The Fiddler’s
Companion
© 1996-2008 Andrew Kuntz
_______________________________
HOME ALPHABETICAL
FILES REFERENCES
|
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]
|
LOATH TO DEPART [1]. English, Air (6/4 time). C Minor. Standard tuning. AB. Kines (1964)
says this was the "Auld Lang Syne" of the Elizabethan period and was
mentioned in several works, including Beaumont and Fletcher's Wit at Several Weapons. It was set as a
round for four voices in Deuteromelia.
A Welsh tune called “Anodd Ymadael” (Loath to Depart) appears in Edward Jones’
(‘Bardd y Brenen’) first volume of Welsh music The Musical and Poetical Relics of the Welsh Bards (1784). Jones
was harpist laureate to King George IV. Kines (Songs From Shakespeare's Plays and Popular Songs of Shakespeare's Time),
1964; pgs. 102‑103. Flying Fish FF70610, Robin
Huw Bowen – “Telyn Berseiniol fy Ngwlad/Welsh Music on the Welsh Triple Harp”
(1996).
LOATH TO DEPART [2]. English, Air (6/4 time). F Major. Standard. ABCD. A 'loath to depart'
was a common term for a song or a tune played when saying farewell to friends.
Chappell (Popular Music of the Olden
Times), vol. 1, 1859; pg. 102.
LOBSTER, THE (An Gliomach). Irish, Reel. G Major. Standard. AB. Breathnach
named the tune himself, on the occasion of its printing in the early 1960’s in Tacar Port. Source for notated version: whistle
player John Fennell, 1958 (Miltown Malbay, Co. Clare, Ireland) [Breathnach]. Breathnach (CRÉ II), 1976; No. 147, pg. 78. SU1130, De Dannan – “Song for Ireland” (appears, in the key of
A major, as the third of “Mulqueen’s” reels).
LOBSTER POT, THE. Irish, Double Jig. A Minor. Standard. AB.
Source for notated version: “From F. Feane” [Stanford/Petrie]. Stanford/Petrie (Complete Collection), 1905; No. 567, pg.
143.
X:1
T:Lobster Pot, The
M:6/8
L:1/8
R:Jig
S:Stanford/Petrie (1905), No. 567
Z:AK/Fiddler’s Companion
K:A Minor
z | EAB c2d | edc d2e | cAG EDE | GED D2D | EAB c2d | edc d2e |
cBA BGE | A3 A2 || c | BAG EGG | EGG
EGG | BAG EDE |
GED D2c | BAG EGG | EGG ABc | cBA
BGE | A3 A2 ||
LOC-AILLINNE. AKA and see "Lough Allen."
LOCH A CHUMHAINN. Scottish, Slow Air (6/8 time). D Major. Standard tuning. AABB. The tune
was composed by accordion player and pianist Hamish Johnston (b. Glasgow,
1922), named for Loch a chumhainn (Loch Cuin), a sea loch at the north end of
the Island of Mull, where he retired to. Neil (The Scots Fiddle), 1991; No. 148, pg. 190 (includes 2nd fiddle
harmony part).
LOCH AVON. Scottish, Reel. F Major. Standard tuning. AA'B. Composed by Alexander
Walker, commemorating the lake at Park Villa, Strathdon. Walker (A Collection of Strathspeys, Reels, Marches, &c.), 1866; No. 150, pg. 51.
LOCH BUILG. Scottish, Reel. E Flat Major. Standard tuning. AAB. Composed by
Alexander Walker. Walker (A Collection of Strathspeys, Reels, Marches, &c.), 1866; No. 107, pg. 37.
LOCH CARRON. Scottish, Pipe Reel. A Mixolydian. Standard tuning. AABBCCDD. A 20th
century composition by D.C. Mather. Source for notated version: Winston
Fitzgerald (1914-1987, Cape Breton) [Cranford]. Cranford (Winston Fitzgerald), 1997; No. 59, pg. 25.
LOCH DERCULICH. Scottish, Reel. E Minor. Standard tuning. AABB'. Stewart-Robertson
(The Athole Collection), 1884; pg.
253.
X:1
T:Loch Derculich
L:1/8
M:C|
R:Reel
B:Stewart-Robertson – The
Athole Collection (1884)
Z:AK/Fiddler’s
Companion
K:E Minor
B,|EFGA ~B2 Ad|FDAD dDAF|EFGA ~B2 Ag|fdAF E/E/E E:|
|:f|gfef
gfeg|feda fdaf|1 gfef gfeg|fdAF E/E/E E:|2 gfeb gefd|AFdF E/E/E E||
LOCH DUICH. Scottish, March (2/4 time). A
Major. Standard tuning. AB (Morison): AABB (Martin). Loch Duich is a sea loch
in Ross and Cromarty, on the western coast of Scotland, near Dornie in Kintail. Martin
(2002) says the melody is employed by Highland pipers in the area as a funeral air. Much
photographed Eilean Donan Castle is situated at the convergence of
Loch Duich, Loch Long and Loch Alsh. A selkie legend is attached to Loch Duich
in the clan country of the MacRaes. It seems that three brothers went fishing
one night and were transfixed by three seal-maidens (selkies) who had
transformed into human form and were observed dancing on the shore in the moonlight.
Transfixed by the sight of the beautiful women, the brothers determined to
steal the maidens’ furs, preventing them from retransforming and returning to
the sea, and each brother carried off one of the girls. One brother took pity
on the distress of his captive, and returned her seal-skin, freeing her to
return to the sea and her father, who in gratitude allowed the couple to visit
on the shore every full moon. The captive of the second brother was resourceful
enough to recover her fur and escape. The last brother, thinking to prevent a
similar occurrence, burned the seal fur of his maiden to prevent her from
returning to the sea, but to his horror he found that burning the fur caused
her to burn as well. Martin (Traditional
Scottish Fiddling), 2002; pg. 61. Morison (Highland Airs and Quicksteps, vol. 1), c. 1882; No. 24, pg. 12.
X:1
T:Loch Duich
M:2/4
L:1/8
R:March
S:Morison – Highland Airs and Quicksteps,
vol. 1 (c. 1882)
Z:AK/Fiddler’s Companion
K:A
c>B ce | a>f f/e/z | f>e ce
| a>c c/B/z | c>B ce | a>f e/a/z | A>c e>c | c/B/z A2 ||
A>{A}A e>A | c>A e>A |
B>{B}B f>B | d>B f>B | A>{A}A e>A | c>A c>e |f>e
a>c | c/B/z A2 ||
LOCH EARN REEL. Scottish, Reel. G Major. Standard tuning. AB (Honeyman, Surenne): AAB
(most versions). One of the better compositions by Nathaniel
Gow (opines Francis Collinson), 1763-1831, who claimed 197 tunes; it is
sometimes erroneously listed under Niel Gow's name (Skye). Loch Earn is in the
west of Strathearn, Perthshire, Scotland, out of which the River Earn flows
east to eventually join the River Tay Estuary. Unusually, the loch has a
tide-like phenomenon (though unrelated to the moon) called a seiching, in which wind action over the
surface of the water sets up an oscillating cycle resulting in a rise and drop
of water levels over a 16-hour period. There exists a ruin called Loch Earn Castle, once the stronghold of the
MacNeishes from the year 1250 to the mid-15th century. Reduced to plundering the country-side, the
MacNeishes made the mistake of preying on the McNabs to the north, who
responded with a daring raid that culminated in the utter destruction of the
MacNeish clan. The McNab crest historically sports a depiction of the dead McNeish
chief’s head. Source for notated version: Joe Cormier (Cape Breton/Mass.)
[Brody]. Brody (Fiddler’s Fakebook),
1983; pg. 172. Glen (The Glen Collection
of Scottish Dance Music), vol. 2, 1895; pg. 15. Gow (2nd Collection of Niel Gow’s Reels), 1788; pg. 2. Henderson (Flowers of Scottish Melody), 1935. Honeyman (Strathspey, Reel and Hornpipe Tutor), 1898; pg. 31. Hunter (Fiddle Music of Scotland), 1988; No. 198. Kerr (Merry Melodies), vol. 1; Set 11, No. 4, pg. 8. MacDonald (The Skye Collection), 1887; pg. 94.
O’Farrell (Pocket Companion, vol. IV),
c. 1810; pg. 134 (appears as “Lough Earn”). Stewart-Robertson
(The Athole Collection), 1884; pg.
160. Surenne (Dance Music of Ireland), 1852; pg. 24. Beltona
BL2128 (78 RPM), The Edinburgh Highland Reel and Strathspey Society (1936).
Rounder 7012, Winnie Chafe‑ "Highland Melodies." Rounder 7004,
Joe Cormier‑ "The Dances Down Home" (1977).
X:1
T:Loch Earn
M:C|
L:1/8
R:Reel
B:Stewart-Robertson – The
Athole Collection (1884)
Z:AK/Fiddler’s
Companion
K:G
f|g2dB G2BG|E2AG FDDf|g2dB G2BG|EAFD G2G:|g|efge fgab|
afge fddf|efge fgag|fefd g2Bd|efge dBgB|caBg AGFD|GABG
EGce|dBcA G2G||
X:2
T:Loch Earn
M:C
L:1/8
R:Reel
S:Gow – 2nd Collection of Niel Gow’s Reels (1788)
Z:AK/Fiddler’s
Companion
K:G
D|[G,2D2B2g2] dB ~G2 BG|~E2 AE FDDd|”tr”g2 dB ~G2 BG|EAFD
G2G:||
d|(ef).g.e fgab|(gfg).e fddf|(ef)ge (fg)ag|”tr”fe)fd g2 Bd|
efge dBgB|ceBd .A(F”tr”ED)|GABG EGce|dBcA G2G||
LOCH EIREACHD SIDE. See "Loch Erroch Side."
LOCH ERROCH SIDE. AKA - "Loch
Eireachd Side," "Loch Ericht Side." AKA
and see "The Lass o’ Gowrie [1],"
"The Lakes of Sligo,"
"Niel Gow's Second Wife [1],"
"Over the Hills to Glory,"
"The Rocky Road to Dublin [4]"
(Bayard's No. 2), “Tom Billy’s (Polka) [2].”
Scottish, Slow Strathspey. D Major (Cole): C Major (Alburger, Athole, Kerr,
Skye). Standard tuning. AB (Alburger, Cole, McGlashan, Skye): AAB (Athole):
AABB (Kerr). Loch Erroch is the largest lake in Perthshire. This tune may have
been composed by Niel Gow, who played it for Robert Burns when the latter
visited him in Dunkeld in October, 1787 (though in later life Burns did not
support Gow's authorship). Burns long afterwards wrote the lyric "Oh,
stay, sweet warbling woodlark, stay!" to the tune. Gow attributed it to
both "Niel Gow & his 2nd Wife" (who was Margaret
Urquhart) in his publication Second
Collection, 2nd edition, 1803 (repeated in the 3rd edition), but
a prior claim existed to the tune from Alexander McGlashan, who published
it earlier under the same title in his Third
Collection, 1786. In fact, when Gow first published it (in his Second Collection, 1st edition, 1788),
he left it un-attributed, only claiming authorship for he and Margaret in the
2nd edition of his collection. The tune is similar to "I'm O'er Young to Marry Yet"
(in the first strain), but Alburger (1983) is of the opinion only that "it
is likely Gow was unconsciously influenced by that earlier piece, but no more
than that." The tune first appeared in print in 1786, a year before Burns'
visit to Gow, according to Glen.
***
Nigel Gatherer found the following passage in
an old book called The Fiddle in Scotland (n.d.) by Alexander G.
Murdoch, from an account by Peter Stewart, who accompanied Niel Gow during the
Burns visit:
***
Arriving at Dunkeld, [Burns]...put up at the
principal inn...[He] was
fortunate in making the acquaintance of Dr Stewart, an enthusiastic
amateur violin player. At the dinner table he quoted to his guests the
well-known local ditty-
. Dunkeld
it is a little toon,
. An' lies intil a howe;
. An' if ye want a fiddler loon,
. Spier ye for Niel Gow.
Burns expressed much delight at the proposal...a visit was at once
agreed to.
***
The greeting was a cordial one on both sides, and the meeting of Burns
and Gow - both geniuses of the first order in their respective lines -
was mutually worthy of each other. The magician of the bow gave them a
selection of north-country airs mostly of his own spirited composition.
The first tune was "Loch
Erroch Side" which greatly delighted the poet,
who long afterwards wrote for the same melody his touching lyric "Oh,
stay, sweet warbling woodlark, stay!"
At Burns's request, Niel next gave them his
pathetic "Lament for
Abercairney" and afterwards one of the best-known compositions in the
Highlands, "McIntosh's
Lament". "Tullochgorum"
was also duly honoured,
after which the whole party adjourned to the little old-fashioned inn
at Inver, where there was a famous deoch, or parting friendly drink.
***
An
unusual Scottish country dance called Loch Erichtside (from Roxburghshire and West
Berwickshire) was one of the relatively few dances wholly or in
part in strathspey time in the early 10th century (Flett & Flett, 1964).
See also the related Irish polka settings, such as “Lakes of Sligo.” Aird (Selections),
1788, vol. 3; No. 543. Alburger (Scottish
Fiddlers and Their Music), 1983; Ex. 66, pgs. 105‑106. Cole (1000 Fiddle Tunes), 1940; pg. 128. Crosby
(The Caledonian Musical Repository),
1811; pg. 102. Gale (Companion to the
Flute), pg. 39. Gow (Second
Collection of Niel Gow’s Reels, 1788, 3rd ed.; pg. 7. Gow (The Beauties of Niel Gow), vol. 1, pg.
20. Gow (Strathspey Reels), vol. 1,
pg. 7. Graham, 1908; pg. 235. Henderson (Flowers of Scottish Melody), 1935. Johnson (Scots Musicial Museum), 1787‑1803,
vol. 1, No. 78. Kerr (Merry Melodies),
vol. 2, No. 76, pg. 11. McGlashan,
1781; pg. 46. MacDonald (The Skye
Collection), 1887; pg. 159. McGlashan (A
Collection of Reels), 1786; pg. 46. Ryan’s
Mammoth Collection, 1883; pg. 167. Smith (Scottish Minstrel), 1820‑24, vol. 2, pg. 66. Stewart-Robertson
(The Athole Collection), 1884; pg.
60. Wilson (Companion to the Ballroom),
1840; pg. 34.
X:1
T:Loch Ericht Side
M:C
L:1/8
R:Strathspey
B:Stewart-Robertson – The
Athole Collection (1884)
Z:AK/Fiddler’s
Companion
K:C
G/F/|E<G GA/B/
c>dc>B | A>GAB/c/ d/e/f/e/ d>D | E<G
GA/B/ c>de>d | c/B/A/G/ c>E
D2C :|
|| g | e/f/g c>g a/g/f/e/ g>e | a>ada b/a/g/f/
a>g | e/f/g c>g a/g/f/e/ g>c| G>ce>c d2 c>g |
e/f/g c>g a/g/f/e/ g>e | f>ad>a b/a/g/f/ a>g
| e/f/g d>e =c>de>d | c/B/A/G/ c>E D2C ||
X:2
T:Loch Erroch Side, a Strathspey
M:C
L:1/8
C:”Composed by Niel Gow & his 2nd Wife.”
B:Gow – 2nd
Collection of Niel Gow’s Reels, 3rd ed., pg. 7 (1788)
Z:AK/Fiddler’s
Companion
K:C
G/F/|(EG)~G>A (c/B/c/d/) c2|”tr”A>GAc (d/c/d/e/)
dD|(EG)G>A “tr”c>d ({c/d/}e>)d|”tr”c>A (G/A/c/).E/ “tr”D2 CG/F/|
EG~G>A (c/B/c/d/) c2|”tr”A>GAc (d/c/d/e/) dD|EG~G>A
“tr”c>d ({c/d/}e>)d|”tr”c>A (G/A/c/).E/ “tr”D2C||
g/f/|eg c(e/f/) (g/f/).e/f/ ({e/f/}g2)|fa d(f/g/)
(a/g/).f/.g/ ag/f/|eg c(e/f/) (g/f/).e/.f/ g>c|G>ce>c “tr”d2 c(g/f/)|
eg c(e/f/) (g/f/).e/.f/ gf/e/|fa d(f/g/) (a/g/).f/.g/
ag/f/|e>gd>e ~c>Gca|cGc>E “tr”D2 C||
LOCH FYNE. Scottish, Reel. G Major. Standard tuning. AA'BB. Composed by Carl Volti,
born Archibald Milligan in Glasgow in 1849. Volti, a fiddler, composed
many tunes found in the Kerr’s collections and also published several tutors,
albums of popular songs, national overtures, etc. (Nigel Gatherer). Kerr (Merry Melodies), vol. 3; No. 50, pg. 8.
X:1
T:Loch Fyne
M:C
L:1/8
R:Reel
S:Kerr – Merry Melodies, vol. 3, No. 50
(c. 1880’s)
Z:AK/Fiddler’s Companion
K:G
d2 BG d2 BG|(ef)ge dB G2|1 d2 BG d2
BG|edcB A2 (Bc):|2 efge dBGB|AGAB G2z2||
|:(eg)dB G2 GB|AGAB GABc|dgdB G2
(GB)|AGAB G2z2:|
LOCH GAMHNA. AKA and see “Loch Lavan Castle.”
LOCH GLASSIE. Scottish, Reel. D Major. Standard tuning. AB. Paul Cranford suggests that this tune began as a
variant of the better-known “Jenny
Dang the Weaver” due to similarity in some melodic material. Kerr (Merry Melodies), vol. 1; Set 28, No. 2,
pg. 17. Stewart-Robertson
(The Athole Collection), 1884; pg.
93. Rounder
82161-7032-2, Bill Lamey – “From Cape Breton to Boston and Back: Classic House
Sessions of Traditional Cape Breton Music 1956-1977” (2000).
X:1
T:Loch Glassie
M:C|
L:1/8
R:Reel
B:Stewart-Robertson – The
Athole Collection (1884)
Z:AK/Fiddler’s
Companion
K:D
f|dA A/A/A A2AB|defe dBAe|dB B/B/B B2Ba|bagf egfe|dA A/A/A
A2AB|
dfef dBAB|dB B/B/B B2Ba|bagf edBe||d2 db afdf|e/e/e ef
edBe|d2 db afdf|
e/e/e
fd e/e/e ef|dfab afdf|e/e/e fd edBe|dA A/A/A A2AB|defd edBe||
LOCH GORM. Strathspey. Composed by Donald Riddle. BM-91,
Buddy MacMaster – “Glencoe Hall.”
LOCH LEVEN (Loch Liobhan). Scottish, Slow Air (3/4 time). G Major.
Standard tuning. AA. Martin (Ceol na
Fidhle), vol. 1, 1991; pg. 11 (includes a harmony part).
LOCH LEVEN/LAVAN
CASTLE. AKA and see "The Gill Can," “Humours of Tuamgraney,”
"Miss Lyle's Reel,” “Shores of Lough Greaney,” "Silver Street Lasses," “Tomgraney Castle [1].” Scottish,
Canadian, Old‑Time; Reel, Hornpipe, Breakdown. USA, West Virginia. A Dorian (Brody, Perlman,
Spandaro): A Minor (Hunter, Kerr). Standard tuning. AAB (Hunter, Kerr, Martin
& Hughes): AABB' (Brody, Perlman, Spandaro): AA'BB' (Spandaro). Lochleven
Castle, surrounded by a loch, served as the site of an exciting 16th century
drama involving Mary, Queen of Scots, who was imprisoned there for several
months by Sir William Douglas, at the behest of the Earl of Moray, Regent of
Scotland. The Douglas family was divided in their
loyalty, however, and Sir William's younger brother George Douglas was a
supporter of Mary (and for this had been banned from the castle), and himself
had the support of many of the Scottish nobility. Mary had other sympathizers
among the local populace and even in the castle itself, notably a sixteen year
old boy named Willie Douglas who had become quite enamoured of the Queen and
became the hero of this story. Willie
was a bold, adventurous and resourceful lad who had charge of the castle's
boats. Word was brought to Mary by Sir
William's unsuspecting wife, who innocently returned a token, an earring, and
mentioned that her son George 'would ride to Glasgow the next evening;' this was the
signal that Mary's escape had been planned for the next evening. Willie had planned a celebration for that day
to include feasting and revelry, and even served Sir William at his table (he
had the cunning to have planned the banquet in the hall whose window faced away
from the loch and the escape route). He managed to slip the keys to the castle
away from Sir William while he was distracted and went straight to Mary, who
had evaded her chaperones and hid in an upstairs chamber. They stealthily made their way through the
castle and out the great doors of the castle (which Willie locked behind him
with Sir William's keys) to a boat waiting below and Mary and Willie were rowed
to shore, but not before Willie disabled the rest of the boats and threw the
castle keys into the loch's dark waters. Mary swiftly made her way to West Middrie Castle in Fife and safety.
***
The reel has been popular in County Donegal under the original title, and is
played elsewhere on the island as a hornpipe, variously titled “Humours of Tuamgraney,” “Humours
of Tuamgreine,” “Tuamgraney Castle,” and “Tomgraney Castle [1].”
***
Sources for notated versions: Fuzzy
Mountain String Band (Durham, North Carolina), who learned the tune from
Franklin George (W.Va.), and old‑time fiddler who also plays the Scottish
bagpipes [Brody]; Laurie Brownescombe (Spandaro); Joseph Doucette (b. 1910,
Deblois Road, West Prince County, Prince Edward Island) [Perlman]. Brody (Fiddler’s Fakebook), 1983; pg. 172.
Hunter (Fiddle Music of Scotland), 1988; No. 327. Kaufman, 1977; pg. 94. Kerr (Merry Melodies), vol. 1; Set 17, No. 2,
pg. 11. Martin & Hughes (Ho-ro-gheallaidh),
1990; pg. 20. Perlman (The Fiddle Music
of Prince Edward Island), 1996; pg. 85. Spandaro (10 Cents a Dance), 1980; pg. 49. Revonah RS‑924,
"The West Orrtanna String Band" (1976). Rounder
7008, "Jerry Holland." Rounder 0035, Fuzzy Mountain String Band‑
"Summer Oaks and Porch" (1973). Takoma D‑1064, Norman Blake‑
"Directions." Ron Gonella – “Scottish Violin Music” (1966).
X:1
T:Loch Lavin Castle
M:C
L:1/8
KA Dorian
cB|AGAB AGEG|AGAB cBcd|efga gfed|1
B2G2G2:|2 c2A2A2||
|:e2|e2ag a2eg|agab a2gf|e2ga gfed|1
B2G2G2:|2 c2A2A2||
LOCH LEIN. See "The Red
Haired Man's Wife [2]."
LOCH LIOBHAN. AKA and see "Loch Leven/Lavan
Castle."
LOCH LOMOND [1]. AKA - "The Bonny Bonny Banks o' the Lomond," “Yellow is the
Rose.” Scottish, Air. Apart from "Auld Lang Syne" it is the most
famous and recognized Scottish melody ("Oh!, Ye'll tak' the high road and
I'll tak' the low road..."). Although there allusions to older origins for
the song, it apparently was first published in W. Christie's "Traditional
Ballad Airs" (Edinburgh, 1881). Nevertheless, there are
legends attached to the tune, one which has a Jacobite (sometimes un-named,
sometimes identified as Donald McDonnell of Clan Keppoch) who, in 1746 and
about to be executed for his role in the rising, said to his sweetheart (who had
come from Scotland to say good-bye to him): "Ye'll take the high road, and
I'll take the low road (i.e., the grave), and I'll be in Scotland afore
ye." Some versions of the tale have McDonnell (or MacDonald) composing the
song in Carlisle Castle, where he is imprisoned awaiting
execution for his Moira who is safe in the highlands. After death, his spirit
visits her a final time, and he makes love to her, though she can tell he is
gone. A variant of the legend has two imprisoned Jacobites bidding farewell,
one to be released to struggle home over the Highlands, one to be executed whose spirit
will take the ‘low road.’ Lady John Scott and her husband are also supposed to
have heard the piece sung by a boy in the street, and that it was she who
popularized it about 1845. Fuld (1971) finds phrases in the tune similar to
phrases in "The Bonniest Lass in A' the World" (Thompson, Orpheus Caledonius, 1733) and
"Robin Cushie" (MacGibbon, A
Collection of Scots Tunes, 1742), but believes "Loch Lomond" sufficiently different to be
considered a distinct song. In America it was in the repertory of Buffalo Valley, Pa., region dance fiddler Archie
Miller.
***
By yon bonnie banks
And by yon bonnie braes,
Where the sun shines bright
On Loch Lomond
Oh we twa ha'e pass'd
Sae mony blithesome days,
On the bonnie, bonnie banks
O' Loch Lomond.
Chorus:
Oh ye'll tak' the high road
And I'll tak' the low road,
An' I'll be in Sctoland before ye',
But wae is my heart until we meet again
On the Bonnie, bonnie banks
O' Loch Lomond.
***
I mind where we parted
In yon shady glen
On the steep, steep side
O' Ben Lomon'
Where in purple hue
The highland hills we view
And the morn shines out
Frae the gloamin'
***
An' weel may I weep
For yestreen in my sleep
We stood bride and bridegroom together,
But his face and his breath
Were as cold as the death,
And his heart's blood ran red in the heather.
***
The wee bird may sing
An' the wild flowers spring;
An' in sunshine the waters are sleepin'
But the broken heart
It sees nae second spring,
And the world does na ken
How we're greetin'
***
Chrysalis Records, Run
Rig (1988). The Corries - “Silver Collection.”
LOCH LOMOND [2]. Different than version #1. Published c. 1806-1810 in A Favorite Collection of Popular Country
Dances (No. 14), published by Skillern & Challoner (London).
LOCH LOMOND REEL, THE. Canadian, Reel. Canada, Cape Breton. B Flat Major. Standard tuning.
Composed by Halifax, Nova
Scotia, fiddler Elmer Briand (originally from Isle Madame, Cape Breton, d. 1992). Cranford (Jerry Holland’s), 1995; No. 53, pg. 16.
LOCH LONG. Scottish, Strathspey. A Major. Standard tuning. AB. Kerr (Merry Melodies), vol. IV, No 25, pg. 5.
X:1
T:Loch Long
B:Kerr's Merry Melodies Book 4
Z:Nigel Gatherer
R:Strathspey
M:4/4
L:1/8
K:A
E<ee>c B>c A2|E>AF>A E>AF>A|E<ee>c B>c AB|c>F
A/G/F/^E/ F3 =E|
E<ee>c B>c A2|E>AF>A E>AF>A|E<ee>c B>c AB|c>F
c/B/A/G/ A Ac||
e<aa>g f>ec>d|e>Ac>A e>Ac>A|e<aa>g
fe>c>e|d>B d/c/B/A/ G<BBe|
e<aa>g f>ec>d|e>Ac>A e>Ac>A|d>ef>g
a>ec>A|e>A c/B/A/G/ A Ac|]
LOCH MAREE. Scottish, March (3/4 time). A Major. Standard tuning.
AA’BB’. Composed by G.S. McLellan. Martin (Ceol na Fidhle), vol.
4, 1991; pg. 32.
LOCH MUICK. Scottish, Strathspey. F Sharp Minor. Standard tuning. AA'B. Composed by
Alexander Walker. Walker (A Collection of Strathspeys, Reels, Marches, &c.), 1866; No. 157, pg. 54.
LOCH NA GAR [1]. Scottish; Strathspey, Highland Strathspey or Highland Schottishe. D Major. Standard
tuning. AB. Similar to "Bonaparte Crossing the
Rhine [1]," said Bayard in his 1944 volume. In his 1981 work he
speculates that this and several other Scottish(??) tunes are
"interresebled," cognate with one another, or derivative or some
ancestral tune, referencing such tunes as "Pewter
Mug" (Ford), "The Tinware
Lass" (Coles), "Whistling Mike" (O'Neill), "The Ladies
Dressed in Their Garments So Green"
(Joyce), "Dusinberry March"
(Bayard), and perhaps "Scotland the Brave." Bayard (1981) also sees
his Pennsylvania collected "The Star of Bethlehem" as a member of
this tune family. Cole (1000 Fiddle Tunes),
1940; pg. 124. Kerr (Merry Melodies),
vol. 2; No. 214, pg. 24. Ryan’s Mammoth
Collection, 1883; pg. 162. Smith (Scottish
Minstrel), vol. 6, pg. 38. White's
Excelsior Collection, pg. 70. CAT-WMR004, Wendy
MacIssac - “The ‘Reel’ Thing” (1994).
X:1
T:Loch na Gar [1]
M:C
L:1/8
R:Stathspey
S:Ryan’s Mammoth Collection (1883)
Z:AK/Fiddler’s Companion
K:D
(A>.F)
| D2 (D>.F) A2 A>B | d2 f>e ({e}d2)d>B | A>Bd>B (A<F)
F>D | ({F}E>)DE>F E2 (A>F) |
D2D>FA2A>B
| d2 f>e ({e}d2) d>B | A>Bd>B (A<F) F>D | ({F}E>)D E>F
D2 || A2 |
D2
(f>.e) ({e}d2) (d>.A) | B2 d>B (A<F) F>G | (A<F) ({F}E>)D
(D<d) d>B | (A<F) F>D ({F}E2) f>g |
a>g
(f/e/d/c/) ({e}d2) d>A | .B(g/f/ e/d/c/B/) A2 F>G | A2 ({c}B>)A
(A/B/d) {d}(a>g) | f2”tr”(e>.d) d2 ||
LOCH NA GARR [2]. Irish, Slow Air (3/4 time). D Minor (Joyce): D Major/Mixolydian (O
Cannainn). Standard. AAB (Joyce): AA’B (O Canainn). "(Lord) Byron's
'(Dark) Loch Na Garr' was often sung by the people to the following slow Irish
air, which may be compared with 'The Bunch of Green Rushes That Grew at the
Brim' (Moore's 'This Life is all Chequered')" {P.W. Joyce}. These songs
reference the Jacobite insurrections in Scotland and Jacobite hopes in Ireland, along the lines of the songs “The Blackbird” and “Jenny’s Welcome to Charlie.” A
Stuart on the throne of England was a hope for many Catholics of
Gaelic extraction, who longed for a lifting of the burden of the Penal Laws and
Catholic emancipation. According to Gearóid Ó hAllmhurain, “Loch na Gar” references the defeat of
Bonnie Prince Charlie (Stuart) and his army at Culloden moor in 1746, by the crown forces of the
Duke of Cumberland. Brian McNamara says the tune was a favorite of piper Willie
Clancy. Joyce (Old Irish Folk Music and
Song), 1909; No. 96, pg. 50. Ó Canainn (Traditional
Slow Airs of Ireland), 1995; No. 77, pg. 68. Drumlin Records, Brian McNamara – “A Piper’s Dream.”
X:1
T:Loch na Garr [2]
L:1/8
M:3/4
R:Air
S:Joyce – Old Irish Folk Music and Song (1909), No. 77
Z:AK/Fiddler’s Companion
N:”Slow”
K:D Minor
A>d|d2c2d2|B2
AGFD|c2d2A2|B2A2G2|F2G2A2|B2A2G2|A2F2D2|D4:|
d>e|f2e2f2|g4 f>g|a2f2d2|dc
A3A|f2e2f2|g2f2g2|a2f2d2|d4 fg|a2g2a2|
g4
fe|d2c2d2|de f2 AG|F2G2 A2|{A}d3 c A2|{F}GF D2D2|D4||
LOCH NA gCAOR. AKA and see “Loch na Gar.”
LOCH-NESS. AKA and see “Sandy is My
Darling.” Scottish, Reel or Highland. A Dorian (Kennedy): A Minor
(Bremner, Glen, Johnson): B Minor (Aird). Standard tuning. AABB. John Glen
(1891) finds the earliest appearance of this tune in print in Robert Bremner's 1757 collection. Aird (Selections),
vol. II, 1782; No. 39, pg. 15. Bremner (A Collection of Scots Reels), 1757; pg. 29. Glen (Glen
Collection of Scottish Music), vol. 1, 1891; pg. 24. S. Johnson (A Twenty Year Anniversary Collection), 2003; pg. 44. Kennedy (Traditional Dance Music of Britain and Ireland: Reels and Rants), 1997; No. 105, pg. 26. Maggie’s Music
MMCD222, Bonnie Rideout – “Scottish Fire” (2000).
X:1
T:Loch Ness
M:C
L:1/8
R:Reel
S:Glen Collection, vol. 1 (1891)
Z:AK/Fiddler’s Companion
K:A Minor
c|A/A/A a2 gede|d(GG)A GAcG|A/A/A a2
gede|cABG A/A/A A:|
|:B|A>Bcd e>dce|G/G/G GE
e(GG)c|A>Bcd egde|cABG A/A/A A:|
LOCH OF FORFAR, THE. AKA and see “Blair’s Favourite.” Scottish,
Strathspey or Reel. A Mixolydian. Standard tuning. AAB. Composed by William
Allen. According to Skinner, the melody is sometimes played as a reel. The
alternate title “Blair’s Favourite” is given by Skinner, perhaps a reference to
Blair Atholl. Glen (Glen Collection of
Scottish Music), vol. 2, 1895; pg. 6.
Skinner (Harp and Claymore),
1904; pg. 104 (“As played by the Queen’s Fiddler,” presumably Skinner himself).
X:1
T:Loch of Forfar, The
M:C
L:1/8
R:Strathspey
S:Glen Collection, Vol. 2 (1895)
Z:AK/Fiddler’s Companion
K:A
B|A>E E/E/E C~EE>F|A>E
E/E/E c>dcB|A>E E/E/E C>EE>F| D/D/D D>E [B,2=G2][B,G]:|
B|A/A/A c>A e>Ac>A|A/A/A
c>A e2f2|eAcA a>ecA|E/E/E E>F =G2 G>B|
A/A/A c>A e>Ac>A|A/A/A
c>A e2 f2|ef/g/ a/g/f/e f/e/d/c/ d/c/B/A/|E<E E>F =G2G||