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] |
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.
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.
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.
X:1
T:
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||
X:1
T:
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 :|
X:1
T:
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:|
***
There was a
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:
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 ||
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,||
X:1
T:
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 :|
X:1
T:
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:|
X:1
T:
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||
(OH)
X:1
T:
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
|
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
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
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