The Fiddler’s Companion

© 1996-2008 Andrew Kuntz

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LON - LOP

 

 

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]

 

 

 

LON DUBH, AN (The Blackbird). See “Londubh, An”

                                   

LON SCLATER HORNPIPE. AKA and see "The Lonsdale Hornpipe," "Lord Strange."

                                   

LONACH COUNTRY DANCE, THE. Scottish, Country Dance Air (2/4 time). E Major. Standard tuning. AABB'. Composed by Alexander Walker. Walker (A Collection of Strathspeys, Reels, Marches, &c.), 1866; No. 125, pg. 43.

           

LONACH GATHERING, THE. Scottish, March (4/4 time). A Major. Standard tuning. AAB. Composed by Scots fiddler-composer J. Scott Skinner (1843-1927). Skinner (Harp and Claymore Collection), 1904; pg. 33.

X:1

T:Lonach Gathering, The

M:C

L:1/8

R:March

Q:112

C:J. Scott Skinner (1843-1927)

S:Skinner – Harp and Claymore (1904)

Z:AK/Fiddler’s Companion

K:A

E | AG/A/ FE/D/ C/A,/D/B,/ EF/G/ | .A/.c/.e/.a/ .e/.A/.F/.A/ .B/.d/.c/.B/ | AG/A/ FE/D/ C/A,/D/B,/ E/A/C/e/ |

a/e/c/A/ e/c/d/B/ ({B}c)(AA) :| ((3e/f/g | a/).g/.f/.a/ .g/.f/.e/.g/ .f/.e/.d/.f/ .e/.d/.c/.e/ | d/c/B/d/ c/B/A/c/ B/A/G/A/ B/e/f/g/ |

a/g/f/a/ g/f/e/g/ f/e/d/f/ e/a/c/e/ | a/e/c/A/ e/c/d/B/ ({B}c)(AA).e | a/c’/f/a/ g/b/e/g/ f/a/d/f/ e/a/c/e/ |

d/f/B/d/ c/e/A/c/ B/A/G/F/ E/d/c/B/ | A/c/B/A/ G/F/E/D/ C/A,/D/B,/ E/A/c/e/ | a/e/c/A/ e/c/d/B/ ({B}c)(AA) ||

                       

LONACH HALL. Scottish, Strathspey. C Major. Standard tuning. AAB. Composed by Alexander Walker. Walker (A Collection of Strathspeys, Reels, Marches, &c.), 1866; No. 64, pg. 23.

                                   

LONACH HIGHLAND FLING, THE. AKA and see “Peter Bail(l)ie [1].” Scottish, Strathspey. Composed by Peter Baillie, with variations by J. Scott Skinner. Maggie’s Music MMCD222, Bonnie Rideout – “Scottish Fire” (2000).

                                   

LONACH HIGHLANDER'S, THE. Scottish, March (4/4 time). F Major. Standard tuning. AAB. Composed by Alexander Walker. The Lonach Gathering features the custom of the Lonach men, armed with pikes, visiting the grand houses of the area where they receive generous drams, reports Moyra Cowie in her book The Life and Times of William Marshall (1999). At the rear of the procession is a man with a horse and cart for conveyance of any clan member who might become to incapacitated to walk, although it seems a point of honor for the cart to remain empty no matter how much is imbibed. Walker (A Collection of Strathspeys, Reels, Marches, &c.), 1866; No. 154, pg. 52.

                                   

LONDON BRIDGE [1]. AKA and see "KaFooZalum," "Will You Go to Sher(r)iff Moor," "Stewart's March," "Gabhaidh Sinn an Rathad Mor." English, Country Dance Tune (cut time). A Major. Standard tuning. Kennedy (Fiddlers Tune Book), vol. 1, 1951; No. 40, pg. 20. AAB. Raven (English Country Dance Tunes), 1984; pg. 174.

 


LONDON BRIDGE [2]. Scottish, Hornpipe. D Major. Standard tuning. AB. Kerr (Merry Melodies), vol. 1; No. 19, pg. 44.

X:1

T:London Bridge [2]

M:C

L:1/8

R:Hornpipe

S:Kerr – Merry Melodies, vol. 1, pg. 44 (c. 1880’s)

Z:AK/Fiddler’s Companion

K:D

B>c|d2 A>F D2 F>A|d2 f>d e2 g>e|f>dc>d B>cd>e|f>dg>e d>cB>A|d2 A>F D2 F>A|

d2 f>d e2 g>e|f>dc>d A>dc>e|f2d2d2||d>e|f>dc>d B>dA>d|G>dF>d E>FD>F|

G>FG>A B>cd>e|f>dg>e d>cB>A|B>eg>e A>df>d|G>Be>G F>Ad>A|g>fe>d A>dc>e|f2d2d2||

                       

LONDON BRIDGE POLKA. AKA and see "Leather Away with the Wattle," "The Grand Old Dame," "The Halfdoor," "The Lisdoonvarna Polka [2]," “Rose Tree [2],” "The Water Street Polka." Irish, Polka. D Major. Standard tuning. AABB. Because of its beginning similarity to more common “The Rose Tree” it is sometimes called “…the other ‘Rose Tree’. Carlin (Master Collection), 1984; No. 275, pg. 155.

X:1
T:
London Bridge Polka
S:Sessions etc
Z:Nigel Gatherer
M:2/4
L:1/8
K:D
A | dA  FA | d2 df | ed  cd | ef gf/g/ | af  ge | dc AF | GB  A/B/A/G/ | FD D :|
z | d>d dd | zd d2 | d>d df  | gf ef/g/ | af  ge | dc AF | GB  A/B/A/G/ | FD D :|

                       

LONDON CLOG. Canadian, Clog Dance Tune. D Major. Standard tuning. AABB. Composed by Ontario fiddler Ward Allen, who won contest after contest in the 1950’s and who carved out a successful career as a radio fiddler.

X:1

T:London Clog

C:Ward Allen

R:Hornpipe

M:4/4

L:1/8

Z:Transcribed by Bruce Osborne

K:D

A2 FA B2 AG|FAde f2 ef|g2 gb ag f2|efga fedB|

A2 FA B2 AG|FAde f2 ef|g2 gb agfe|d2 ff d4:|

|:g2 g2 cegb|a2 a2 adef|g2 gb ag f2|efga fedB|

A2 FA B2 AG|FAde f2 ef|g2 gb agfe|d2 ff d2 cB|

A2 FA B2 AG|FAde f2 ef|g2 gb ag f2|efga fedB|

A2 FA B2 AG|FAde f2 ef|g2 gb agfe|d2 ff d4:|

                       

LONDON GENTLEWOMAN. AKA and see "The Sun Has Loos'd His Weary Teams," "The Hemp Dressers," "London Maid," "Winchester Christening." English, Country Dance Tune (6/8 time). G Major (Raven, Vickers): C Major (Chappell). Standard tuning. AB (Chappell): AABB (Raven, Vickers). The air was published by Playford in English Dancing Master (1650), and appears by alternate names in several  publications and ballad operas of the latter 17th century and early 18th century. Chappell gives the beginning of the ballad, from a 1685 collection:

***

There was a London gentlewoman,

That loved a country man-a;

And she did desire his company,

A little now and then-a.

This man he was a hemp-dresser….

***

Chappell (Popular Music of the Olden Time), vol. 1, 1859; pg. 297. Raven (English Country Dance Tunes), 1984; pg. 43. Seattle (William Vickers), 1987; No. 201 (appears as "The Hemp Dressers").

X:1

T:London Gentlewoman, The

M:6/4

L:1/8

S:Chappell – Popular Music of the Olden Time (1859)

Z:AK/Fiddler’s Companion

K:C

B3c d2 d4c2 | B3c d2 D3E F2 | G4G2 G4A2 | B6c6 ||

B3A B2 G3A B2 | A3G A2 D3E F2 | G4G2 G4A2 | B6c6 ||

                       

LONDON HIGHLAND SOCIETY, THE. Scottish, Strathspey. G Major. Standard tuning. AB. Composed by Lord MacDonald (for more on whom see “Lord Macdonald(‘s Reel) [4]”). The London Highland Society was organized in 1778 to promoted Gaelic culture and advance to advance political considerations. They held annual meetings in which Gaelic poetry and bagpipe music was featured. The Act of Proscription (imposed following Culloden), which had been campained for vigorously by the society was repealed in 1782 and allowed civilian men to wear kilts and the tartan again. The Disannexing Act of 1784 returned some of the old Jacobite familes their traditional estates. Carlin (The Gow Collection), 1986; No. 115. Gow (Third Collection of Niel Gow’s Reels), 1792; pg. 9 (3rd ed.).

X:1

T:London Highland Society, The

M:C
L:1/8

R:Strathspey

C:Lord Macdonald

B:Gow – 3rd Collection of Niel Gow’s Reels, 3rd ed., pg.9  (orig. 1792)

Z:AK/Fiddler’s Companion

K:G

D/E/4/F/4|GG,DG, GG, E/D/C/B,/|A,A/B/ c/B/A/G/ F>GA>B|Gg f/g/a/f/ “tr”g>a b/g/d/B/|A/B/c/A/ B/c/d/c/ BGG (D/E/4F/4)|

G/F/E/D/ E/D/C/B,/ C/D/E/F/ G/D/B,/D/|A,A/B/ c/B/A/G/ “tr”F>GAB|”tr”G>ABc (d/c/)”tr”B/A/ (G/F/)”tr”E/D/|^C>EGA FDD||

F|D/D/D D>E F>GA>B|c>de>f gddb|(b/a/)g/f/ gd B>c ({d}c)B/A/|^G>Bde ^cAA=c|

D/D/D D>E F/E/F/G/ A/G/A/B/|c/B/c/d/ e/d/e/f/ gd”tr”d>b|(b/a/)g/f/ gd B>d {c}BA/G/|Ec {B}AG/F/ GG,G,||

                       

LONDON HORNPIPE [1]. AKA and see “The Navvie,” "Navvie on the Line." Canadian, American; Hornpipe. G Major (Cole, Page, Ryan): A Major (Messer). Standard tuning. AABB. See also similar British Isles tune called “The Navvie” or “Navvie on the Line.” North American tunes in the family are “Montreal Hornpipe” and “The Old Blind Sow, She Stole the Middlins’.” Cole (1000 Fiddle Tunes), 1940; pg. 88. Kerr (Merry Melodies), vol. 1; pg. 42. Messer (Anthology of Favorite Fiddle Tunes), 1980; No. 129, pg. 86. Page (Ralph Page Book of Contras), 1969; pg. 21. Ryan’s Mammoth Collection, 1883; pg. 122.

X:1

T:London Hornpipe [1]

M:2/4

L:1/8

R:Hornpipe

S:Ryan’s Mammoth Collection (1883)

Z:AK/Fiddler’s Companion

K:G

B/c/ | d/g/f/e/ d/c/B/A/ | G/B/D/G/ .B(A/G/) | F/A/D/F/ .A(G/F/) | G/D/E/F/ G/A/B/c/ |

d/g/f/e/ d/c/B/A/ | G/B/D/G/ .B(A/G/) | F/G/A/B/ c/d/e/f/ | ggg :: A/G/ |

F/A/D/F/ .A(G/F/) | G/B/D/G/ .B(A/G/) | F/A/D/F/ .A(G/F/) | (3G/F/E/ (3D/E/F/ |

G/A/B/c/ | d/g/f/e/ d/c/B/A/ | (3G/A/B/(D/G/) .B(A/G/) | F/G/A/B/ c/d/e/f/ | ggg :|

 

LONDON HORNPIPE [2]. English, Hornpipe. England, Dorset. D Major. Standard tuning. AABB. Trim (Thomas Hardy), 1990; No. 50.

 

LONDON HORNPIPE [3]. English, Hornpipe. England, Yorkshire. G Major. Standard tuning. AABB. No relation to "London Hornpipe" [1] or [2]. Source for notated version: an MS collection by fiddler Lawrence Leadley, 1827-1897 (Helperby, Yorkshire) [Merryweather & Seattle]. Callaghan (Hardcore English), 2007; pg. 20. Merryweather & Seattle (The Fiddler of Helperby), 1994; No. 1, pg. 28. EFDSS CD13, Anahata – “Hardcore English” (2007. Various artists).

X:1

T:London Hornpipe [3]

M:4/4

L:1/8

R:Hornpipe

K:G

Bc|:dcBA G2 Bd|g2 eg f2 dB|c2 ac B2 gB|cBAG GFED|

EDEF GFGA|BABc d2g2|dBGB cAGF|G2G2G2:|

|:d2|g2bg f2af|g2 eg f2d2|c2 ac B2 gB|cBAG GFED

|EDEF GFGA|BABc d2g2|dBGB cAGF|G2G2G2:|

 

LONDON HORNPIPE [4]. English, ‘Old’ Hornpipe (3/2 time). D Major. Standard tuning. The tune is printed in several collections from around the third decade of the 18th century, such as Wright’s Collection of 200 Country Dances, vol. I, and one of Walsh’s Compleat Country Dancing Master. Offord (John of the Greeny Cheshire Way), 1985.

X:1

T:London Hornpipe [4]

M:3/2

L:1/8

K:D

D2F2A2 d2 fg a2|g2 e4 B2 dcBA|dABG AFGE FDEF|A,2 D4 GF E2D2|

BdBF GBGE FAFD|C2 E4 B,2C2E2|fafc dfdA GFED|A,2 D4 GF E2D2||

 

LONDON HORNPIPE [5].  AKA and see “Liverpool Hornpipe [1].” English, Hornpipe. D Major. Standard tuning. AABB. Source for notated version: the 1823-26 music mss of papermaker and musician Joshua Gibbons (1778-1871, of Tealby, near Market Rasen, Lincolnshire Wolds) [Sumner]. Sumner (Lincolnshire Collections, vol. 1: The Joshua Gibbons Manuscript), 1997; pg. 12.

 


(OH) LONDON IS A FINE TOWN. AKA and see "Watton Town's End," "Bonny Peggy Ramsey," "Our Polly is a sad slut." English, Air and Country Dance Tune (4/4 or 2/2 time). E Major (Chappell): F Major (Sharp). Standard tuning. One part. This air appears in Henry Playford's Dancing Master (1665 and later editions), D’Urfey’s Pills to Purge Melancholy (1707), and Gay's Beggar's Opera (1728), though it is somewhat older as it is referenced as the tune for another song written on the occasion of James I.'s visit to Cambridge in 1614. Kidson (1922) confirms it was "an early and very popular air, set to a merry song." Other titles of songs to the air are "The Gowlin," a "Scotch" song from D'Urfey's play Trick for Treat, in Pills to Purge Melacholy (Vol. V, 1719), "Bonny Peggy Ramsey" in The Dancing Master (1707 & 1719), "The Cuckowes Comendation" (Pepys Collection), and "Our Polly is a sad slut" in Gay's Beggar's Opera (1728). Chappell (Popular Music of the Olden Time), vol. 2, 1859; pgs. 6‑7. Sharp (Country Dance Tunes), 1994; pg. 26.

X:1

T:London is a Fine Town

M:2/2

L:1/8

S:Sharp – Country Dance Tunes  (1909)

Z:AK/Fiddler’s Companion

K:F

cB|A2F2F2F2|A2 c4 BA|G2A2 B3c|d6 e2|f2 gf e2 de|f2 F2F2F2|F2G2 A3B|G6 E2||

cB|A2F2F2F2|A2 c4 BA|G2A2 B3c|d6 e2|f2 gf e2 de|f2 F2F2F2|F2 G2 A3 B|G6||

 

LONDON LADIES. English, Air. The air appears in John Gay's Beggar's Opera (1729) under the title "If you at an office solicit your due." The tune is also in Playford's Dancing Master and different editions of Pills to Purge Melancholy. The first lines of the song go:

***

Ladies of London both wealthy and fair,

Whom every town fop is pursuing.

***

Raven (English Country Dance Tunes), 1984; pg. 60.

 

LONDON LANCIERS. English, Lanciers (an elaborate quadrille in 6/8 and 2/4 time alternately). D Major & G Major, various alternating parts. Standard tuning. Part I: AB (6/8 time), Part II: AB (2/4 time), Part III: AB (6/8 time), PartIV: AB (6/8 time), Part V: AABCD (2/4 time). Part III is Gay's Beggar's Opera tune "Would You Have a Young Virgin." "The Lanciers, a regiment of light cavalry armed with lances, gives its name to this elaborate quadrille. Madam Sacre, in her classes in Hanover Square, London, established the dance as fashionable about 1850" (Linscott, 1939). Source for notated version: Benjamin Lovett, "with the consent of Henry Ford, who is much interested in the revival of the country dance." Source for notated version: Benjamin Lovett. Linscot (Folk Songs of Old New England), 1939; pgs. 91‑94.

 


LONDON LASSES [1] ("Cailinide/Cailíní Lungduin" or "Cailíní Londan"). AKA and see "The Maid in the Rushes," "The Bird in the Cage," “Donegal Lassies [2],” “Flying Column [2],” "Gardiner's Favourite [1]," “Streams in the Valley,” “Sunny Banks,” "The Turnpike Gate [2]." Irish, Canadian; Reel. Canada, Cape Breton. G Major. Standard tuning. AB (Dunlay & Reich, O'Neill): AABB (Dunlay & Greenberg, Tubridy): AA’BB’ (Cranford, Harker/Rafferty). The melody was recorded by fiddler Paddy Cronin, piper Patsy Tuohy, and flute player Joe McKenna (the latter called it “Streams in the Valley”). The Cape Breton setting was popularized by the late Donald Angus Beaton, however it is clear from the transcriptions of his settings that he played the tune with parts in reverse order from those printed in O’Neill’s Music of Ireland. Dunlay and Greenberg (1996) note that Cape Breton fiddler John Campbell also played the tune with parts reversed from O’Neill’s. There is another setting in Breathnach’s CRÉ II, No. 170. “London Lasses” is often paired in a medley with “The Galway Rambler,” perhaps stemming from the 1937 recording by the Aughrim Slopes Ceili Band in Dublin. Sources for notated versions: Donald Angus Beaton (Cape Breton, Nova Scotia) [Dunlay & Greenberg, Dunlay and Reich]; New Jersey flute player Mike Rafferty, born in Ballinakill, Co. Galway, in 1926 [Harker]. Breathnach (CRÉ II), 1975; No. 170. Cotter (Traditional Irish Tin Whistle Tutor), 1989; 63. Cranford (Jerry Holland’s), 1995; No. 171, pg. 48. Dunlay & Greenberg (Traditional Celtic Violin Music of Cape Breton), 1996; 95. Dunlay and Reich (Traditional Celtic Fiddle Music of Cape Breton), 1986; pg. 61. Harker (300 Tunes from Mike Rafferty), 2005; No. 29, pg. 10. O'Neill (Krassen), 1976; pg. 110. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1278, pg. 240. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 546, pg. 101. Shears (The Cape Breton Collection of Bagpipe Music), 1995. Taylor (Through the Half‑door), 1992; No. 6, pg. 6. Tubridy (Irish Traditional Music, vol. 1), 1999; pg. 21. Cló Iar-Chonnachta CICD 167, Peter Horan & Gerry Harrington – “The Merry Love to Play” (2007). DAB4‑1985, Donald Angus Beaton‑ "A Musical Legacy" (1985. Appears as "Traditional Reel"). Fiddlesticks cass. ACC-49397, Jerry Holland - “Fathers and Sons” (1992). Green Linnet SIF 1058, Matt Molloy & Seane Keane ‑ "Contentment is Wealth" (1985). JC 127, John Campbell‑ "Cape Breton Violinist" (1983. Appears as "Traditional Reel"). SA93130, Donny LeBlanc - “Rosining Up the Bow” (1993). Shaskeen ‑ "The Joys of Life." STEPH 1-94, Stephanie Wills - “Tradition Continued” (1994).

See also listings at:

Alan Snyder’s Cape Breton Fiddle Recording Index

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

Alan Ng’s Irishtune.info

X:1

T:London Lasses [1]

M:C|

L:1/8

R:Reel

K:G

G2 BG dGBd | eaag eg g2 | G2 BG dGBd | egdB AGED |

G2 BGT dGBd | Eaag egga | bgag eaaf | gedB AGED :|

|: gfgd edBe | dGBG BGBd | g2 ag efge | dBGB AGED |

g2 ag efge | dBAB dega | bgag eaaf | gedB AGEF :|

 

LONDON LASSES [2]. Irish, Reel. B Minor ('A' part) & D Major ('B' part). Standard tuning. ABB. The melody appears in the Sutherland manuscript collection of County Leitrim. This is not the tune usually known as “London Lasses” today (see version #1), says New York writer, researcher and musician Don Meade, but rather a variant of O’Neill’s “Curragh Races [1].” Confusingly, he continues, “Curragh Races” is printed by Breathnach as “Maid in the Cherry Tree [1],” a name that is also applied sometimes to the other London Lasses ([1]). Cole (1000 Fiddle Tunes), 1940; pg. 28. Ryan’s Mammoth Collection, 1883; pg. 54. Drumlin Records, The McNamara Family – “Leitrim’s Hidden Treasures” (1999).

X:1

T:London Lasses [2]

M:C|

L:1/8

R:Reel

S:Ryan’s Mammoth Collection (1883)

Z:AK/Fiddler’s Companion

K:D

a | fBdf fBdf | eA (3cBA eA (3cBA | fBdf fBdf | ecAc (dB) B2 |

fBdf fBdf | eA(3cBA eA (3cBA | dcdB cBAd | ecAc dB B2 ||

|: d2 (fd) (ad)(fd) | c2 (ec) Acec | d2 (fd) (ad)(fd) | ecAc (dB) B2 |

d2 (fd) (ad)(fd) | c2 (ec) Acec | defg abaf | ecAc dB B2 :|

 

LONDON LASSIES [3]. Irish, Reel. D Major. Standard tuning. AABB (Miller & Perron/1977): AA’BB’ (Miller & Perron/2006). Source for notated version: Belfast fiddler Sean McGuire (1927-2005) with the Four Star Quartet [Miller & Perron]. Miller & Perron (Irish Traditional Fiddle Music), 1977; vol. 2, No. 6. Miller & Perron (Irish Traditional Fiddle Music), 2nd Edition, 2006; pg. 82. Blarney Castle Records BC‑509, "Best of Irish Dance Music."

 

LONDON LASSES [4??]. Irish, Reel. G Major. Standard tuning. AABB’. Source for notated version: fiddler Kevin Burke & accordion player Jackie Daly (Ireland) [Breathnach]. Breathnach (CRÉ III), 1986; No. 106.

           

LONDON MAID. AKA and see "London Gentlewoman," "The Hemp Dressers."

           

LONDON MARCH. English, March (4/4 time). England; Lincolnshire, Yorkshire. G Major (Merryweather & Seattle): D Major (Sumner). Standard tuning. AAB (Merryweather & Seattle): AABB (Sumner). The first part of the tune, with a different strain, is "The Scotch Hornpipe [1]" and "March of the Third Regiment of Guards." Source for notated version: an MS collection by fiddler Lawrence Leadley, 1827-1897 (Helperby, Yorkshire) [Merryweather & Seattle]; the 1823-26 music mss of papermaker and musician Joshua Gibbons (1778-1871, of Tealby, near Market Rasen, Lincolnshire Wolds) [Sumner]. Merryweather & Seattle (The Fiddle of Helperby), 1994; No. 108, pg. 60. Sumner (Lincolnshire Collections, vol. 1: The Joshua Gibbons Manuscript), 1997; pg. 76 (originally set in the key of ‘C’ major).

           

LONDON POLKA. American, Polka. USA, Ohio. Edison 51995 (78 RPM), 1927, John Baltzell {Baltzell was from Mt. Vernon, Ohio, also the home town of minstrel Dan Emmett (d. 1904). Emmett returned to the town in 1888, poor, but later taught Baltzell to play the fiddle}. Is this the London Bridge Polka?

           

LONDON 'PRENTICE, THE. AKA and see "All in/on a Misty Morning" and "The Friar and the Nun [1]."

           

LONDON PRIDE. AKA and see "Idbury Hill," "Old Medden of Fawsley,” “Stourton Wake." English, Morris Dance Tune (2/2 time). G Dorian or G Mixolydian. Standard tuning. AABB. The tune was collected in two versions from the village of Longborough (Gloucestershire), in England's Cotswolds. Winston Wilkinson, in his article “Virginia Dance Tunes” (Southern Folklore Quarterly, vol. VI, no. 1, pg. 6), sees this tune as the source for his Virginia collected “Foggy Dew” (from fiddler James H. “Uncle Jim” Chisholm). Wilkinson also notes it was sometimes called “Shady Grove” by Virginia informants and that a song was collected in Pennsylvania to it called “The Pinery Boy.” In Scotland the melody has been used for Child  ballad No. 281, “The Keach in the Creel.” Source for notated version: Mason via Cecil Sharpe [Bacon]. Bacon (The Morris Ring), 1974; pg. 247 & 248. Sharp & Macilwaine (Morris Dance Tunes), Set VII, No. 6.

X:1

T:London Pride

L:1/8

M:2/2

B:Sharp & Macilwaine – “Morris Dance Tunes”

K:E Minor

e3fg2e2|dcBA G2G2|A2e2 edcB|1 A3B A4:|2 A4 A4||

e3f g2e2|agfe d2d2|e3e f2f2|a4e4||

           

LONDON SCOTTISH, THE.  Scottish, Pipe March (2/4 time). A Mixolydian. Standard tuning. AABB. Composed by Scots fiddler-composer J. Scott Skinner (1843-1927). Skinner (Harp and Claymore), 1904; pg. 47 (includes variation sets).

X:1

T:Longon Scottish, The

M:2/4

L:1/8

R:Pipe March

C:J. Scott Skinner (1843-1927)

S:Skinner – Harp and Claymore (1904)

Z:AK/Fiddler’s Companion

K:A Mix

.A/.B/ | ({c/d/}c)B/c/ ({d/e/}c/d/ | ({e/f/}e)A ({f/a/}f)e/d/ | c/e/a/f/ e/c/B/A/ | g(dd) .e/.d/ | ({d}c)B/A/ d.c/.d/ |

 .e.a ({f/a/}f)e/d/ | c/e/a/f/ e/c/d/B/ | ({B}c)(AA) :: e/d/ | c/e/a/f/ e/c/A/a/ | ({c/d/}c)(AA) .e/.d/ |

c/e/g/e/ d/B/G/g/ | ({B/d/}B)(GG) .e/.d/ | c/e/a/f/ e/c/A/f/ | e/a/A/a/ ({f/a/}f)e/d/ | c/e/a/f/ e/c/d/B/ | ({B}c)(AA) :|

 

LONDON TOWER. AKA and see “Gleanntan Reel [3].”

 

LONDON WAITS. AKA and see "Past Three O'Clock." English, Air (3/4 time). G Major. Standard tuning. ABC. This Waits' air was turned into a Christmas carol and appears in some collections of those songs; it was published by Playford in his Dancing Master of 1665 (where it appears simply as “The Waits”), and in Apollo's Banquet of 1669. Waits were paid musicians of towns and corporations, especially by the 15th and 16th centuries, and each group had some special tune to which they gave their name e.g. "Chester Waits," "Colchester Waits." In the year 1575 the livery of the London Waits, states Chappell (1859), was described in a contemporary chronicle as "blue gowns, red sleeves and caps, every one having his silver collar about his neck." Chappell (Popular Music of the Olden Time), vol. 2, 1859; pgs. 10‑11.

X:1

T:London Waits

T:Waits, The

M:3/2

L:1/8

S:Playford – Dancing Master (1665)

Z:AK/Fiddler’s Companion

K:G Minor

B2G2G2 F4A2|Bc d2d2 f4F2|B2G2G2 F4 A2|Bc d2d2 c6:|

|:B2c2d2 c4B2|cBc2d2 B6|(BA) (Bc) (de) c4 B2|(cB)c2d2 g6:|

 

LONDON WALTZ.  English, Waltz. A Major. Standard tuning. AABBC. Kennedy (Fiddler’s Tune-Book: Slip Jigs and Waltzes), 1999; No. 145, pg. 37.

           


LONDONBRIDGE HONRPIPE, THE. AKA and see “City Life,” “O’Keeffe’s Hornpipe [2],” “Showman’s Fancy,” “Violetta.” Irish, Hornpipe. D Major. Standard tuning. AA’BB. A different tune than “London Bridge” [1] or [2] or the “London Bridge Polka.” Source for notated version: accordion player Johnny O’Leary (Sliabh Luachra region of the Cork-Kerry border) [Moylan]. Moylan (Johnny O’Leary), 1994; No. 106, pg. 62. Gael-Linn CEF132, Johnny O’Leary - “An Calmfhear/The Trooper” (1989. Appears as second of “O’Keeffe’s Hornpipes,” named for fiddler Padraig O’Keeffe, from whom O’Leary learned the tune).

           

LONDONDERRY AIR. AKA and see “Derry Air,” “Danny Boy,” “Drimoleague Fair,” “Emer’s Farewell to Cucullain.”

           

LONDONDERRY CLOG. AKA and see "Londonderry Hornpipe," "Delaney's Clog," "Showman's Clog." Irish (originally),  Canadian; Clog. D Major. Standard tuning. AABBCCDDEEFF. The tune was a favorite, records O’Neill (1913), of County Wexford piper Johnny Cash (1832-1909), ‘Cash the Piper’; in fact so much that it was locally known as “Cash’s Hornpipe.” Derry was renamed Londonderry as a result of its being granted to the Corporation of London after the confiscation of the O’Neill estates in 1609. It was ‘planted’ as a colony by the twelve City Corporations (Matthews, 1972). Messer (Way Down East), 1948; No. 84. Messer (Anthology of Favorite Fiddle Tunes), 1980; No. 160, pg. 109. O'Neill (1915 ed.), 1987; No. 322, pg. 159.

X:1

T:Londonderry Clog

R:Hornpipe

M:4/4

L:1/8

Z:Transcribed by Bruce Osborne

K:D

A>G|F2A>d f>dA>F|G2B>d g>dB>G|F2A>d f>dA>F|E2G>B e>cA>G|

F2A>d f>dA>F|G2B>d g2a>g|f>af>d B>ge>c|d2f2 d2:|

|:f>g|a2f>d A>df>a|g2e>c A>ce>g|a2f>d A>dg>f|(3efd (3cdB A2f>g|

a2f>d A>df>a|g>fe>f g2a>g|f>af>d B>ge>c|d2f2 d2:|

           

LONDONDERRY HORNPIPE, THE (Crannciuil Doire-Calgaic). AKA and see “Delaney’s Clog,” “Derry Hornpipe,” “Ladies Hornpipe [1],” "Londonderry Clog," "Showman's Clog." Irish (originally), Canadian; Hornpipe. Canada, Ontario. D Major. Standard tuning. AABB (Allan, Perlman, Phillips): AACC (Perlman): AABBCC (Kerr): AA’BBCC’DD (Moylan): AABBCCDDEEFF (O'Neill). O’Neill states:

***

No. 1753 has a history. Bernard Delaney introduced the tune consisting

of the 1st and 2nd parts on the Irish pipes in a masterly manner, being a

great favourite with dancers. Turlough McSwiney, the Donegal piper,

added the 3rd part which was improved by Miss Gillan. Later Delaney

added the fourth part. In a MS collection I discovered the 5th and 6th

parts. It was an old strain closely resembling the others so its two parts

were joined to the former making altogether a hornpipe of great style

and variety.

***

Breathnach states (in Ennis, 1977) that O’Neill’s setting  was played by Leo Rowsome, Willie Clancy and most other pipers. Perlman (1996) states that while this is a three part tune in Allan’s Irish Fiddler, on Prince Edward Island the tune is two part, though sometimes with the second part being the regular ‘B’ part, and sometimes the ‘C’ part. Derry was renamed Londonderry as a result of its being granted to the Corporation of London after the confiscation of the O’Neill estates in 1609. It was ‘planted’ as a colony by the twelve City Corporations (Matthews, 1972). The tune was picked up by Ontario fiddlers, popularized by radio fiddler Ward Allen. Sources for notated versions: Clem Myers (Vt.) [Phillips]; accordion player Johnny O’Leary (Sliabh Luachra region of the Cork-Kerry border) [Moylan]; George MacPhee (b. 1941, Monticello, North-East Kings County) and Eddy Arsenault (b. 1921, Chrysostom, East Prince County, Prince Edward Island) [Perlman]. Allan's Irish Fiddler, No. 96, pg. 24 (appears as "The Londonderry"). Giblin (Collection of Traditional Irish Dance Music), 1928; 62 (appears as untitled hornpipe). Jarman (Old Time Fiddlin' Tunes); No. or pg. 21. Kerr (Merry Melodies), vol. 3; No. 340, pg. 36. Moylan (Johnny O’Leary), 1994; No. 227, pgs. 130-131. O'Neill (Krassen), 1976; pg. 210. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1753, pg. 326. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 925, pg. 158. Perlman (The Fiddle Music of Prince Edward Island), 1996; pg. 79. Phillips (The Fiddlecase Tunebook), 1989; pg. 35. Phillips (Traditional American Fiddle Tunes, vol. 2), 1995; pg. 206. Condor 977‑1489, "Graham & Eleanor Townsend Live at Barre, Vermont." GRT Records 9230-1031, “The Best of Ward Allen” (1973). Sparton Records SP 210, “Ward Allen Presents Maple Leaf Hoedown, vol. 2.”

X:1

T:Londonderry Hornpipe, The

M:C|

L:1/8

R:Hornpipe

S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 925

Z:AK/Fiddler’s Companion

K:D

A>G|F2 A>d f>dA>F|G2 G>B d>dB>G|F2 A>d f>dA>F|E2 G>B e>cA>G|

F2 A>d f>dA>F|G2 B>d g2 a>g|f>af>d B>ge>c|d2f2d2:|

|:f>g|a2 f>d A>df>a|g2 e>c A>ce>g|a2 f>d A>dg>f|(3efd (3cdB A2 f>g|

a2 f>d A>df>a|g>fe>f g2 a>g|f>af>d B>ge>c|d2f2d2:|

|:A>G|(3FED A>D B>DA>D|d>cd>f e>cA>G|(3FED A>D B>DA>D|

E>GF>A G>BA>G|(3FED A>D B>DA>D|d>cd>f e>ce>g| (3fgf d>f {a}g>ec>e|d>f (3edc d2:|

|:(3efg|a>^ga>b a>fd>f|g>fg>a g>ec>e|a>^ga>b a>fd>f|(3efd (3cdB A2 (3efg|

a>^ga>b a>fd>f|g>fe>f g>ba>g|(3fgf d>f {a}g>ec>e|d>f (3edc d2:|

|:f>g|(3aaa f>d A>df>a|(3ggg e>c A>ce>g|f>dg>e a>fb>g|e>cd>B A2 f>g|

(3aaa f>d A>df>a|(3ggg e>c A2 a>g|f>dA>F E>ge>c|d2f2d2:|

|:F>G|A>FA>d f>ed>c|B>GB>e g>fe>d|c>Ac>e a>gf>e|f>cd>B A2 F>G|

A>FA>d f>ed>c|B>GB>d g2 a>g|f>af>d B>ge>c|d2g2d2:|

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