The Fiddler’s Companion

© 1996-2008 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]

 

 

 

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).

See also listings at:

Alan Snyder’s Cape Breton Fiddle Recording Index

Jane Keefer’s Folk Music Index: An Index to Recorded Sources 

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||