. AB.
Source for notated version: taken down in 1853 from Limerick piper James
Buckley [Joyce]. Howe (1000 Jigs and
Reels), c. 1867; pg. 21. Joyce (Ancient
Irish Music), 1873/1890; No. 87, pg. 89.
X:1
M:6/8
L:1/8
S:Joyce – Ancient Irish Music (1890)
Z:AK/Fiddler’s Companion
B/A/G/ |
F>GF FGA | B3 A2G | F>GF FGA | A3 G>BA/G/ | F>GF FGA |
B>cB Bcd
| dcA cBG | G3 (FF/) || G/A/B/ | c>dc cde | f3 e2d | c>dc cBA |
A3 G>BA/G/ | F>GF FGA |
B>cB Bcd | dcA cBG | G3 (FF/) ||
LITTLE HOUR BEFORE THE
DAY, A. AKA and see "Uair Beg/Bheag Roimh A' LA."
LITTLE HOUSE, THE.
English, Jig. A Major. Standard tuning. AABB. Raven (English Country Dance Tunes), 1984; pg.
120.
X:1
T:Little House, The
M:6/8
L:1/8
K:A
f | edc edc | edc e2f | edc edc |
dBc d2f | edc edc | edc efg | agf edc | dBc d2 :|
|: f | ecc Acc | ecd e2f | ecc Acc |
dBc d2f | ecc Acc | ecd efg | agf edc | dBc d2 :|
LITTLE
HOUSE (A)ROUND THE CORNER [1]. AKA and see "The Hare in the Corn [3]," "The House in/on the Corner,"
“House in the Glen [2],”
"O as I was kiss’d
Yestreen [2]," "The Royal
Irish Jig." Irish, Scottish, Canadian; Jig. Canada, Cape Breton. D
Major. Standard tuning. AABB (Cole, Kerr, McNulty, Ryan): AA’BB’ (O’Malley).
The tune is one of several attributed to one “J. Hand” in Ryan’s Mammoth Collection. New York musician, researcher and writer
Don Meade believes that Johnny and James Hand were fiddling brothers in the
Boston, Massachusetts, area in the mid-19th century. The jig has
currency among Cape Breton fiddlers. Source for notated version: the Gavins of
Ballina [O’Malley]. Cole (1000 Fiddle
Tunes), 1940; pg. 59. Kerr (Merry
Melodies), vol. 2; No. 263, pg. 29. McNulty (Dance Music of Ireland), 1965; pg. 19. O’Malley (Luke O’Malley’s Collection of Irish Music,
vol. 1), 1976; No.96, pg. 48. Ryan’s
Mammoth Collection, 1883; pg. 88. A & M
Records 79602 2000-2, Ashley MacIssac - “Close to the Floor” (1992). Rounder
CD7018, Frank Ferrel - “Boston Fiddle: The Dudley Street Tradition.” Rounder Records , John L.
MacDonald – “Formerly of Foot Cape Road: Scottish Fiddle Music in the Classic
Inverness County Style” (2005).
X: 1
T: Little House Around the Corner [1]
M: 6/8
L: 1/8
Q: 325
S: Luke O'Malley vol 1
Z: Transcribed by Bill Black
R: jig
K: D
A | FDA, DFB | AFD EDB, | A,DF Adf | gfg e2 a/g/
|
fed AFD | EDB, DFA | dcd eag | edc d2 :|
|: f/g/ | afa geg | fdf ecA | dcd fed | cAc efg
|
afa geg | fdf ecA | dcd eag | edc d2 :|
LITTLE
HOUSE (A)ROUND THE CORNER [2]. AKA and see "The Absent‑minded Man,"
Irish, Jig.
LITTLE HOUSE IN THE
GLEN. AKA and see “The Absent-minded Man,” “The Hare in the Corn [3],” "The House in the Glen [2]"
“Little House (A)Round the
Corner [1],” “O, as I was
kissed Yestreen [2],” “The Royal
Irish Jig.”
LITTLE HOUSE UNDER THE HILL,
THE (An Teac Beag Faoi/Taob an Cnoc/Cnuic). AKA and see “How Happy the
Soldier Who Lives on his Pay,” “Link
About.” Irish, English; Jig. England, Northumberland. G Major (Cole,
Cranford/Holland): D Major (O’Farrell, O'Neill). Standard tuning. AABB (Cole,
Cranford/Holland): AABBCC (O'Neill): AABBCCDDEE (O’Farrell, vol. II):
AABBCCDDEEFFGGHHIIJJKK (Kennedy, O’Farrell, vol. IV). O’Neill (1910, 1913)
finds the tune in O’Farrell’s Pocket
Companion for the Union Pipes (3rd edition, c. 1810) set in eleven parts,
and finds an “unmistakably” simple version of “Little House” under the title
“Irish Air” in “The Poor Soldier,” published in The Hibernian Muse (1787).
It is sometimes ascribed to the mid-18th century Irish composer Walter
“Piper” Jackson (O’Neill, 1913, pg. 183 and 1910, pg. 103). The title appears
in Henry Robson's list of popular Northumbrian song and dance tunes ("The
Northern Minstrel's Budget"), which he published c. 1800. English composer
William Shield employed the melody for his song “How happy the Soldier.”
Flaherty's version almost qualifies as a separate variation. A fanciful story
is related by O’Neill (1913) concerning the early 19th century Tipperary piper
John Rotchford, nicknamed “Seaghan a Beannuighthe” (John the Blessed). It seems
that a gentleman, one “Old Butler,” of Williamstown, was entertaining one night
and boasted he had a better piper than one of his guests. As per the
arrangement, Rotchford and the other piper met “and played alternately all
night and until the break of day, because the judge was unable to decide as to
their respective merits.” The tie was finally broken when a skylark,
“proverbial for melody and early rising,” lit upon a windowsill near where John
was playing and tapped his approval of the performance as the piper played “The
Little House Under the Hill,” and attempted to sing along with the tune in birdsong.
O’Neill identifies “Link About” in Aird’s
Selection of Scotch, English, Irish and
Foreign Airs (1782-1797) as a version of “Little House…”, and says that,
curiously, the tune Aird did print with the “Little House…” title is a reel of
unknown origin. “The Little House Under the Hill” title appears in a list of
tunes in his repertoire brought by Philip Goodman, the last professional and
traditional piper in Farney, Louth, to the Feis Ceoil in Belfast in 1898
(Breathnach, 1997). New York researcher, musician and writer Don Meade notes
that accordion player James Keane recorded the tune as “The Last Bus to Drimnagh.”
Similarities to “Mysteries of Knock.”
Source for notated version: flute player and piper Tommy Hunt (b. 1908,
Lissananny, Ballymote, County Sligo) [Flaherty]. Cole (1000 Fiddle Tunes), 1940; pg. 58. Cranford (Jerry Holland: The
Second Collection), 2000; No. 293, pg. 104. Flaherty (Trip to Sligo), 1990; pg. 131. Kennedy (Jigs & Quicksteps,
Trips & Humours), 1997; No. 105, pg. 26. O’Farrell (Pocket Companion, vol. II), c. 1806;
pgs. 148-149. O’Farrell (Pocket
Companion, vol. IV), c. 1810; pgs. 113-115. O'Neill (Krassen), 1976; pg.
49. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 988, pg.
184. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 204, pg. 48. Ryan’s Mammoth Collection, 1883; pg. 87. Jerry Holland – “Crystal Clear” (2000).
See also listings at: Jane Keefer’s Folk Music Index: An
Index to Recorded Sources Alan Ng’s Irishtune.info |
X:1
T:Little House Under the Hill
M:6/8
L:1/8
S:Breffni Ceili Band
S:9 January 1999 Ceili House (RTE)
Z:Transcribed by Dennis Gormley
R:Double Jig
K:D
AFF DFF|AFF ABd|AFF DFF|GEF G2B|AFF
DFF|AFF ABc|dcB AGF|GEF G2B:|
AFF dFF|AFF ABd|AFF dFF|GEF G2B|AFF
dFF|AFF ABc|dcB AGF|GEF G2B:|
X:2
T:Little House Under the Hill
M:6/8
L:1/8
R:Jig
S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 204
Z:AK/Fiddler’s Companion
K:D
B|AGF AGF|AGF A2B|AGF AGF|GEF
G2B|AGF AGF|AGF ABc|dcB AGF|GEF G2:|
|:d|AFF DFF|AFF A2B|AFF DFF|GEF
G2B|AFF DFF|AFG ABc|dB/c/d AGF|GEF G2:|
|:A|dFF AFF|dFF A2c|dFF AFF|GEF
G2A|dFF AFF|dFF ABc|dB/c/d/B/ AGF|GEF G2:|
LITTLE IAIN’S JIG. Canadian, Jig. Canada, Cape Breton. D Major. Standard tuning. AA’BB.
Composed by Cape Breton fiddler and composer Dan R. MacDonald (1911-1976).
Cameron (Trip to Windsor), 1994; pg.
53.
LITTLE JACK
MACDONALD'S REEL. Cape Breton, Reel. Rounder 7001, Joe Cormier ‑ "Scottish Violin
Music from Cape Breton Island" (1974).
LITTLE JACK’S JIG. Canadian, Jig. Canada, Cape Breton. G Major. Standard tuning. ABB
(Dunlay & Greenberg/MacDougall): AA’BB’ (Dunlay & Greenberg/MacMaster).
Dunlay and Greenberg state the MacMaster learned the tune from the ‘jigging’ of
his mother and from transplanted Cape Breton fiddler Little Jack MacDonald
(Ontario), who recorded in the 1930's. Source for notated versions: Buddy
MacMaster and Mike MacDougall (Cape Breton) [Dunlay & Greenberg]. Dunlay
& Greenberg (Traditional Celtic
Violin Music from Cape Breton), 1996; pg. 116. Rodeo
Banff RBS 1255, Barbara MacDonald - “Scottish Piano Selections” (appears as 3rd
in “Medley of Cape Breton Jigs”).
LITTLE JACK’S REEL. Canadian, Reel. Canada; Cape Breton, Prince Edward Island. E Dorian.
Standard tuning. AAB. The tune was recorded in the 1930's by Cape Breton
fiddler Little Jack MacDonald (who later moved to Ontario). Perlman (1996)
identifies the ‘A’ part as being the same as the Scottish strathspey “Mrs.
Ramsay.” Source for notated version: Kevin Chaisson (b. 1950, Bear River,
North-East Kings County, Prince Edward Island) [Perlman]. Perlman (The Fiddle Music of Prince Edward Island),
1996; pg. 109.
LITTLE JOE('S RAG). Old‑Time, Country Rag. USA; Missouri, Texas. G Major ('A', 'B',
'C' parts) & D Major ('D' part) or G Major ('A' part) & D Major ('B'
part). Standard tuning. AABB (Phillips): ABCD (Christeson). Sources for notated
versions: Lonnie Robertson (Ozark County, Missouri) [Christeson]; Benny
Thomasson (Texas) [Phillips]. R.P. Christeson (Old Time Fiddlers Repertory, vol. 2), 1984; pg. 115. Phillips (Traditional American Fiddle Tunes), vol.
1, 1994; pg. 143.
LITTLE JOHNNY BRYAN. Old‑Time. The title appears in a list of traditional Ozark
Mountain fiddle tunes compiled by dmusicologist/folklorist Vance Randolph,
published in 1954.
LITTLE JOHN’S HAME. Scottish (originally), Canadian; Strathspey. Canada; Cape Breton,
Ontario. D Major. Standard tuning. AB. Composed by the great Scottish fiddler
and composer J. Scott Skinner (1841-1927). Sources
for notated versions: Winston Fitzgerald (1914-1987, Cape Breton) [Cranford];
fiddler Dawson Girdwood (Perth, Ottawa Valley, Ontario) [Begin]. Begin (Fiddle Music from the Ottawa Valley),
1985; No. 71, pg. 81. Cranford (Winston
Fitzgerald), 1997; No. 124, pg. 51.
X:1
T:Little John’s Hame
M:C
L:1/8
K:D
|:D2 A>D (3FED (3AGF|d2 c>d
(3Bcd (3AGF|E2 B,>E (3GFG g>f|
(3efd (3cdB (3ABG (3FGE|D2 D>D
(3FED (3AGF|d2 c>d (3Bcd (3AGF|
(3GFG (3Bdg (3fed (3afd|1 (3cBA
(3GFE D>A, B,C:|2 (3cBA (3GFE D>a ^g>a||
(3faf (3fdf (3Adf a>g|(faf (3dfd
(3Adf (3agf|(3gbg (3ege (3Beg b>a|
(3^gab (3efe (3cdc (3Aa=g|f>a
d>f (3Adf a>g|(3faf (3dfd (3AdA (3FDF|
(3GFG (3Bdg (3fed (3afd|(3cBA (3GFE
D>a ^g>a:|2 (3cBA (3GFE D>A, B,>C||
LITTLE JUDIQUE [1]. French‑Canadian (originally), New England; Reel. D Major ('A'
part) & A Major ('B' part). Standard tuning. ABB' (Miller & Perron):
AABB' (Messer): AA’BB’ (Songer). Source for notated version: mandolin player
Mark Bautista (Portland, Oregon) [Songer]. Messer (Way Down East), 1948; No. 23. Messer (Anthology of Favorite Fiddle Tunes), 1980; No. 43, pg. 31. Miller
& Perron (New England Fiddlers
Repertoire), 1983; No. 146. Songer (Portland
Collection), 1997; pg. 127. F&W Records 2,
"F&W String Band 2." Front Hall 010, Bill Spence & Fennigs
All‑Stars‑‑"The Hammered Dulcimer Strikes Again."
X:1
T:Little Judique
M:C|
L:1/8
R:Reel
K:D
a^g ab a2f2|d2A2A2fg|a^g ab a2f2|d6ef|gf ga g2e2|c2A2c2ef|
gf ga g2e2|c4f3g|a^g ab a2f2|d2A2A2fg|a^g ab a2f2|d4g3a|
b2gb a2fa|g2eg f2ed|c2Ac a2c2|d4c3d||
K:A
|:e4e3f|e2c2B2A2|ag
ab a2f2|e4f3g|a3ba2f2 | e2c2a2f2 |1 e2c2B2A2 | B4B2cd :|2 e2c2B2c2| A4f3=g |]
LITTLE JUDIQUE [2]. Canadian, Jig. Canada, Cape Breton. G Major. Standard tuning. AABB’.
Traditional. The melody was originally recorded by John A. MacDonald in the key
of ‘C’, though other Cape Breton fiddlers play it in ‘A’ (Dan Hughie MacEachern)
and ‘F’ (Otis Tomas) [Cranford]. Cranford (Jerry
Holland’s), 1995; No. 259, pg. 75. Fiddlesticks
cass., Jerry Holland - “A Session with Jerry Holland” (1990). Green Linnett,
Jerry Holland - “The Fiddlesticks Collection” (1995).
LITTLE JUDY. AKA and see “The Green Mountain
[2],” “The Haymaker (Reel) [1],”
“Indy’s Favorite,” “Judy’s Reel,” “The Maid Behind the Bar [1].”
Irish, Reel. D Major. Standard tuning. AABB. Button-accordionist Joe Derrane
learned the tune by this title from Boston musicians in the 1940's. The tune
appears in D/C# button accordion player Jerry O’Brien’s accordion tutor, and
since O’Brien was Derrane’s mentor it is likely they either both learned it (or
the title) from the same sources, or Derrane learned it from O’Brien. O’Brien was
originally from County Cork, and recorded the tune in New York in 1928, playing
the melodeon. See the tune under the titles “Judy’s Reel” and “Indy’s Reel”,
both from Ryan’s Mammoth Collection
(1883). Elias Howe, a Boston publisher, included the melody (as “Little Judy’s
Reel”) in his c. 1867 1000 Jigs and Reels, identifying it as an 8-Hand Reel
with the alternate title “Married Behind the Bar.” Howe also includes dance
instructions below the melody. O’Neill printed the melody as “The Green
Mountain,” and it was recorded in the 78 RPM era as “The Haymaker.” Source for
notated version: R.P. Christeson learned the melody from Philadelphia, Pa.,
Irish fiddlers who attended the Lenape old fiddlers’ reunions in the 1960's
[Christeson]. Howe (1000 Jigs and Reels),
c. 1867; pg. 32. O’Brien (Jerry O’Brien’s
Accordion Instructor), 1949. R.P. Christeson (Old Time Fiddler’s Repertory, vol. 2), 1984; No. 91, pg. 59. Green Linnett SIF 1149, Joe Derrane - “Give Us Another.”
X:1
T:Maid Behind the Bar
M:C|
L:1/8
R:Reel
S:Jerry O’Brien’s Accordion Instructor (1949)
Z:AK/Fiddler’s Companion
K:D
E2||FAAG FD D2|FAAF A2 de|fB (3cBA Bcde|fB (3cBA (3BcB AG|
FAAG FD D2|FAAF A2 de|fB (3cBA Bcde|1 fdec dcBA:|2 fdec d2||
|:e|faag fdde|faag fd d2|egga beef|gfga be e2|faaa b2 af|defd (3efe de|
fB
(3cBA Bcde|1 fdec d2 e:|2 fdec dcBA||
LITTLE JUG, THE. AKA and see "An Cruisgin Beag."
LITTLE KATIE KEARNEY ("Caitilin Beag Ni Cearnaig" or
"Caitilin Beag M Catarnaig"). AKA and see “Alasdair MacAlister,” “The Canamine Highland,” “Con Cassidy’s Highland.”
Irish, Reel. A Mixolydian. Standard tuning. AAB (O'Neill/1850 & 1001):
AABB' (O'Neill/Krassen). See also the related “Tinker’s Apron.” Source for notated
version: Francis O'Neill learned the tune from an accomplished West Clare flute
player (and Chicago police patrolman) named Patrick "Big Pat"
O'Mahony, a man of prodigious physique of whom he said: "¼the 'swing' of
his execution was perfect, but instead of 'beating time' with his foot on the
floor like most musicians he was never so much at ease as when seated in a
chair tilted back against a wall, while both feet swung rhythmically like a
double pendulum" [O'Neill, Irish
Folk Music]. O'Neill (Krassen), 1976; pg. 158. O'Neill (Music of
Ireland: 1850 Melodies), 1903/1979; No. 1537, pg. 284. O'Neill (Dance
Music of Ireland: 1001 Gems),
1907/1986; No. 753, pg. 131.
X:1
T:Little Katie Kearney
M:C|
L:1/8
R:Reel
S:O’Neill – Dance Music of
Ireland: 1001 Gems (1907), No.
753
Z:AK/Fiddler’s Companion
K:Amix
ed|c<AAG EAAB|cAAc f2 ed|c<AAG
EAAB|dBGB d2:|ed|cBcd efed|cBcd ea a2|
cBcd efge|dBGB d2 ed|cBcd efed|cBcd
eaab|c’abg afge|dBGB d2||
LITTLE KATIE TAYLOR. AKA and see “Katie Taylor.”
LITTLE LADY GOIN' TO
THE COUNTRY. AKA and see "Sal(s) Got a Meatskin."
The favorite tune of black fiddler Uncle Whit Walker, who influenced W.C. Handy
(W.C. Handy ‑ Father of the Blues,
1941; pg. 6).
***
Sally got a meat skin laid away (x3)
To grease her wooden leg every day.
LITTLE LAMENTATION, THE. AKA and see "An Caoine."
LITTLE LISDOONVARNA
POLKA, THE. AKA and see “The Grand Old Dame,” “I-tiddly-I-ti,” “Leather away with the wattle,”
“Leather the Bottle-o,” “Lisdoonvarna Polka [2]," “(An) tSeanbhean uasal.”
LITTLE LIZA JANE [1]. AKA and see "Liza Jane [3],"
"Poor Liza Jane." Old‑Time,
Breakdown. USA, Kentucky. A Major. Standard tuning. AABB. A variant of the
“Liza Jane” tunes. Titon (2001) finds the tune similar to “Jenny Get Around.” The title appears in a
list of traditonal Ozark Mountain fiddle tunes compiled by
musicologist/folklorist Vance Randolph, published in 1954 (may refer to any of
the "Liza Jane" variants). Source for
notated version: J.P. Fraley (Rush, Kentucky) [Brody, Phillips]. Brody (Fiddler’s Fakebook), 1983; pg. 171.
Phillips (Traditional American Fiddle
Tunes), vol. 1, 1994; pg. 143. Spandaro (10 Cents a Dance), 1980; pg. 36 (appears as “Poor Liza Jane”). Rounder 0037, J.P. and Annadeene Fraley‑ "Wild
Rose of the Mountain." Biograph 6007, Ebenezer‑ "Tell It To
Me."
X:1
T:Little Liza Jane
L:1/8
M:4/4
K:A
ef | a2 f2 e2 c2 | fecB A2ef | a2 f2 e2 c2 | f3g f2ef |
a2 f2 e2 c2 | fecB A2E2 | EFAc BAFE | A6 :|
|: A2 | c4 c4 | B2 A4 AB | c4 B2A2 | F6 A2 |
B4
B4 | c2 .B4 AB | cBA2 E2F2 | A6 :|
LITTLE LIZA JANE [2]. Texas Style, Breakdown. D Major. Standard tuning. AABB. Source for
notated version: Bob Wills (Texas) [Phillips]. Phillips (Traditional American Fiddle Tunes), vol. 1, 1994; pg. 143.
LITTLE LUMBERJACK, THE. AKA and see "Le Petit Bucheux."
LITTLE MAGGIE. Old‑Time, Bluegrass; Breakdown and Song. USA; western North
Carolina, southwestern Virginia. A Mixolydian. Recorded by the Stanley Brothers
in 1946, when their music was more old‑time than bluegrass in style. Mt.
Airy, North Carolina, fiddler Tommy Jarrell remembered the tune "going
around" the Round Peak area (where he grew up) around 1915 or 1916, and
became quite popular with the younger folk. A tragedy occured about the same
time when his 14 year old cousin, Jullie Jarrell, was tending a fire in the
kitchen stove and, thinking it was out, poured kerosine over the wood to renew
it which suddenly caused flames to flare and severely burn her. Tommy related:
***
I was coming from the mill on horseback carrying a sack of
cornmeal and all at once I saw the smoke and heard the younguns
come running towards me crying, 'Jullie's burnt up and the
house is a‑fire.' I jumped off the horse and ran as fast as I
could
to the house‑‑later I though about how much faster I could
have
gotten there by throwing the meal off and riding the horse, but
you don't think clear at times like that. When I reached the door
I saw Aunt Susan kneeling on the floor above Julie, weeping,
her hands all blistered from beating out the fire with a quilt.
Jullie was laying there crying, but there wasn't much we could
do for her so we ran to the spring for water to put out the fire
in the house. They put Jullie to bed right away‑‑her whole
body
was burned up to her chin, and at first she cried in pain but
after a while she didn't feel anything at all. That evening as
she was laying there she asked me to get my banjo and sing
"Little Maggie" for her. That was the only thing she wanted
to hear‑‑it had just recently come around and everyone
seemed to take to it. I expect I played it the best I ever had
in my life, with the most feeling, anyway. It seemed to comfort
her and pick up her spirits a little, but by the following morning
she was dead. (Richard Nevins)
***
The song appears to have been played
in neighbouring Grayson County, Virginia, a generation earlier, according to
Richard Nevins, which points out how isolated the mountainous regions were
around the turn of the century.
***
Yonder stands little Maggie, a dram‑glass in her hand,
She's left me for another, left me for another man.
***
Flying Fish 102, New
Lost City Ramblers ‑ "20 Years/Concert Performances" (1978).
Heritage XXXIII, Ernest East, Lawrence Lowe, Fred Cockerham ‑
"Visits" (1981. Recorded at Tommy Jarrell's New Year's Eve party,
1972). Melodeon 7322, The Stanley Brothers. Rich‑R‑Tone 423, The
Stanley Brothers.
LITTLE MAJOR. Scottish? American?, Reel. G Major. Standard tuning. AA’BB. White’s Unique Collection, 1896; No. 62,
pg. 11.
X:1
T:Bonney Jennie Reel
M:2/4
L:1/8
R:Reel
S:White’s Unique Collection (1896), No. 62
Z:AK/Fiddler’s Companion
K:G
(3D/D/D/ (E/D/) G/B/G/B/ | A/A/G/A/
B/G/c/G/ | E/c/G/c/ B/G/d/B/ |
A/d/B/G/ A/G/E/G/ | (3D/D/D/ (E/D/)
G/B/G/B/ | A/A/G/A/ B/G/c/G/ |
E/c/G/c/ B/G/d/B/ |1 A/G/F/A/
.G(F/E/) :|2 (A/G/)(F/A/ G)z ||
|: G/G/g/G/ G/g/G/g/ | G/A/B/G/
A/G/E/D/ | (3c/c/c/(A/c/) B/G/d/B/ |
A/c/B/G/ A/G/E/G/ | G/G/g/G/
G/g/G/g/ | G/A/B/G/ A/G/E/D/ |
(3c/c/c/(A/c/) B/G/d/B/ |
(A/G/)(F/A/) Gz :|
LITTLE MAN AND MAID, THE.
English, Country Dance Tune (cut time). G Minor. Standard tuning. AABB.
The melody appears to be a song air. Thompson (Compleat Collection of
200 Favourite Country Dances, vol. 2), 1765; No. 64.
X:1
T:Little Man & Maid, The
M:C|
L:1/8
B:Thompson’s Compleat Collection of 200 Favourite Country Dances, vol. 2 (London, 1765)
Z:Transcribed and edited by Flynn Titford-Mock, 2007
Z:abc’s:AK/Fiddler’s Companion
K:Gmin
G2|G2^F2 G2A2|B4 B2B2|A2F2 F2F2|F4 ^F2D2|G4 G2A2|B4 A2G2|.D4 .D4|.D4:|
|:d2e2|f2d2B2d2|f4
e2d2|c2A2F2A2|c4 B2c2|d2d2c2B2|B2A2G2^F2|.G4 .G4|.G4:||
LITTLE MAN’S
HOMECOMING. Canadian, Reel. Canada, Cape
Breton. E Minor. Standard tuning. AB. Composed by fiddler Jerry Holland
(Inverness, Cape Breton). Cranford (Jerry
Holland’s), 1995; No. 140, pg. 40. Miller (Fiddler’s Throne), 2004; No. 194, pg. 122. Fiddlesticks
cass., Jerry Holland - “Lively Steps” (1987).
See also listing at: Alan Snyder’s Cape Breton Fiddle
Recording Index |
LITTLE MARY CASSIDY. AKA and see "Little
Sack of Barley [1]," "Evening
Was Waning," "Patrick
Condon's Vision,” “Stack(s) of Barley."
LITTLE MARY CULLINAN (Máirin Ni Cuileannan). AKA - "Little Celia/Sheila
Connellan," AKA and see “Bhíosa lá I bport láirge,” "The Dainty Besom Maker," “Forgive the muse that
slumbered,” "The Gimlet," “I’d mourn the hopes that leave me,” “Johnny’s Grey Breeks [2],”
"The Old Lea Rigg,"
"Little Sheila Connellan,” “Maureen from Giberland,” “Phelim O’Neill [2],” “Port Láirge,” “The Rose Tree [1]," “The Rose Tree in Full Bearing."
Irish, Air (4/4 time, "with spirit"). D Major. Standard tuning. AB.
Well known as the melody for a variety of folk songs from England, Scotland and
Ireland. See note for “The Rose Tree.” O'Neill (Music of Ireland: 1850
Melodies), 1903/1979; No. 277, pg. 48.
X:1
T:Little Mary Cullinan
M:C
L:1/8
R:Air
S:O’Neill – Music of Ireland (1903), No. 277
N:”With spirit”
Z:AK/Fiddler’s Companion
K:D
f/e|d>BAF A2 A>B|d2 ed/e/
feef|dBAF A2 AB|d2 {f}ed/e/ fd d||
g|fefg a2 gf|ebba be e/f/e/|dBAF A2
AB|df ed/e/ fd d||
LITTLE MARY’S REEL.
AKA – “Mary MacDonald’s Reel.” Canadian, Reel. Canada, Cape Breton. A
Minor. Standard tuning. AAB. Cranford (Jerry Holland: The Second Collection),
2000; No. 40, pg. 17. Rankin Sisters – “Lantern Burn”
(appears as “Mary MacDonald’s Reel”).
LITTLE MATH HAMILTON
TUNE. American, Reel. USA, southwestern
Pa. G Major ('A‑D' parts) & C Major ("E‑F' parts).
Standard tuning. ABCDEFG. According to Samuel Bayard (1981), the tune was named
after its alleged composer, however, it uses strains which appear in "The Shepton Hornpipe," while
another strain appears in both the shape note hymn "Never Part" and
another southwestern Pennsylvania collected reel (No. 61 {untitled}). Source
for notated version: Pardee (Pa., 1952) [Bayard]. Bayard (Dance to the Fiddle), 1981; No. 191, pg. 148.
LITTLE MAURICE. AKA and see "'Tit Maurice."
LITTLE MEN OF THE MEARNS. Scottish, Strathspey. G Major. Standard. AA’BB’. John Glen (1891) finds the earliest appearance of the tune in print in Alexander McGlashan's 1780 collection (pg. 20). McGlashan (Collection of Strathspey Reels), c. 1780/81; pg. 20.
X:1
T:Little Men of the Mearns, The
M:C|
L:1/8
R:Strathspey
S:McGlashan – Strathspey
Reels (1780)
Z:AK/Fiddler’s Companion
K:G
(d2 d)>f B/B/B e2|(d2 d)>a f/f/f f2|g>fe>d B>de>g|1 a>gf>e d2 AB:|2 a>gf>e d3f||
|:d>DA>F E/E/E e>f|d>DA>f d>DA>f|d>DAF E/E/E e>f|d>DA>B d>ef>d|
B>dA>F
E/E/E eg|1 a>gf>e d3:|2 a>gf>e d2 A>B||
LITTLE MIRE BRANCH. Old‑Time. The tune has been identified as having been distinct to
the Rocky Ridge, Alabama, region.
LITTLE MOLLY O! (Mairin Beag O!). Irish, Air (3/4 time). G Major. Standard
tuning. AB. The Irish collector Edward Bunting maintains that this triple-time
air was the original from which developed the famous (duple-time) "Molly Asthore" (Molly My Treasure)
though O'Sullivan (1983) thinks there is little evidence either way. He finds a
4/4 version of Bunting's tune in MacBean's Songs
and Hymns of the Gael (1900) under the title "Mo Mhali Bheag Og" (My Dear
Little May) {along with five verses with the note "Composed by a Highland
officer, who accidentally killed a lady"). The melody was played by harper
James Duncan (1747-c. 1800) at the famous Belfast Harp Festival in 1792.
According to contemporary harper Arthur O’Neill, Duncan was born into a wealthy
family and received his training on the harp as part of his education. He had a
reputation as an excellent performer. Source for notated version: Bunting noted
the tune (along with "Molly Astore") from the harper Charles Fannin
in 1792. Bunting (Ancient Irish Music),
1840. Heymann (Legacy of the 1792 Belfast
Harp Festival), 1992; pg. 32. O'Neill (Music of Ireland: 1850 Melodies),
1979; No. 162, pg. 28. O'Sullivan/Bunting, 1983; No. 90, pgs. 134-135.
X:1
T:Little Molly O!
M:3/4
L:1/8
R:Air
N:”With expression”
S:O’Neill – Music of Ireland
(1903), No. 162
Z:AK/Fiddler’s Companion
K:G
d3 (e/d/) (B/A/B/d/) | e2 (g<e)
(d<B) | “tr”(A3 G) (B/4A/2<G) | G4 || d(3d/e/f/ | g2 (gb) (ag) |
f2 (gf) (ed) | (e3g) (g/e/d/B/) |
(d4 d)(3d/e/f/ | g2 (gb) (ag) | f2 f2 (ed) | e3 (dBd) | (e4 d)(3d/e/f/ |
(g>f) (e3d) | e2 (g<e)
(d<B) | “tr”(A3G) (B/4A/2<G) | G4 ||
LITTLE MOSES. AKA and see “Coon on a Log.”
Old-Time, Breakdown. USA, North Carolina. G Major. The title is a regional one,
from the Carolina flatlands. Marimac 9064D, Lauchlin
Stamper & A.C. Overton - “Sally with the Run Down Shoes” (1996).
LITTLE MUNSTER MANTLE, THE (An Fallainnin Mhuimhneach). Irish, Air (6/8 time). C Major.
Standard tuning. AA. Source for notated version: "...copied from a MS.
collection lent to Mr. Pigot by James Hardiman, the historian of Galway and
editor of Hardiman's Irish Minstrelsy"
(Joyce). Joyce (Old Irish Folk Music and
Song), 1909; No. 766, pg. 376.
LITTLE NANCY ROWLAND. AKA and see "Nancy Rowland [1]."
LITTLE NELL. Old-Time, Breakdown. G Major.
Standard tuning. AABB. Composed by Tony Mates. Source for notated version:
Gordy Euler [Silberberg]. Silberberg (93
Fiddle Tunes I Didn’t Learn at the Tractor Tavern), 2004; pg. 28.
LITTLE NIPPER’S HORNPIPE. Canadian, Hornpipe. Rounder CD 11661-7033-2Natalie MacMaster – “My Roots are
Showing” (2000. Learned from a home recording of Winston Fitzgerald).
LITTLE
OLD LOG CABIN (DOWN/IN THE LANE). Old-Time, Song Tune. The song was
written and published in 1871 by a Kentucky riverman turned vaudeville
songwriter, Will Hayes. It was recorded in October, 1925 for Edison by Fiddlin'
Cowan Powers and Family, who had waxed an earlier version for Victor, in
August, 1924 (though for that particular side the Victor company brought in
Carson Robison to perform the vocal). The piece was first released in 1923,
however, when Fiddlin' John Carson's (north Georgia) version became the second
best-selling country music record for that year. Yet another performance,
Ernest Stoneman's, made the charts that decade, in 1926 when his version became
the fifth best-selling country music record.
See also listing at: Jane Keefer’s Folk Music Index: An
Index to Recorded Sources |
(((♫)))
Charlie Acuff (b. 1919) “Little Old Log Cabin
in the Lane” |
LITTLE OLD LOG CABIN
FOR SALE. Canadian, Waltz. Canada, Prince
Edward Island. G Major. Standard tuning. AABB’. A waltz setting of a song air.
Source for notated version: Sidney Baglole (b. 1912, Southwest Lot 16, West
Prince County, Prince Edward Island; now resident of Freetown) [Perlman].
Perlman (The Fiddle Music of Prince
Edward Island), 1996; pg. 170.
LITTLE OLD MAN. AKA and see “Old French,” “Rambler’s Hornpipe.”
LITTLE OLD SCHOTTISCHE. Old‑Time, Schottische. The title appears in a list of traditional
Ozark Mountain fiddle tunes compiled by musicologist/folklorist Vance Randolph,
published in 1954.
LITTLE ONE. AKA and see "'Tit Monde."
LITTLE PACK OF TAILORS, THE.
Irish, Air. The song is in the Elizabeth Cronin collection and is a dandling
song (i.e. jiggling the baby) set to the melody “Wind that Shakes/Shook
the Barley [1].” CC57, Skylark – “Light and
Shade.” Cathal McConnell & Len Graham – “For the Sake of Old Decency.”
LITTLE PEGGY [1]. AKA and see "Little Peggy's Love,"
"Lord MacDonald('s
Reel) [4]," "Miss
Jackson's," "Lady
McDonald’s Reel," "Slanty Gart,"
"Leather Breeches/Britches."
LITTLE PEGGY'S [2]. AKA and see “Paddy Whack [1].”
American?, Jig. G Major. Standard tuning. AABB. The tune is a member of the
“Villikins and His Dinah” tune family. Cole (1000 Fiddle Tunes), 1940; pg. 68. Ryan’s Mammoth Collection, 1883; pg. 98.
X:1
T:Little Peggy’s [2]
M:6/8
L:1/8
R:Jig
S:Ryan’s Mammoth Collection (1883)
Z:AK/Fiddler’s Companion
K: G
G | GBd gfg | edc cBA | GBd efg |
fdd d2f | gbg afd | cde dBG |
GAB cAd | BGG G2 :: c | BGB cde |
dBG A2G | GBd efg |
fdd d2f | gbg afd | cde dBG | GAB
cAd | BGG G2 :|
LITTLE PEGGY'S LOVE. AKA and see "Little Peggy [1],”
"Lord MacDonald('s
Reel) [4]," "Lady
McDonald's Reel," "Miss
Jackson's."
LITTLE PET POLKA. Irish. AKA and see "The Curlew
Hills," "Bluebell Polka"
(England), “Flop-Eared Mule [1].”
LITTLE PICKLE. Scottish, Jig. A Major. Standard tuning. AABB. Composed by Joseph Lowe,
who published a collection of dance music in the 1840's. Cranford (Jerry Holland’s), 1995; No. 205, pg. 59.
X:1
T:Little Pickle
B:Jerry Holland's Collection
Z:Nigel Gatherer
M:6/8
R:Jig
L:1/8
K:A
E|A3 cBA|EAB cBA|dcB fdB|bge efg|a2
A cBA|
EAB cBA|dcd efg|aec A2::B|A2 a
aga|Acd ecA|
=G2 g gfg|B=GB dcB|A2 a aga|Acd
ecA|dcd efg|aec A2:|]
LITTLE
PIG LAMENTING THE EMPTY TROUGH,
THE. AKA and
see "An Claiomh i Laimh," “Conolon’s
Dream,” "The Cork Lasses,"
"Sally on the Shore,” “The Sword in (the) Hand." See
also the similarly entitled "Pig's/Sow's Lament for Tatties."
Shanachie 78031, James Keane – “Sweeter as the Years
Roll By.”
LITTLE POLLY POLKA. English, Polka. G Major. Standard tuning. AABB. Raven (English Country Dance Tunes), 1984; pg.
153.
LITTLE POT, THE. AKA and see "An Cruisgin Beag."
LITTLE PRINCESS
FOOTSTEPS, THE. AKA – “The Little Prince’s
Footsteps.” Old-Time. USA, Mississippi. C Major. Standard tuning. The original
title may have been “Little Prince’s Footsteps.” A tune called “Royal Princess Two-Step” is a
close relative (in the repertoire of Lancaster, Pa., fiddler Roy Zimmerman),
probably obtained from the playing of Canadian fiddler Don Messer. Okeh 45549 (78 RPM), Newton County Hillbillies (Mississippi,
with Alvis Massengale on fiddle). County CO3514 CD, Newton County Hillbillies –
"Mississippi String Bands, vol. 2" (Reissue). Volo Bogtrotters –
“Tough Luck.” Red Mountain White Trash (2nd album).
LITTLE RABBIT. AKA and see "Rabbit,
Where's Your Mammy? [1],” “Pretty
Little Gal [1],” "Pretty
Little Miss [1]," "Brown's
Dream [1]," "Herve
Brown's Dream," "John
Brown's Dream," "Walk
Along John to Kansas." Old‑Time, Breakdown. USA; Oklahoma,
Arizona. D Major (Johnson, Kuntz): A Major (Brody, Kaufman, Phillips, Welling).
Standard or ADae, AEae, or C#Aea tunings. AB (Silberberg): AABB'CC' (Kaufman):
AABBCCDD (Kuntz, Welling): AABBCCDDEE (Brody, Johnson): AABBCCDDEE' (Phillips).
The melody is related to "Boatman." Most modern versions are based on
the Crockett Mountaineers recording of “Little Rabbit,” which is actually a
pastiche of two or more tunes, including “Little Rabbit” (similar to versions
of the “John Brown’s Dream” tune family) {‘A’, ‘B’ and ‘C’ parts}and “Rabbit
Where’s Your Mammy” {‘D’ and ‘E’ parts}. This combination is oft-repeated in
modern times—so much so that the 5-part piece is sometimes thought of as only
one tune (“Little Rabbit”). Several parts belong to a family of tunes that
includes ,” “Brownstream,” “Herv Brown’s Dream,” “Jimmy Johnson
Pass That Jug Around the Hill,” “John Brown's Dream,” “Pretty Little Girl,” “Stillhouse Branch” “Table Mountain Road” and others. The tune
family is a common a popular one in the Blue Ridge Mountains, where it probably
originated but has since been disseminated. This ditty is frequently sung to the last part of the piece:
***
Little Rabbit where's your mammy?
Little Rabbit where's your mammy?
I want to see your mammy,
Tell me rabbit where's your mammy?
***
California
mandolin and fiddler player Kenny Hall recalled that Crockett’s Kentucky
Mountaineers removed to Hollywood from Kentucky in the 1920’s to further their
careers. Hall, who has lived in Fresno since the 1950’s, met the elderly
Crocket who was then in retirement and was told that the Crockett family had
played “Little Rabbit Where’s Your Mammy” for a Bugs Bunny cartoon sometime in
the 1930’s (from an interview with Kenny Hall by Gus Garelick).
***
In the repertory of Arizona fiddler
Kenner C. Kartchner in the key of 'A'. Sources for notated versions: Tom
McCreesh [Kuntz]; W.S. Collins (Pottawatomie County, Oklahoma) [Thede];
Crockett's Kentucky Mountaineers [Kaufman]. Brody (Fiddler’s Fakebook), 1983; pg. 171. Johnson (The Kitchen Musician No. 2: Occasional Collection of Old‑Timey
Fiddle Tunes for Hammer Dulcimer, Fiddle, etc.), 1982 (revised 1988, 2003);
pg. 7. Kaufman (Beginning Old Time Fiddle),
1977; pg. 62. Kuntz (Ragged but Right),
1987; pg. 353‑354. Phillips (Traditional
American Fiddle Tunes, vol. 1), 1994; pg. 144. Silberberg (Tunes I
Learned at Tractor Tavern), 2002; pg. 91. Thede (The Fiddle Book), 1967; pg. 139 (appears as "Rabbit Where's
Your Mammy?"). Welling (Welling’s
Hartford Tune Book), 1976; pg. 3. County 501,
Crockett Mountaineers‑ "Mountain Fiddle Music." Elektra 217,
Tom Paley‑ "Folk Banjo Styles." Folkways FTS 31038, Roger
Sprung and Hal Wylie‑ "Bluegrass Blast." Front Hall 017, Walt Michael
and Tom McCreesh‑ "Dance Like a Wave of the Sea" (1978).
Rounder 0040, "Pickin' Around the Cookstove" (appears as "Rabbit
Where's Your Mammy"). Rounder 0075, Richard Greene‑
"Duets." Vetco LP104, "The Wonderful World of Old Time
Fiddlers." Voyager 340, Jim Herd - "Old Time Ozark Fiddling."
Yazoo 2045, Crockett Mountaineers – “The Cornshucker’s Frolic: Downhome Music
and Entertainment from the American Countryside” (reissue).
X:1
T:Little Rabbit
L:1/8
M:2/4
B:Kuntz – Ragged but Right
K:D
A/B/|dd/B/ AA/B/|d/B/d ef/e/|dd/B/
A/B/d/B/|A/F/F FA/B/:|
|:[A/A/][A/A/][F/A/][E/A/]
[FA][F/A/]B/|[A/A/][A/A/][F/A/][E/A/] [FA][F/A/]B/|
[A/A/][A/A/][F/A/][E/A/]
[DA][D/A/][E/A/]|1 [F/A/][E/A/][DA] [DA]A/B/:|2 [F/A/][E/A/][DA] [DA]A,/B,/|
|:DD/E/ F/D/A,/B,/|DD/E/ F/D/A,/B,/|DD/E/ F/A/B/d/|1 B/A/E/F/ DA,/B,/:|2
B/A/E/F/ DF/G/||
AA B>B|A(F F)F/G/|AA d>B|A(F
F)F/G/|AA B>B|A(F F)F/E/|DB, A,>A,|
B,D DF/G/|AA B>B|A(F F)F/G/|AA
d>B|A(F F)E/F/|AA B>B|A(F F)F/E/|DB, A,>A,|B,D D||
LITTLE RED BARN, THE. AKA and see “Little
Red Wagon,” “Old Red Barn.” Old‑Time,
Quadrille (Jig). USA, Missouri. A Major ('A', 'B', 'C' parts), E Major ('D'
part). Standard tuning. AABBCCDD. The tune was popular with fiddlers from Ohio
and New York state, who knew it as “The Old Red Barn” or “Red Barn Quadrille.”
It was recorded in 1923 on a 78 RPM record by Ohio fiddler John Baltzell (as
“Old Red Barn Medley Quadrille”). See note for “Old Red Barn.” Source for notated
version: Charlie Walden (Columbia, Missouri) [Christeson]. R.P. Christeson (Old Time Fiddlers Repertory, vol. 2),
1984; pg. 98.
LITTLE RED FOX, THE. AKA and see "An Maidrin Ruadh."
LITTLE
RED LARK (OF THE MOUNTAIN) [1],
THE. AKA ‑
"An Fuiseogin Dearg." Irish, Air (6/8 time, "gracefully").
Ireland, County Armagh. G Major (O’Neill): F Major (Stanford/Petrie). Standard
tuning. AB. The tune is a version of the Irish air "Ballylee," and is also similar to “Caitlin Tirial” (Kitty Tyrell [2]). The Irish collector
Petrie obtained his version in County Armagh. O'Neill (Music of Ireland: 1850 Melodies), 1903; No. 72, pg. 13.
Stanford/Petrie (Complete Collection),
1905; No. 384, pg. 97. Folkways FW 6819, Willie Clancy
- "Irish Jigs, Reels and Hornpipes" (1959).
X:1
T:Little red lark of the mountain,
The [1]
M:6/8
L:1/8
R:Air
N:”Andante”
S:Stanford/Petrie (1905), No. 384
Z:AK/Fiddler’s Companion
K:F
C | F2G FDE | F2G (A<f)d | cAF
A>GF | D3C2D | F2G FDE | F2G A<fd |
CAF A>GF | F3 F2 || c | fef dcA |
fef (d<f)d | (cA)F (A>G)F | D3 C2D |
F2G FDE | F2G (A<f)d | (cA)F
(A>G)F | F3 F2 ||
LITTLE RED LARK OF THE
MOUNTAIN [2]. AKA and see "Trailibane Bridge." Irish, Air
(6/8 time). F Dorian. Standard tuning. AB. Source for notated version: “An
Erris tune from (piper) P. Coneely (Galway) [Stanford/Petrie]. Stanford/Petrie
(Complete Collection), 1905; No. 383,
pg. 97.
X:1
T:Little red lark of the mountain,
The [2]
M:6/8
L:1/8
R:Air
N:”Andante”
S:Stanford/Petrie (1905), No. 383
Z:AK/Fiddler’s Companion
K:Fdor
F>GF FGB | (c2d e2) (d/e/) |
c>BG G>FE | (F2E C3 | F>GF FGB |
(c2d e2) d/e/ | (cB) z/(F/ G2) F |
(F3 F2) || e | fec efg | a2g f2g |
f>ec c>BG | F2E C2e | fec efg
| a2g f2e | cfa g>f=e | f3 f2 z/f/ |
fec efg | a2 g/a/ f2g | f>ec cBG
| F2 E C2E | F>GF FGB | c2d e2 d/e/ |
cB zG2F | F3 F2 ||
LITTLE RED LARK [3], THE. AKA and see "Ushag
Veg Ruy."
LITTLE RED MILL, THE. Canadian, Jig. Canada, Cape Breton. D Major.
Standard tuning. AABB. Composed by Cape Breton fiddler and composer Dan R.
MacDonald (1911-1976). Cameron (Trip to
Windsor), 1994; pg. 52.
LITTLE RED WAGON. AKA and see “Little Red Barn.” Old‑Time,
Quadrille (Jig). USA, Oregon. G Major. Standard tuning. ABC. Source for notated
version: Charles Larson (Grand Island, Nebraska, 1951—Larson was a cousin of
Bob Walters, one of Christeson’s prime sources) [Christeson]. R.P. Christeson (Old Time Fiddlers Repertory, vol. 1),
1973; pg. 119.
LITTLE REED ISLAND
CREEK. Old-Time, Breakdown. From the
playing of John Coffey. Carl Baron – “Banjo Stuff.”
LITTLE RIVER STOMP. Old-Time, Two-Step. F Major. Standard tuning. AABB. Source for notated
version: Tony Thomas [Phillips]. Phillips (Traditional
American Fiddle Tunes), Vol. 2, 1995; pg. 78.
LITTLE ROCK.
See note for “Rachel [1].”
LITTLE ROCK OF MY
AFFECTION, THE (Carraigin An
Annsa). AKA and
see "Nelly, My Pretty Girl."
LITTLE ROSE (IS GONE). AKA and see "That's My Rabbit, My Dog
Caught It." Old‑Time, Breakdown. USA, West Virginia. A Dorian.
Standard tuning. AB. The tune, at least the first part, is a version of
"That's My Rabbit, My Dog Caught It," recorded by the Walter Family
of Woodford County, Ky. Wilson Douglas, a West Virginia fiddler who also
recorded the tune, said of its origins:
***
mentor) specials. He liked to play that, especially when he
felt a little bad. It's about as old a tune as you'll hear. There
were two pioneers, we'll call them frontier man and his wife.
They settled somewhere in the southern part of West Virginia,
way back. Her name was Rose and her husband came in one
day and she was gone. They never did find her. They didn't
know if Indians had killed her or taken her captive. This old
fellow had some kind of an old fiddle with gut strings. He
was grieving so, he composed this tune and called it the 'Little
Rose.' French said his grandfather Saul told him that tale and
he played it just like he was grieving. That old slow time, see?
(from an interview with Nancy
McClellan).
***
Gerry Milnes also collected the tune
and story from Douglas, although at that time the story told was different in
some details. According to Milnes, Douglas told him his version of “Little
Rose” was composed by Harmon Carpenter, a Civil War soldier, who left his
fiancé, Rose, to go and fight in the war. Upon his return he found that Rose
had been murdered by nightriders, whereupon he took up his fiddle and composed
the tune. The nightriders were Jayhawkers, Union sympathizers in a guerrilla
war fought in the West Virginia mountains where there was much sympathy for the
northern cause. Harmon had evidently joined the Confederate army, and thus his loved
ones were targeted.
***
Source for notated version: Wilson
Douglas (W.Va.) [Phillips]. Phillips (Traditional
American Fiddle Tunes), vol. 2, 1995; pg. 79. Reed
Island Rounders - “Wolves in the Wood” (1997). PearlMae Muisc 004-2, Jim Taylor – “The Civil War
Collection” (1996). Rounder 0047, Wilson Douglas - "The Right Hand Fork of Rush's
Creek" (1975).
LITTLE ROY'S
BREAKFAST.
Canadian, Reel. D Major. Standard tuning. AABB. Composed by the late Ontario
fiddler Graham Townsend. Hinds/Hebert (Grumbling
Old Woman), 1981; pg. 14. Arc AS817, "Graham
Townsend, North American Fiddling Champion."
LITTLE
SACK OF POTATOES, THE. Micho Russell
(1915-1944), tin-whistle player and a storehouse of folk tales and traditions,
traced the advent of the concertina in County Clare to the Maloney family,
whose members introduced and popularized the instrument until “in the old days
there was a concertina mostly in every house in north Clare.” Russell
maintained “the first tune you’d learn on the concertina would be ‘The Little
Sack of Potatoes’” (Piggott, Blooming
Meadows, 1998).
LITTLE SALLY WATERS. American, Reel. USA, southwestern Pa. D Major (Bayard‑Bryner): G
Major (Bayard‑Miller/Gelnette). Standard tuning. AA'B or ABB. Bayard
(1981) takes this to be a dance tune that was based on a song tune. In this he
was correct, as Seattle fiddler, producer and folklorist Vivian Williams has
discovered that a song called "The Babies on Our Block" by the
songwriting team of Edward Harrigan and Dave Braham, from the Broadway hit show
The Mulligan Guard Hall (1879) provides the melody for “Little Sally
Waters.” The title appears in
a list of traditional Ozark Mountain fiddle tunes compiled by
musicologist/folklorist Vance Randolph, published in 1954. Vivian writes: “The
chorus of the song uses the words from the old play party, but the melody is
completely different…In Michigan fiddler Les Raber's tunebook "Come Dance
With Me" there is a version of the same tune, along with mention of a
special dance that was done to it. I found the dance in the 1890
"Round Dancing" instruction book by M.B. Gilbert, which is on the
Library of Congress website's collection of dance instruction manuals.” Vivian
also has found a version of the tune in a hand-written music manuscript from
western Oregon, dating from the 1860's and 1870's, which, like many manuscripts
was retained in a musical family and added to by various members or
generations. Source for
notated version: James Bryner (Fayette County, Pa., 1960) and Fred Miller/Glenn
Gelnette (Jefferson County, Pa., 1949) [Bayard]. Bayard (Dance to the Fiddle), 1981; No. 259A‑B, pg. 221.
LITTLE SEAMUS ARE YOU
HUNGRY? AKA and see “(A) Sheamuis Bhig a’
bhFuil Ocras ort?”
LITTLE SHEILA
CONNELLAN. AKA and see "Little Mary Cullinan."
LITTLE SHOES. American, Reel. USA, southwestern Pa. C Major/G Major. Standard tuning.
AB. The second strain to this tune is fairly common in international folk
music, being part of two Midwestern tunes in Christeson (Nos. 49 & 61),
"The Muses" (USA), "Zweitritt" (German, c. 1820‑1850), "Three Meet [2]" (Eng.), "The Pleasures of the Town [2]"
(Eng.). Source for notated version: Issac Morris (Greene County, Pa., 1930's) [Bayard]. Bayard (Dance to the Fiddle), 1981; No. 49, pgs.
36‑37.
LITTLE SKIRMISH. English (?), Jig. D Major. Standard tuning. AABB. Aird (Selection of Scotch, English, Irish and Foreign Airs), vol. II, 1785; No. 142, pg. 52.
X:1
T:Little Skirmish
M:6/8
L:1/8
R:Jig
S:Aird, vol. II (1785)
Z:AK/Fiddler’s Companion
K:D
G | F2A d2A | G2B e2g | fed c2d | ecA A2G | F2A d2A | G2B e2g | fed edc | d3 d2 :|
|:
f/g/ | a2a a2g | f2f f2e | d2d dcd | ecA A2 f/g/ | a2a a2g | f2f f2e | d2d edc
| d3 d2 :|
LITTLE SPARROW. Old-Time. D Major. DDad tuning. In the
repertoire of West Virginia fiddler Edden Hammons; it was his favorite tuning
to play older airs in. Edden Hammons Collection, Disc
2.
LITTLE STACK OF BARLEY
[1], THE ("An
Staicin Beag Orna" or "An Staicin Eorna"). AKA and see "Evening Was Waning," "Little Mary Cassidy," "Patrick Condon's Vision," “Stack(s) of Barley.” Irish (originally),
American; Hornpipe. E Minor. Standard tuning. AABB. The ‘B’ part may be in G
Major. The title supposedly refers to that part of the barley harvest that was
kept aside for the making of potheen. The famous County Sligo-born New York
fiddler Michael Coleman recorded this tune in a medley with “The Stack of Wheat.” The title appears in a
list of Maine fiddler Mellie Dunham's (1856-1931) repertoire. The elderly
Dunham was Henry Ford's champion fiddler in the mid‑1920's. Cranitch (Irish Fiddle Book), 1996; pg. 76.
O'Neill (1915 ed.), 1987; No. 328, pg. 162. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1627, pg. 302.
O'Neill (Dance Music of Ireland: 1001
Gems), 1907/1986; No. 858, pg. 148. Roche
Collection, 1983, Vol. 2; No. 201, pg. 7. Spring
Records SCD1037, Néillidh Mulligan – “The Leitrim Thrush”
X:1
T:Little Stack of Barley [1]
M:C|
L:1/8
R:Hornpipe
S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 858
Z:AK/Fiddler’s Companion
K:Emin
B>d|e>fed BecB|AGEF AcBA|GFGA
BA (3Bcd|e2A2A2 B>d|
efgf efdB|AGEG AcBA|GFGA BdAB|G2 GG
G2:|
|:GA|Bdef g2 fg|agfg eg d2|gfed
B>A (3Bcd|e2 AA A2 Bd|
(3efg af g2 fe|d>BAG AcBA|G>FGA BdAB|G2 GG G2:|
LITTLE STACK OF BARLEY
[2], THE (An Staicin
Eorna). Irish,
Air (4/4 time). F Major. Standard tuning. AB. Other settins of this tune have
been published. Forde gives three, from Paddy Conneely (the Galway piper), High
O'Beirne (the Leitrim fiddler), and Mr. MacDowell, respectively. Conneely's
version (which I give here) is different from the others, and I think it very
fine‑‑the finest of all‑‑ published or unpublished. It
is, more than the others, a vocal setting, and has not been hitherto
printed" (Joyce).
***
Breathnach
(1997) records a story originally related by a man named Wayland (a founder and
secretary of the Cork Piper’s Club at the turn of the 20th century),
who mentions the air in connection with the blind piper Michael O’Sullivan.
O’Sullivan has been called the last of the old Kerry Pipers, and lived for a
time in Worcester, Massachusetts, before returning to Ireland where he died in
the poorhouse in Cahirciveen in 1916.
The piper was a man of many exceedingly eccentric fancies and
superstitions. He left Cork because he was convinced that his landlady was
feeding him fairy butter, although it appears he had also been called away to
see after his mother’s funeral.
Dismayed to find that there was no longer a tradition of keening women
at funerals, O’Sullivan was convinced to play his pipes. His mother’s coffin
was loaded onto an ass-drawn cart for the trip to the graveyard, and O’Sullivan
followed behind playing and singing every verse of “Seo leo, a thoil, is ná
goil go fóill.” When he returned home very late after the funeral her heard a
voice singing “An Staicin Eornan,” and was so moved by the eloquance of the
music that he strapped on his pipes and played the air.
***
Upon
arising the next day the piper was disconcerted to find that his finger-nail
hurt badly, and he sent for the doctor, who removed a grain of barley from the
finger. O’Sullivan took this as a sign
that the singing he had heard the previous night was the voice of one of the
fairy folk, and this was confirmed for him when the finger healed but remained
lifeless, despite the doctor’s ministrations.
He sought the advice of a travelling woman whom he knew who told him to
stop playing the pipes for a month, and this he did. When the month was up
O’Sullivan went to Bord Eoinín with his instrument, and again met the
traveller. He said that he held no hope that he would play well, despairing
that there were better pipers now than he, but she told him that he would make
money that night. It was a while before
he was asked to play, waiting while pipers from all over the country played,
but when he did at last “they thought the cups were dancing on the dresser and
he was kept playing until daylight. He was acclaimed the finest piper in all
Ireland” (Breathnach, The Man and His
Music, pg. 51).
***
Joyce (Old Irish Folk Music and Song), 1909;
No. 462, pg. 258.
LITTLE STACK OF WHEAT, THE. AKA and see “The
Stack of Wheat.”
LITTLE STAR. AKA and see “Twinkle
Little Star.” Old‑Time. Recorded by Willie Narmour, Mississippi, and
Fiddlin’ Arthur Smith (Tennessee).
LITTLE STREAM OF
WHISKEY. AKA and see "The Dying Hobo." Old‑Time, Song
Tune. USA; western N.C., Ky. C Major. Standard tuning. AABB (Phillips): AA'BB'
(Kuntz). Charles Wolfe believes the song was a parody of Caroline Norton's poem
"Bingen on the Rhine." It was a famous selection of Mt. Airy, North
Carolina, fiddler Tommy Jarrell. Stacy Phillips (1995) notes the second section
of his version is attributed to Tommy Hunter. North Georgia band The Swamp
Rooters with Lowe Stokes and Bert Layne on fiddles recorded a rewording of the
tune called “Prohibition is a Failure” in 1930. Source for notated version:
Doug Phillips [Phillips]. Kuntz, Private Collection. Phillips (Traditional American Fiddle Tunes), vol.
2, 1995; pg. 79. Columbia 15133‑D (78 RPM),
Burnett and Rutherford (1926. Learned "from somebody in Somerset
County," Ky.). Mountain 310, Tommy Jarrell ‑ "Joke on the
Puppy" (1976. Learned from Pate Martin). Rounder 0036, Fields Ward.
Rounder 1004, "The Songs of Dick Burnett and Leonard Rutherford."
X:1
T:Little Stream of Whiskey
M:C|
L:1/8
S:Liz Slade
Z:AK/Fiddler’s Companion
K:C
(DE)D||(ED)ED E(F G)A|c>d e2 d2|cd/c/ d/c/A (E/ c) (E/ c)d A2|1
c>(d c>)A G E |D>E DE (G,/ D) (G/ D) DE/D/:|2 c>d cA/D/ G/D/G/D/ E/D/E/E/|
D/E/F/D/
E/E/D (C/ E) (C/ E2||
LITTLE SWALLOW, THE (An Ailleog Beag). AKA and see "I Wish I Was a Little Swallow."
Irish, Air (3/4 time, "tenderly"). G Major (O'Neill): B Flat Major
(O'Sullivan/Bunting). Standard tuning. AB. Source for notated version: the
index to the Irish collector Edward Bunting's 1840 collection states the tune
was collected at Ballynascreen, Co. Derry, in 1803. O'Neill (Music of
Ireland: 1850 Melodies), 1903/1979; No. 139, pg. 25. O'Sullivan/Bunting,
1983; No. 95, pgs. 139-140.
X:1
T:Little Swallow, The
M:3/4
L:1/8
R:Air
N:”Tenderly”
S:O’Neill – Music of Ireland
(1903), No. 139
S:AK/Fiddler’s Companion
K:G
(3d/e/f/ gG | (GF) (ED) .G.G |
.B(B/c/) .d(d/4e/4f/ g)d | ec .A(F/A/) .G.G |
(G2 G/)(G/B/d/) gG | (GF) (ED) .G.G
| .B(B/c/) .d(3d/e/f/ .g(g/d/) |
(ed/c/) (B/A/G/F/) GG | G3 (G/A/) Bd
| g3 .f(a/g/) (f/e/)(g/e/) | d>B .G(G/A/) Bd |
g2 (f/a/g/f/) ee| e2 (e/d/)(e/f/) gG
| (GF) (ED) .G.G | B>c .d(d/4e/4f/ g>)d |
(f/e/d/c/) (B/A/G/F/) (.G.G) | (G2
G)(G/A/) (Bd) | g2 ~f(a/g/) (f/e/)(g/e/) | {^c/}d>B .G(G/A/) (Bd) |
g2 (f/a/g/f/) ee | e2 (e/d/e/f/) gG
| (GF) (ED) .G.G | B>c .d(d/4e/4f/ g)d | ec .A(F/A/) | (G2 G) z z2 ||
LITTLE SWISS. English, Jig. G Major. Standard
tuning. AABB. “Little Swiss” first appears in R. Baldwin’s periodical The
London Magazine, or Gentleman’s Monthly Intelligencer, 1754. It subsequently
appeared in John Johnson’s 200 Favourite Country Dances, vol. 7 (London,
1756). Thompson (Compleat Collection of 200 Favourite Country Dances,
vol. 1), 1757; No. 51.
X:1
T:Little Swiss
M:6/8
L:1/8
B:Thompson’s Compleat Collection of 200 Favourite Country Dances, vol. 1 (London, 1757)
Z:Transcribed and edited by Flynn Titford-Mock, 2007
Z:abc’s:AK/Fiddler’s Companion
K:G
B2(d d2)e|dec dBG|B2(d d)ef|gfg (A/B/c)A|(B/c/d)B (c/d/e)c|(dfg) dBd|(e/f/g)e dBG|A3 G3:|
|:(BG)B
(dB)d|gfe dBG|(BG)B dBd|fga ABc|(d/e/f)d (e/f/g)e|dec dBG|(e/f/g)e dBG|A3 G3:||
LITTLE
THATCHED CABIN [1]. AKA and see “The House in the Glen [2].”
Irish, Double Jig. D Major. Standard tuning. AABB'. Paddy Reynolds recorded the
tune for Rego Irish Records. Source for notated version: the late Staten
Island, New York, fiddler Paddy Reynolds (1920-2005, originally from the
townland of Garvary, near Ballinamuck, County Longford) [Paddy Ryan/Treoir; Miller & Perron]. Miller
& Perron (Irish Traditional Fiddle
Music), 1977; vol. 2, No. 4. Miller & Perron (Irish Traditional Fiddle Music), 2nd Edition, 2006; pg.
27. Treoir, vol. 32, No. 1, 2000; pg.
22. Treoir, vol. 33, No. 1, 2001; pg. 29. Rego
Irish Records 1000, "Sweet and Traditional."
See also listing at: Alan
Ng’s Irishtune.info |
X:1
T:Little
Thatched Cabin [1]
M:6/8
L:1/8
R:Jig
S:Treoir
K:D
A|FDA, DFB|AFD EDB,|DFA def|gfg eag|
fdB AFD|EDB, DFA|dcd eag|fdc d2:|
|:f/g/|afa geg|fdf ecA|dcd fed|cAc efg|afa geg|
fdf
ecA|1 dcd eag|fdc d2:|2 dcd AFD|EDC D2:|
LITTLE THATCHED CABIN
[2]. Irish, Reel. D Major. Standard
tuning. AA’BB’CC’. Source for notated version: F. Dwyer, arranged by Brendan
Mulvihill (Baltimore, Md.) [Mulvihill]. Mulvihill (1st Collection), 1986; No. 44, pg. 12.
LITTLE WHISKEY. Old-Time, Breakdown. USA, Missouri. A Major ('A' part) & A
Mixolydian ('B' part). AEae tuning. AABB. The tune is known as a “tie-hacker”
tune, one that was carried to the Mid-West by railroad workers. In the case of
“Little Whiskey” the source was Nile Wilson of Bucklin, Missouri, whose people
were ‘tie-hackers’ from Illinois. Source for notated version: Geoff Seitz with
the Ill-Mo Boys [Phillips]. Phillips (Traditional
American Fiddle Tunes), vol. I, 1994; pg. 144. Marimac
9054, The Ill-Mo Boys - "Fine As Frog Hair" (1995). MSOTFA 202-CD,
Nile Wilson - “The Tie-Hacker Hoedown.” MSOTFA, "Now That's a Good Tune:
Masters of Traditional Missouri Fiddling.”
LITTLE WHITE BLANKET, THE (An Súisín Bán). See “The White Blanket.”
LITTLE WHITE COAT, THE (An Cóta Beag Bán). Irish, Jig. G Major. Standard
tuning. AA’BB’. Breathnach (CRÉ V),
1999; No. 51, pg. 25.
LITTLE WHITE LIES. Old‑Time, Breakdown. USA; Missouri, Iowa. A Major. Standard
tuning. AABB. Source for notated version: Casey Jones (Livingston County,
Missouri) [Christeson]. R.P. Christeson (Old
Time Fiddlers Repertory, vol. 1), 1973; pg. 9.
LITTLE WILLIE. Old‑Time, Breakdown. USA, Mississippi. A Major. The melody was
recorded in 1939 for the Library of Congress by Herbert Halpert from the
playing of Choctaw County, Mississippi, fiddler Charles Long.
LITTLE WOT YE WHA'S
COMING. AKA and see "The Highland Muster Roll, 1715,"
“Tail Tod(d)le.” English, Reel. England,
Northumberland. G Major. Standard tuning. AABBCCDD. A Northumbrian version of
the Scottish tune “Tail Tod(d)le.” Title
appears in Henry Robson's list of popular Northumbrian song and dance tunes
("The Northern Minstrel's Budget"), which he published c. 1800.
"This is really a pipe tune, but whether English or Scottish is we
believe, an open question. It has appeared in Scottish collections as 'The
Highland Muster Roll, 1715,' though it only appeared in print in Johnson's Scots Musical Museum, vol. VI., 1803.
The Antiquarian Society possesses a MS copy or the date 1770. The song in
Johnson is a catalogue of the Jacobite chieftains, who were expected to rise in
1715, and amongst others named are—
***
Derwentwater and Forster's coming,
Witherington and Nairn's coming,
Little wot ye wha's coming, &c.
***
It is known from tradition that a
similar Northumbrian ballad was also sung to this tune, a scrap of which only
is preserved—
***
Little wot ye whe's coming,
Bonny Boweree's coming—
***
the Boweree named being the
celebrated William Charlton, of the Bower, near Reedsmouth, called from the
name of his estate 'Bowery Charlton', whose rough, rude disposition and violent
temper led him into many troubles, and frequently brought him within the power
of the law" (Bruce & Stokoe). Bruce & Stokoe (Northumbrian Minstrelsy), 1882; pgs. 186‑187.
X:1
T:Little Wot Ye Wha’s Coming
M:C
L:1/8
S:Bruce & Stokoe – Northumbrian Minstrelsy (1882)
Z:AK/Fiddler’s Companion
K:G
d/d/d fd g2 dB|d/d/d fd e2 cA|d/d/d fd gefd|e/f/g f/g/a e2 cA:|
|:g2 dB Bgec|g2 dB AecA|g2 dB BgdB|e/f/g f/g/a e2 cA:|
|:d/d/d fd gefB|d/d/d fB eAcA|d/d/d fd gefd|e/f/g/e/ f/g/a/f/ e2 cA:|
|:g2
Bg BgdB|g2 Bg BgcA|G2 Bg a/g/f/e/ fd|e/f/g/e/ f/g/a/f/ e2 eA:|
LITTLE YELLOW BOY, THE (An Buachaillín Buí). AKA and see "Galway Tom [1]," "Galway Town," "Galloway Tom [2]," "Come in the Evening," "The Kelso Races," "The Welcome," "A Western Lilt," "The Goats’ Horn(s)," "The Spotted Cow," "The Lark in the Morning [1],"
"An Buachaillin Bui,"
"The Thrush's Nest."
LITTLE YELLOW GOAT. See “(An) Gabhairín Buí.”
LITTLE YELLOW ROAD, THE (An Botarin Buide). Irish, Air (6/8 time,
"animated"). G Major. Standard tuning. ABC. O'Neill (O’Neill’s Irish Music), 1915/1984; No.
49. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 121, pg.
22.
X:1
T:Little Yellow Road, The
M:6/8
L:1/8
R:Air
N:”Animated”
S:O’Neill – Music of Ireland (1903), No. 121
Z:AK/Fiddler’s Companion
K:G
D|GGG GAF|GGG ABc|dcB {d}cAG|F3
DEF|GGG GA>F|
GGG ABc|{e}dcB {d}cAF G3 G2||d|ddd
edB|ccc dcA|BBB BAG|
F3 DEF|GGG GA>F|GGG ABc|{e}dcB
{d}cAF|G3 G2||B|
ddd d/f/e/d/c/B/|ccc
c/e/d/c/B/A/|BBB B/d/c/B/A/G/|FAF DEF|
G/F/E/F/G/A/
B/A/G/F/G/A/|G/F/E/F/G/A/ B2d|{e}dcB {d}cAF|G3 G2||
LITTLE YOU KNOW THE
GRIEF AND WOE. AKA and see "I Wish That I Could Go With
You [1]."
LITTLEJOHN'S HAME. Scottish, Strathspey. D Major. Standard tuning. AB. Composed by J. Scott Skinner (1843-1927). Source for notated version:
Jean-Ann Callender (Aberdeen) [Martin]. Martin (Traditional Scottish Fiddling), 2002; pg. 132. Skinner (The Scottish Violinist), pg. 17. Tommy Peoples – “50 Irish Fiddle Tunes.”
See also listings at: Alan Snyder’s Cape Breton Fiddle
Recording Index Alan Ng’s Irishtune.info |
LIVELY JIG, THE. English, Morris Dance Tune (4/4 time). F
Major. Standard tuning. AABB. Collected from the village of Ilmington,
Warwickshire, in England's Cotswolds, though Bacon says the dance probably
originated outside of the village. Bacon (The
Morris Ring), 1974; pg. 222.
LIVELY STEPS. Canadian, Reel. Canada, Cape Breton. D Mixolydian/Major. Standard
tuning. AAB. Composed by fiddler Jerry Holland (Inverness, Cape Breton).
Cranford (Jerry Holland’s), 1995; No.
120, pg. 35. CAT-WMR004, Wendy MacIssac - “The ‘Reel’
Thing” (1994). Fiddlesticks cass., Jerry Holland - “Lively Steps” (1987). Green
Linnett, Jerry Holland - “The Fiddlesticks Collection” (1995).
LIVELY TIM. Irish, Double Jig. A Major. Standard tuning. AABB. Kerr (Merry Melodies), vol. 4; No. 227, pg.
25.
X:1
T:Lively Tim
M:6/8
L:1/8
R:Jig
S:Kerr – Merry Melodies, vol. 4, No. 227
(c. 1880’s)
Z:AK/Fiddler’s Companion
K:A
a2A cBA|ecA cBA|a2A cBA|BcA GFE|a2A
cBA|ecA cBA|
fga ecA|dBG A3::B2E GFE|BGB dcB|e2A cBA|cAc efg|
agf efg|agf
efg|fga ecA|dBG A3:|
LIVERPOOL BREAKDOWN, THE. Irish, Hornpipe. G Major. Standard tuning.
AABB. Breathnach (1963) notes the breakdown was a type of hornpipe or
“clogdance.” Kelly’s son James, a well-known fiddler, said he only heard the
tune played by his father, who called it the “Liverpool Breakdown.” Source for
notated version: fiddler John Kelly/Sean O'Kelly (Dublin, Ireland, originally
from County Clare) [Breathnach]. Breathnach (CRÉ I), 1963; No. 204, pg. 83. Capelhouse
Records, James Kelly – “Traditional Irish Music” (1996).
LIVERPOOL HORNPIPE [1], THE (Crannciuil Liberpuil).
AKA and see “London Hornpipe [5],”
"Lousiville Hornpipe,"
"Brilliancy" (Christeson),
"Processional Morris [1]"
(Mellor), "The Grove [1]." English,
Scottish, Irish, American; Hornpipe. USA; Maine, New York, southwestern Pa.,
Texas, Arkansas, Missouri. Ireland; Sliabh Luachra region of the Cork-Kerry
border. England; Shropshire, Lincolnshire. D Major. Standard tuning. AB
(Hardie): AABB (most versions): AA’BB’ (Moylan): AABBCC (O'Neill/1915, 1001
& 1850). The Irish musicologist Father Henebry criticized this piece for
its "purposeless vapidity," though it has been printed endlessly in
collections since the mid-19th century and evidently has been quite
popular with fiddlers and fifers. Caoimhin Mac Aoidh also says it is generally
considered a fiddler’s tune in Ireland and points to the many versions recorded
by both Sligo and Donegal masters. The title appears in a list of tunes in his repertoire brought by Philip
Goodman, the last professional and traditional piper in Farney, Louth, to the
Feis Ceoil in Belfast in 1898 (Breathnach, 1997). A minor-key variant
collected in Wales appears as "Processional Morris [1].” The earliest
version I have yet to find is in the 1823-26 music manuscript collection of
Joshua Gibbons, a papermaker and musician from the village of Tealby, near
Market Rasen, in the Lincolnshire Wolds, where it appears under the title
“London Hornpipe.” Scottish dancers perform a step-dance to the melody, also
called the Liverpool Hornpipe. In America the piece was cited as having been
commonly played at Orange County, New York, country dances in the 1930's
(Lettie Osborn, New York Folklore
Quarterly). The title also appears in a list of traditional Ozark Mountain
fiddle tunes compiled by musicologist/folklorist Vance Randolph, published in
1954, and in a list of the repertoire of elderly Maine musician Mellie Dunham,
Henry Ford's champion fiddler in the mid-1920's. For more on this tune in the
Missouri tradition (in which it was popular) see note for "Thunder Hornpipe." See also the south west Pennsylvania
collected “Tiddle Took Tidfish,”
whose first part is a variant of “Liverpool Hornpipe’s” second part. Sources
for notated versions: Wilbur Neal (elderly fiddler from Jefferson County, Pa.,
1948) and Hogg (Pa., 1948) [Bayard]; Jake Hockemeyer (Mokane, Missouri) via
Charlie Walden (Columbia, Missouri) [Christeson]; Hamilton County, New York
fiddler Vic Kibler learned the tune from Harding's
Collection [Bohrer]; Bill Hardie (Scotland) [Hardie]; a c. 1837-1840 MS by
Shropshire musician John Moore [Ashman]; Texas fiddler Benny Thomasson [Phillips];
accordion player Johnny O’Leary (Sliabh Luachra region, Kerry), recorded at a
recital at Na Píobairí Uilleann, February, 1981 [Moylan]; a tape of set-dance
music recorded live at Na Píobairí Uilleann in the 1980’s [Taylor]. Allan's Irish Fiddler, No. 87, pg. 22. American Veteran Fifer, 1927; No. 54.
Ashman (The Ironbridge Hornpipe),
1991; No. 20, pg. 4. Bain (50 Fiddle Solos), 1989; pg. 26. Bayard (Dance to the Fiddle), 1981; No. 280A‑B,
pg. 234. Bohrer (Vic Kibler), 1992;
No. 31, pg. 31. Christeson (Old Time
Fiddler’s Repertory, vol. 2), 1984; No. 76, pg. 51. Cole (1000 Fiddle Tunes), 1940; pg. 89. Craig (The Empire Collection of Hornpipes), c. 1890’s; pg. 2. DeVille,
1905; No. 12. Hardie (Caledonian
Companion), 1992; pg. 34. Harding
Collection (1915) and Harding
Original Collection (1928), No. 35. Honeyman, 1898; pg. 44. Howe (Diamond School for the Violin), 1861;
pg. 43. Jarman (Old Time Fiddlin' Tunes),
1951; No. or pg. 23. Jigs and Reels,
vol. 1, 1908; pg. 31. Kennedy (Fiddlers
Tune Book), vol. 1, 1951; No. 11, pg. 6. Kerr (Merry Melodies), vol. 1; No. 5, pg. 42. MacDonald (The Skye Collection), 1887; pg. 172.
Moylan (Johnny O’Leary), 1994; No.
29, pg. 18. O'Malley, 1919; pg. 18. O'Neill (O’Neill’s Irish Music), 1915/1987; No. 333, pg. 164. O'Neill
(Krassen), 1976; pg. 166. O'Neill (Music
of Ireland: 1850 Melodies), 1903/1979; No. 1565. O'Neill (Dance Music of Ireland: 1001 Gems),
1907/1986; No. 816, pg. 141. Phillips (Traditional
American Fiddle Tunes), vol. 2, 1995; pg. 205. Raven (English Country Dance Tunes), 1984; pg. 173. Robbins, 1933; No. 79.
Ryan’s Mammoth Collection, 1883; pg.
123. Stewart-Robertson
(The Athole Collection), 1884; pg.
297. Taylor (Music for the Sets: Yellow
Book), 1995; pg. 38. Tubridy
(Irish Traditional Music, Book Two),
1999; pg. 12. White's Unique
Collection, 1896; No. 127, pg.
23. IRC Records, Michael Coleman - “The Musical
Glory of Old Sligo” (1967). Voyager 309, Benny & Jerry Thomasson -
"The Weiser Reunion" (1993). Fife Strathspey and Reel Society – “The
Fiddle Sounds of Fife” (1980). Rounder CD 1087, Peter Guinan – “From Galway to
Dublin” (1992. Reissue of 1937 original). Shanachie 79093, Paddy Glackin and
Robbie Hannon – “Whirlwind” (1995. Learned from piper Séamus Ennis).
X:1
T:Liverpool [1]
M:C|
L:1/8
R:Hornpipe
B:Stewart-Robertson – The
Athole Colletion (1884)
Z:AK/Fiddler’s Companion
K:D
AG|FDFA dfaf|gfed dcBA|GBGB FAFA|EFGA GFED|FDFA dfaf|
gfed dcBA|dfaf bgec|d2 f2 d2:||:A2|dfdf cece|BcdB BAGF|GBGB FAFA|
EFGA GFED|FDFA dfaf|gfed dcBA|dfaf bgec|d2 f2 d2:|
X:2
T:Liverpool Hornpipe [1]
M:C|
L:1/8
S:Brian Conway
Z:AK/Fiddler’s Companion
K:D
AG | FDFA dfa(f|g)fe(c d)cBA | GBGB F2AF | {F}EDEF GBA(E |
F/)E/DFA dfa(f | {a}g)fe(c d)cBA | dfa(f b)gec |1 d (3gfe d2 :|2 d2 dc d2 ||
||(ABc | dfdf cece | BAB(c d)cBA | GBGB FAFA | EAFA GBA(G |
F/)E/DFA dfa(f | {a}g)fec (dc)BA | dfa(f | b)gec | d2 (3gfe d2 (ABc |
dfdf ceac | BAB(c d)cBA | GBGB FAdF | EAFA GBA(G |
F/)E/DFA dfa(f | {a}g)fec (dc)BA | dfa(f | b)gec | d2 (3gfe d2 ||
LIVERPOOL HORNPIPE
[2]. AKA
and see "Dundee Hornpipe,"
"Kildare Fancy." American,
Hornpipe. USA, southwestern Pa. C Major. Standard tuning. AB. Unrelated to
version #1. Source for notated version: Samuel Losch (Juniata County, Pa.,
1930's) [Bayard]. Bayard (Dance to the
Fiddle), 1981; No. 281, pg. 235.
LIVERPOOL HORNPIPE
[3].
English, Jig. B Flat Major. Standard tuning. AABB. This 6/8 tune originally
appears in Thompson’s Compleat Collection
of 120 Favourite Hornpipes (1800). Knowles (A Northern Lass), 1995; pg. 3.
LIVERPOOL JACK'S. AKA and see “Dan Backus’ Favorite,” “Jim Coleman’s [1],” “Miss McGuinness [3],” “Take Your Choice,” “Terence’s Rambles.” English (?), Reel. F
Major. Standard tuning. AB. Cole (1000
Fiddle Tunes), 1940; pg. 21. Ryan’s
Mammoth Collection, 1883; pg. 46. White’s
Unique Collection, 1896; No. 78, pg. 14.
X:1
T:Liverpool Jack’s
M:2/4
L:1/8
S:White’s Unique Collection (1896), No.
78.
Z:AK/Fiddler’s Companion
K:F
c/F/
(3.F/.F/.F/ (c/F/)A/F/ | d/e/f/g/ a/f/e/f/ | c/F/ (3.F/.F/.F/ (c/F/)A/c/ |
d/f/c/A/ (A/G/)G |
c/F/ (3.F/.F/.F/
(c/F/)A/F/ | d/e/f/g/ a/f/e/f/ | c/F/ (3.F/.F/.F/ (c/F/)A/c/ | d/f/c/A/ (A/G/)G
||
.g(a/g/) fc
| d/f/c/f/ d/f/c/f/ | .g(a/g/) f/d/d/e/ | f/d/c/A/ (A/G/)G | .g(a/g/) fc |
d/f/c/f/ d/f/c/f/ | .a/.f/(3g/f/e/
(f/d/)d/e/ | f/d/c/A/ (A/G/)G ||
LIVERPOOL JIGG. English, Dance Tune (6/4 time). North‑West England. D Major.
Standard tuning. AABB. The melody appears in Walsh’s third collection of
Lancashire tunes (Lancashire Jiggs,
Hornpipes, Joaks, etc.) published around the year 1730. Knowles (Northern Frisk), 1988; No. 49.
X:1
T:Liverpool Jigg, The
B:Walsh
M:6/4
L:1/8
K:D
ag| f3 g a2 b3 ag2| g3 fg2 e2 f2 g2 | a3 g a2 B2 e2 d2 | c4 A2 A4 ag||\
f3 g a2 b3 ab2| g3 fg2 e2 f2 g2 | a3 g f2 e2 c2 a2| f4 d2 d4:: ed|\
c3 d e2 fg a2 f2| e2 c2a2 B4 c2| d3 c d2 B2 e2 d2| c4 A2 2 A4 Bc|\
d3
c d2 B2 c2 d2| g3 f ed c3 d e2| a3 gf2 e2 dcBA| d4 D2 D4||
LIVET I FINNSKOGARNA. AKA and see "Life in the Finnish
Woods." Swedish, Waltz. Composed by Kalle Jularbo. The tune was
recorded by whistle player Sean Ryan on his first album.
LIVINGSTONE POND. Canadian, Jig. Canada, Cape Breton. Composed by Cape Breton fiddler and
composer Dan R. MacDonald (1911-1976).
LIVRE DE TABAC, UN.
AKA and see “Drunken Hiccups
[1].”
LIZA JANE [1]. See "Goodbye Liza Jane
[1]" (Texas Swing version) or "Goodbye Liza Jane [2]"
(Fiddling John Carson's version),” “Miss Liza, Poor Gal.”
LIZA JANE [2]. See "Little Liza Jane,"
"Tumblin' Creek Liza Jane,"
and "I Lost My Liza Jane."
Old-Time, Breakdown. USA, Kentucky. A Major. Standard tuning. AABB. From
fiddler J.P Fraley, of Rush, Kentucky. Fraley was born in 1927 near Hitchins,
Carter County, and learned much of his fiddling and some repertoire from his
father Richard, a farmer. Jeff Titon (2001) says that when the family had
business in Ashland, Richard dropped J.P. off to listen for hours to regional
great Ed Haley play on the street corner, so as to increase his tutelage.
Source for notated version: Greg Canote (Seattle) [Silberberg]. Silberberg (Tunes
I Learned at Tractor Tavern), 2002; pg. 90. Songer (Portland Collection), 1997; pg. 128. The
String Beings - “Late for the Dance.”
X:1
T:Liza Jane [2]
M:C|
L:1/8
Z:AK/Fiddler’s Companion
K:A
(3efg | a2 ff e2c2 | fecB A2 (3efg |
a2 ff e2c2 | [A3f3] [Ag] [A2f2] (3efg |
a2 ff e2c2 | fecB A2 AB | cBAG E2F2
| A3B A2 :: A2 | c4 c3A | B2 A4 A2 |
Bc2B cBA2 | F6 A2 | B4 B3B | c2 B4
AB | cBAF E2F2 | A6 :|
X:2
T:Liza Jane [2]
M:C|
L:1/8
R:Reel
N:AEae tuning
S:Rafe Stefanini
N:From a transcription by John Lamancusa, by permission http://www.mne.psu.edu/lamancusa/tunes.htm
Z:AK/Fiddler’s Companion
K:A
AF|:EEFE A3A|B2(A2 A2)(c2|c)(BcB) cBA(E|F3) (A F)EAF|EEF A3A|
B2(A2 A2)(c2|c)BAF E2F2|1 A3 (A[A2)A2] AF:|2 A3 (A [A2)A2] ea||
|:f2e2c3B|cB (A2 A2)ea|f2e2 cB c2|e3f e2ea|f2e2c3B|(cB)(A2 A2) (A2|
A)cBA F2E2|1 A3 (A [A2)A2] ea:|2 A3 (A [A2)A2]||
LIZA JANE [3]. AKA and see "'Lasses Cane,"
“Little Dutch Girl [2],” "Poor Liza Jane." Old‑Time,
Breakdown. USA; Oklahoma, Missouri. A Mixolydian (Brody, Phillips): G Major.
AEae or Standard tunings. ABB (Thede): AABB (Brody, Phillips). The “Liza Jane”
family of tunes includes a number of related variants going by a variety of
related titles, such as “Old Time Liza Jane,” “Poor Liza Jane,” “'Lasses Cane,” “Goodbye Liza Jane,” “Little Liza Jane [1],” and so on. In the
repertoire of Uncle Jimmy Thompson (1848‑1931) {Texas, Tennessee}.
Recorded in 1939 for the Library of Congress by Herbert Halpert from the playing
of Newton County, Mississippi, fiddler Hardy Sharp (b. 1884). See also "My
Little Dony" for another Mississippi collected version in this song/tune
family.
***
I'll go down the new cut road,
And Liza down the lane;
I'll throw my hat in the corner of the fence,
And scare poor Liza Jane. (Thede)
***
I'll go up on the mountain top
And plant me a patch of cane,
I'll make me a jug of molasses
For to sweeten little Liza Jane.
***
Hurry up, pretty little gal,
Hurry up Liza Jane,
Hurry up, poor little gal,
She died on the train.
***
I went to see my Liza Jane,
She was standin' in the door,
Her shoes and stockings in her hand
And her feet all over the floor.
***
The hardest work I ever did
Was a‑brakin' on the train,
Was a‑courtin' Liza Jane
(Thomas & Leeder)
***
Sources for notated versions: Joe
Wilsie (Cherokee County; Oklahoma) [Thede]: Carter Brothers and Son (Brody,
Phillips). Brody (Fiddler’s Fakebook),
1983; pg. 172. Phillips (Traditional
American Fiddle Tunes), vol. 1, 1994; pg. 144. Thede (The Fiddle Book), 1967; pg. 44‑45. Thomas & Leeder (The Singin’ Gathering), 1939; pg. 22. County 520, Carter Brothers and Son (Monroe County,
Mississippi) ‑ "Echoes of the Ozarks, Vol. 3". Folkways FA
2491, New Lost City Ramblers‑ "Gone to the Country." Flying
Fish FF260, Alan Jabbour‑ "Sandy's Fancy." Okeh 45202 (78 RPM),
Carter Brothers and Son.
LIZA JANE [4]. American, March (2/4 time). USA, southwestern Pa. G Major. Standard
tuning. AB. A fifer's tune seemingly derived from a spiritual song known in
northern West Virginia and southwestern Pa., perhaps "My Father's Gone to
View That Land," "My Daddy," or one beginning "There is a
happy land...". This melody is the one fomerly learned in elementary
school to which a chorus is sung:
***
Oh, Eliza, little 'Liza Jane,
Oh, Eliza, little 'Liza Jane.
***
Sources for notated versions: Marion Yoders (Greene County, Pa., 1961), Lloyd Grimm (Westmoreland and Greene Counties, Pa., 1960), Hoge MS and Mount Pleasant Tablatures {two of these sources cite Charlie Cook as their source} [Bayard]. Bayard (Dance to the Fiddle), 1981; No. 394A‑D, pgs. 376‑377. Ruth (Pioneer Western Folk Tunes), 1948; No. 97, pg. 34.
X:1
T:Liza Jane [4]
M:2/4
L:1/8
S:Viola “Mom” Ruth – Pioneer Western Folk Tunes (1948)
Z:AK/Fiddler’s Companion
K:G
({A/^A/}B>)G A2|({A/^A/}B>)G AG/A/|d d3 (B/c/|d3) (G/A/)|
({^A}B>)G AG/A/|({^A/}B>)G A (E/F/)|G G3 (E/F/)|G4:|
|:g3 d/d/|e2d2|d/d/ d2 (B/c/|d3) (e/f/|g) g3 d/|e2d2|[G/B/][G/B/] [B,3G3]A|
[B,3G3] (3d/e/f/|g g3 d/|e2d2|d/d/ d2 (B/c/|d3) (e/f/|g) g2 d|e2d2|
[G/B/][G/B/]
[B,2G2] A|[B,4G4]:|
LIZA JANE [5]. Old-Time, Breakdown. USA; Tennessee, Kentucky. G Major. Standard
tuning. AABB. A variant of “Liza Jane [4].” Titon (2001) writes that
Davenport’s “Liza Jane” demonstrates considerable African influences with its
strong syncopation. He notes the title was a popular one in the lists of tunes
played at the Berea, Kentucky, fiddle contests during the second decade of the
20th century. Source for notated versions: Clyde Davenport
(Monticello, Wayne County, Ky.), who learned the tune from his father Will
Davenport, a Tennessee fiddler [Phillips]. Phillips (Traditional American Fiddle Tunes), vol. 1, 1994; pg. 145. Titon (Old-Time
Kentucky Fiddle Tunes), 2001; No. 94, pg. 123. Berea College Appalachian Center AC002, Clyde Davenport –
“Puncheon Camps “ (1992).
LIZA JANE [6]. Old-Time, Breakdown. G Major. Standard tuning.
AB. Source for notated version: Phil and Vivian Williams (Seattle)
[Silberberg]. Silberberg (Tunes I Learned at Tractor Tavern), 2002; pg.
92.
LIZA LYNN. Canadian, Waltz. A Major. Standard tuning. AB. The tune, according to
Jackie Small (1983) "has become the theme tune of Flatley's, (a) bar in
Kinvara," the town in County Galway, Ireland, where accordion player
Jackie Daly lives. Source for notated version: Andy De Jarlis (western Canada)
via Seamus McGuire (Co. Sligo, Ireland) [Matthiesen]. Matthiesen (Waltz Book II), 1995; pg. 32. Green Linnett SIF-1051, Jackie Daly, Seamus & Manus
McGure - "Buttons and Bows" (1984).
LIZA ROSE. American, Reel. D Major. Standard tuning. AABB. A modern composition by
David Cahn. Source for notated version: Rodney Miller (Antrim, New Hampshire)
and Mel Marshall [Phillips]. Phillips (Traditional
American Fiddle Tunes, vol. 1), 1994; pg. 145.
LIZZIE GALL REEL. Old-Time, Breakdown. USA, Kentucky. G Major. A
version of “Speed the Plow” (?)
from Kentucky fiddler George Lee Hawkins. Rounder.
LIZZIE LINDSAY. Scottish, Air (3/4 time). G Major. Standard tuning. One part. Howe (1000 Jigs and Reels), c. 1867; pg. 120.
X:1
T:Lizzie Lindsay
M:3/4
L:1/8
R:Air
S:Howe – 1000 Jigs and Reels (c. 1867)
Z:AK/Fiddler’s Companion
K:G
DE | G3A B2 | B2g2dB | A2G2DE |
G3AB2 | d2g2B>c | d4ed |
B4 B>B | e2d2BG | A2B2d2 | e2g3e
| d2B2A>G | G4 ||
LIZZIE'S BONNET. AKA and see "Tie Your Bonnet,"
"Jenny Tie Your Bonnet,"
"Lassie(s) Tie your
Bonnet(s)," "The
Faraway Wedding [1]," "The Gravelled Walks to Granny,"
"The Highland
Man that Kissed his Grannie [1]," "In and Out (of) the Harbour,"
"Jenny Lace your Tight,"
"Upstairs in a Tent [1],"
"The Rambler's Rest," "Down with the Mail."
LLANOVER REEL. Welsh, Reel. B Flat Major. Standard tuning. AABB. Mellor finds the tune
a derivative of "Jones' Hornpipe."
Source for notated version: Mrs. Gyfydd Richards, 1926 [Mellor]. Mellor (Welsh Dance Tunes), 1935; pgs. 2-3.
LLEWELLYN. AKA and see “The Ash Grove.” Welsh, Air (6/8 time). G Major. Standard tuning. AABB. O’Farrell says: “A favorite Welch Air.” O’Farrell (Pocket Companion, vol. III), c. 1808; pg. 33.
X:1
T:Llewellyn
M:6/8
L:1/8
R:Air
S:O’Farrell – Pocket Companion, vol. III (c. 1808)
Z:AK/Fiddler’s Companion
K:G
D | GBd BGB | A/B/c/A/B/G? AFD | GB/G/A/F/ GEC | DEF G2 :|
|: D | GBd gdB | A/B/c/d/e/f/ ecA | G/A/B/c/d/e/ dBG | Ad^c d>cB/A/ |
Bg/d/g/d/
BGG | A/B/c/A/B/G/ AFD | G/A/B/G/A/F/ GEC | DEF G2 :|
LLYDAW (Brittany). Welsh, Air. Robin Huw Bowen thinks this hymn
air originated in Brittany, but was transported to Wales. Flying Fish FF70610, Robin Huw Bowen – “Telyn Berseiniol fy
Ngwlad/Welsh Music on the Welsh Triple Harp” (1996. From the playing of Dafydd
and Gwyndaf Roberts {Ar Log}, who had it from Nansi Richards).
_______________________________
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