The Fiddler’s
Companion
© 1996-2009 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] |
LOST AND FOUND, THE. Irish, Jig. The tune’s name was
applied when it resurfaced in a collection of recordings made by south County Sligo
fiddler Michael Coleman (1895-1945), in New York, a year before his death. Capelhouse Records, James Kelly – “Traditional Irish Music”
(1996).
LOST AND GONE. Old‑Time. The title appears in a list of traditional Ozark Mountain
fiddle tunes compiled by musicologist/folklorist Vance Randolph, published in
1954.
LOST BOY. Old-Time, Breakdown. USA, Kentucky. G Major. Standard. A tune from the
repertoire of John M. Salyer (1882-1952, Salyersville, Magoffin County,
Ky.). Rounder
0361, Bruce Molsky – “Lost Boy” (1996).
LOST BOY BLUES. AKA and see "Lost John."
LOST CHILD, THE. Old‑Time, Breakdown (irregular time).
USA, Alabama. A Major. AEac# tuning. ABBCD. “Lost Child” features pizzicato, or
plucked notes. It was learned by the Stripling Brothers from neighboring
Alabama fiddler Pleaz Carroll, though fiddler Charles Stripling added the
pizzicato for contest playing: "I'd take my middle finger and knock the
double shuffle on the strings" (Robert Fleder, 1971). It was one of his
two favorite contest pieces. Charles Wolfe says the tune was well known in
central Alabama in the 1930's, and is the precursor to "Black Mountain Rag" (Charles
Wolfe, The Devil's Box, Dec. 1982,
pg. 3‑12). Elsewhere it has been reported as common in western Alabama,
in the Tombigbee‑Warrior region (Cauthen, 1990), and it is one of the
tunes listed in S.M. Taylor's 1925 master's theses called "A Preliminary
Survey of Folk‑Lore in Alabama." Also in repertory of Ala. fiddler
Monkey Brown (1897‑1972). Reiner & Anick (Old Time Fiddling Across America), 1989; pg. 117. County 401, "The Stripling Brothers: Old Time Fiddle
Tunes 1928‑1936." County 507, The Stripling Brothers ‑
"Old Time Fiddle Classics." County 790, Leftwich & Higginbotham -
"No One to Bring Home Tonight" (1984). Dorian Discovery DIS-80103,
Helicon - "Horizons" (1992). Vocalion 5321 (78 RPM), Stripling
Brothers (Alabama) {1928}.
LOST GIRL. Old‑Time, Breakdown. USA, Magoffin County, Kentucky. G Major
(Silberberg, Titon): C Major (Phillips/McNew). Standard. AB (Silberberg): AABB
(Titon): AA'BB (Phillips). The melody is known as a Magoffin County, Kentucky
melody, although the title also appears in a list of traditional Ozark Mountain
fiddle tunes compiled by musicologist/folklorist Vance Randolph, published in
1954. Jeff Titon (2001) says it is thought to have come to Kentucky from
Virginia (old Galax area fiddler Emmett Lundy, for example, played a version),
but that it is not a common tune in Kentucky, although different versions
exist. Usually played in G major, although versions in C major are not uncommon
(Oregon’s Foghorn Stringband on their album Weiser
Sunrise, for example). The tune is related to “Old Beech Leaves,” according to
Titon, and related to source John Salyer’s own “The Lost
Boy.” Salyer played “Lost Girl” in G major. It was played at the Berea,
Kentucky, fiddlers contests in 1919 and 1920 by H.F. Green and by Anderson
Bowling, finds Titon. Sources for notated versions: Walter McNew (1912-1998,
Rockcastle County, Kentucky) [Phillips]; John Salyer (1882-1952, Salyersville,
Magoffin County, Kentucky) [Titon]; Greg Canote (Seattle) [Silberberg].
Phillips (Traditional American Fiddle
Tunes), Vol. 2, 1995; pg. 81. Silberberg (Tunes
I Learned at Tractor Tavern), 2002; pg. 93. Titon (Old-Time Kentucky
Fiddle Tunes), 2001; No. 96, pg. 125. Appalachian
Center AC003, “John M. Salyer: Home Recordings 1941-42, Vo. 1” (1993).
Appalachian Center AC005, Walter McNew
- "Blackjack Grove" (1993). Augusta Heritage Records AHR017,
Burl Hammons – “Old-Time Music of Pocahontas County” (1995). Leatherwood
(cassette), Bruce Greene – “Vintage Fiddle Tunes” (1987). Marimac 9009, Chad
Crumm ‑ "Old Time Friends" (1987. Key of D Major). Marimac
9009, Bill Christopherson ‑ "Old Time Friends" (1987). Nettwerk
Records, Foghorn Stringband – “Weiser Sunrise” (2005). Topic STR802, Emmett
Lundy – “Fiddle Tunes from Grayson County, Virginia” (1977). Reed Island
Rounders - “Wolves in the Wood” (1997).
LOST GOOSE, THE. American, Waltz. USA; Texas, Oklahoma, Arizona.
G Major. Standard. AA'BB. In the repertory of Arizona fiddler Kenner C.
Kartchner, who identified it as an "old Texas tune," and said the
"harmonics in the second part emulate the sound of the wild goose, which
prompts the name" (Shumway). Texas fiddler Eck Robertson played this tune
close to the tune of the same name heard in southwestern Virginia. The melody
was one of the tunes of the Ozark Mountain Collins family, represented
especially by fiddler Earl Collins (other members of the Collins family
contributed to Marion Thede's book). Source for notated version: Kenner
Kartchner (Arizona) [Phillips]. Phillips (Traditional
American Fiddle Tunes), vol. 2, 1995; pg. 273. County
202, "Eck Robertson, Famous Cowboy Fiddler." Fretless FR 160, The
Double Decker Stringband ‑ "Sentimental Songs and Old‑Time
Melodies" (1981. Learned from Oklahoma fiddler Uncle Dick Hutchinson).
Yodel-Ay-Hee 008, Powell, Hermann, Sauber - "One Eyed Dog: Traditional
Mountain Tunes" (1993).
LOST HEART, THE. AKA and see “Dissembling Love.”
LOST HORNPIPE, THE. Old-Time, Breakdown. D Major. From source
Charlie Kinney.
LOST INDIAN [1], THE. See related tune "Cherokee Shuffle." Old‑Time,
Texas Style; Breakdown. USA, Oklahoma, Texas, eastern Kentucky. A Major. AEac#
tuning. AABB (Thede), AABBC (Brody). As Guthrie Meade and Mark Wilson (1976)
point out, among older tradtional fiddlers "Lost Indian" is a generic
title for a number of tunes related not so much by melodic content as by the
fact that they are characteristically played in the AEac# tuning. Charles
Wolfe, reiterating Wilson and Meade's thoughts, confirms the opinion that this
is a family of fiddle tunes popular from Virginia to Texas, "more
associated with tuning AEac# than with melodic contours" (1982, pg. 3‑12).
"Black Mountain Rag" is
also in this family (Charles Wolfe, The
Devil's Box, Dec.?) Version [1] was reportedly an ancestor to "Black
Mountain Rag." Perhaps inspired by the title, sometimes fiddlers would
whoop to represent an Indian lost in the wilderness, and sometimes, as in Ed Hayley's version,
melodic and rhythmic features of the tune are similarly said to represent
"an Indian squalling in the wilderness." A tune under this title was
mentioned in a 1931 account of a LaFollette, northeast Tennessee fiddlers'
contest as having been commonly played; the title is a notorious
"floater," though, and exactly which of the many different tunes with
this name referenced is unknown. A tune with this title also appears in a list
of traditional Ozark Mountain fiddle tunes compiled by musicologist/folklorist
Vance Randolph, published in 1954. Sources for notated versions: Max Collins
(Pottawatomie County, Oklahoma) [Thede]; Ed Haley (Kentucky) and Ship in the
Clouds (Indiana) [Brody]. In the repertoire of fiddler Louis Propps (Texas,
1936). Brody (Fiddler’s Fakebook),
1983; pg. 178. Thede (The Fiddle Book),
1967; pg. 31. County 202, "Eck Robertson: Famous
Cowboy Fiddler." County 724, Benny Thomasson (Texas) ‑ "Country
Fiddling." Folkways 31062, Ship in the Clouds‑ "Old Time
Instrumental Music" (1978. Learned from Ed Hayley). Front Hall FHR‑037,
Mark Graham ‑ "Natural Selections" (1987). Green Linnet SIF122,
Kevin Burke - "Open House" (1992). Marimac 9008, The Lazy Aces ‑
"Still Lazy After All These Years" (1986). Rounder 0018, Mose Coffman‑
"Shaking Down the Acorns." Rounder 0157, Art Galbraith (Springfield,
Mo.) - "Simple Pleasures." Rounder 1010, Ed Haley (Ky.) ‑
"Parkersburg Landing" (1976). Voyager 301, Byron Berline‑
"Fiddle Jam Session."
X:1
T:Lost Indian [1]
M:C|
L:1/8
R:Reel
S:Ed Haley via Tom Sauber
N:Tune fiddle AEac#. Transcription
is as sounds in standard notation, not as fingered in scordatura.
N:From a transcription by John Lamancusa, by permission http://www.mne.psu.edu/lamancusa/tunes.htm
Z:AK/Fiddler’s Companion
K:A
|:[E2A2] [A(f][Ac)] [Ae][Af][Ae][Ac]|[Af][Ae][Ac][Af] [Ae][Af][Ae][Ac]|[E2A2] [Af][Ac] [Ae][Af][Ae][Ac]|
ABcB AcBA|[E2A2] [Af][Ac] [Ae][Af][Ae][Ac]|[Af][Ae][Ac][Af] [Ae][Af][Ae][Ac]|
[E2A2] [Af][Ac] [Ae][Af][Ae][Ac]|AcBG A2 [(E2A2]:||E)F A2 [c4c4]|[c3c3]B cBAc|BAFA EFAB|
cdcB AcBG|A2(E2 E)FAB|[c2c2]c2 (3BcB Ac|BAFA EFAB|cABc AcBG|A2(E2 E)FAB|[c2c2]c2 (3BcB Ac|
BAFA EFAB|cdcB AcBG|A2(E2 E)FAB|[c2c2]c2 (3BcB Ac|BAFA EFAB|cABc AcBG|
M:1/2
L:1/8
A2E2|
M:C|
L:1/8
|:FA2B A2A2|FAAc BAFE|FA2B A2A2|FGAc BAFE|FA2B cABc|AcBG A2E2:|
X:2
T:Lost Indian [1]
M:C|
L:1/8
N:Tune fiddle AEac#, play
transcription with fingering “as if” in standard tuning.
N:Add drones throughout
S:Bruce Molsky, based on W.Va. fiddler
Mose Coffman’s (1905-1994) version
Z:AK/Fiddler’s Companion
K:D
g2e2g2e2 | aege B2 A2 | [c3e3]g eBAB
| cBAc cBAE | DEDB, A,G,G,A, |1
M:2/4
L:1/8
G,2 G,2 :|2 G,2 G,A, ||
M:C|
L:1/8
B,2 D2 EDED | E[GA][GA][GB]
[G2A2]G,A, | B,2 D2 EDED |
E[GA][GA][GB] [G2A2] A2 | [c3e3]g
eBAB | cBAc cBAE | DEDB, A,G,G,A, |
M:2/4
L:1/8
G,2 G,2 :|
M:C|
L:1/8
|: .e2 [G2D2] .e2 ee | aege B2 A2 |
.e2 [G2D2] .e2 ee | aege B2 A2 |
[c3e3]g eBAB | cBAc cBAE | DEDB,
A,G,G,A, |
M:2/4
L:1/8
G,2 G,2 :|
LOST INDIAN [2]. AKA and see "Gone Indian."
Old‑Time, Bluegrass; Breakdown. A Major. Standard tuning or AEac# (Bob
Holt). One part (Devil’s Box): AA’BB’CC’ (Beisswenger & McCann). It was
customary to vocalize a holler or yelp with the two held notes in this tune, in
imitation of an Indian ‘whoop’. Bob Holt told Mark Wilson that when John Wills
played the tune and yelped, “it just about curled your hair.” Wills, the father
of Texas fiddler Bob Wills, played in the radio as a guest with his son’s band,
and also broadcast on his own. Source for notated version: Uncle John Wills via
Howdy Forrester via John Hartford [Devil’s Box]; Bob Holt (1830-2004,
Ava, Missouri), learned from Uncle John Wills’ radio broadcasts [Beisswenger & McCann]. Beisswenger
& McCann (Ozark Fiddle Music), 2008; pg. 63. The Devil's Box, pg. 50. Rounder CD-0432,
Bob Holt – “Got a Little Home to Go to” (1998).
X:1
T:Lost Indian [2]
T:Gone Indian
M:2/4
L:1/8
S:Howdy Forrester, learned from Uncle John Wills; originally transcribed by John S:Hartford
K:A
c/B/|AF E/F/A/c/|(e4|e3) c/B/|AF E/F/A|(c2 c>)d|c3 c/B/|AF/A/ EF/E/|(A4|
A3) c/A/|A F/C/ EC/B,/|A,/C/E/F/ Ec/B/|AF/C/ EC|E/F/A/B/ AA/B/|AF/A/ EC|
F/EF/ EE/F/|AE/F/ EC|E/F/A/B/ Ac/B/|AF/C/ E/F/A/c/|(e4|e4|e4|e3) c/B/|
AF E/F/A|(c4|c4|c4|c3) c/B/|AF E/A/B|A2 A>B|A3 B/c/|AG/A/ Ee/c/|
A/F/E/F/ Ec/B/|AF/A/ E/C/A,/C/|E/F/A/B/ Ae/c/|AF/A/ EC|E/F/E/F/ EA/B/|
AF/A/ EC|E/F/A/B/ Ac/B/|AF/A/ EC/B,/|A,/C/E/F/ Ec/B/|AF/C/ E/F/A/B/| AF/A/ E:|
LOST INDIAN [3]. Old‑Time, Bluegrass; Breakdown. USA, western North Carolina. D
Major. Standard tuning. AB (Silberberg): AABB (Phillips): AABB' (Brody). The
tune, known as a local Surry County, North Carolina, regional melody, is
similar in many ways to "Cherokee
Shuffle." The ‘B’ part is 10 bars long in these versions. Sources for
notated versions: Kenny Baker [Brody]; Ken Kosek [Phillips]; Carthy Sisco
[Silberberg]. Brody (Fiddler’s Fakebook),
1983; pg. 177. Phillips (Traditional
American Fiddle Tunes), vol. 1, 1994; pg. 147. Silberberg (Tunes I
Learned at Tractor Tavern), 2002; pg. 93. County
775, Kenny Baker‑ "Farmyard Swing." County 2705, Kenny Baker -
"Master Fiddler." Flying Fish 065, Buddy Spicher‑ "Me and
My Heros" (appears as second tune of "Fiddle Tune Medley").
Heritage XXXIII, Ernest East & the Pine Ridge Boys (Round Peak, North
Carolina) ‑ "Visits" (1981). Mag 3901, Sumner and McReynolds‑
"Old Friends." Marimac AHS #3, Glen Smith – “Say Old Man” (1990.
Learned from Tommy Magness). Rebel 1515, Curly Ray Cline‑ "My Little
Home in West Virginia." Rounder 0004, Clark Kessinger‑ "Old
Time Music." Stoneway 148, Chubby Wise‑ "Fiddle Hoedown."
LOST INDIAN [4]. Old‑Time, Breakdown. USA, Nebraska. C Major. Standard tuning.
AABB. Apparently not related to other versions, but Christeson thinks it
similar to Ford's "Step to the
Music, Johnny." Bayard (1981) states that his Pennsylvania collected
'Waterford Special' "certainly must be a version" of this setting of
"Lost Indian." Source for notated version: Zeke Holdren (Lincoln,
Nebraska) [Christeson]. R.P. Christeson (Old
Time Fiddlers Repertory, vol. 1), 1973; No. 63, pg. 47.
LOST INDIAN [5]. Old‑Time, Jig or Quadrille. A Major. Standard or AEae tunings.
AABB. Ira Ford's story of the title, filled with his usual narrative excesses,
is as follows: "A steamboat plying on the Mississippi river anchored at a
landing owing to the swollen waters, which were filled with driftwod and logs,
making it too difficult to navigate. One evening, while waiting for the flood
waters to subside, the passengers were dancing to the music of a fiddler
entertaining them with the tunes and songs of the day. Suddenly, above the
sound of the raging river, a quivering wail ending in a series of whoops came
eerily across the water, and out of the impenetrable darkness into the radius
of the boat's light floated a great log. On it was an Indian struggling to keep
his balance. The wild cry echoed once again over the river and then the
swirling currents caught the log, and the unfortunate redskin disappeared in a
mighty plunge under the boiling waters. This tragedy made such a lasting
impression on the fiddler's mind that he later became mildly insane. Thereafter
the only tune that he would play was the one interrupted by this harrowing
experience, in which he incorporated the wails and shouts of the lost
Indian" (Ford, 1940). Ford (Traditional
Music in America), 1940; pg. 124 and 128 (two versions; Standard and AEae).
X:1
T:Lost Indian [5]
M:6/8
L:1/8
B:Ford – Traditional Music in America
(1940)
Z:AK/Fiddler’s Companion
K:A
A,|A,CE AcB|A2A AFE|A,CE AcA|B3 B3|
e3 c3|d3 f3|efe dcB|A3B A2:|
|:efg efg|a2g a3|efg efg|b2a c’2b|
e’2d’ e’2e|f2e fag|efe dcB|A2B A2:|
X:2
T:Lost Indian [5]
M:6/8
L:1/8
N:Tune fiddle AEae, low to high,
finger as if in standard tuning
B:Ford – Traditional Music in America
(1940)
Z:AK/Fiddler’s Companion
K:A
G,|G,B,D acB|A2A AED|G,B,D AcA|[D3B3]
[D3B3]|
[A3e3] [G,3D3c3]|[G,3E3d3]
[A3f3]|efe dcB|[G,2D2A2]B A2:|
|:efg efg|a2g a3|efg efg|b2a
c’2b|e’2d’ e’2e|f2e fag|efe dcB|[G,2D2A2]B A2:|
LOST INDIAN [6]. Old‑Time, Breakdown. USA, southwestern Pa. A Major (Bayard‑Wolford):
G Major (Bayard‑Provance). Standard tuning. AABB. Bayard's source
Provance said "a good fiddler can make it sound like an Indian givin' a
war‑whoop" (pg. 81). Source for notated version: Kentucky fiddler Ed
Trimmer via Wolford (Pa., 1944) and Provance (Pa., 1944) [Bayard]. Bayard (Dance to the Fiddle), 1981; 146A‑B,
pg. 81.
LOST INDIAN [7]. Old‑Time, Breakdown. USA, southwestern Pa. G Major. Standard
tuning. AA'BB. Bayard (1981) believes the first part of this air is derived
from the Scots tune known variously as "Crowdie,"
"Three Times Crowdie
in One Day," "The Wayward Wife,"
"Bide Ye Yet [2]," and
"O That I Had Ne'er Been
Married." Source for notated version: J Hall (Pa., 1944) [Bayard].
Bayard (Dance to the Fiddle), 1981;
No. 147, pgs. 81‑82.
LOST INDIAN [8]. AKA and see "Rye Straw."
LOST INDIAN [9]. AKA
and see “Ninth of January,” “Old Time Eighth of January.”
Old-Time, Breakdown. D Major. Standard tuning. AA’BB’. A ‘crooked’ tune in both
parts (with an extra beat added in each ending cadence). In the repertoire of
Alton Jones. Similarites to Thede’s Oklahoma-collected “Lost Indian [1], and to Bob Holt’s “Ninth of January.”
“Drew Beisswenger (2008) hears similarities in the 2nd parts of this
tune and the well-known “Eighth of January.” There are “whoops” sung at
intervals in Jones’s recording. Source for notated version: Alton Jones
(1918-2002, Theodosia, Mo.), learned from his Uncle John Wilhoit [Beisswenger
& McCann]. Beisswenger & McCann (Ozarks Fiddle Music), 2008; pg.
83. Rounder CD 0437, Alton Jones – “Traditional Fiddle
Music of the Ozarks, vol. 3” (2000. Various artists).
LOST INDIAN [10].
Old-Time, Fiddle-Song (3/4 time). G Major. Standard tuning. ABCD (four
parts, apparently randomly patterned). See Drew Beisswenger’s (2008) notes for
this tune and song, which seems to have been cobbled together by source Seth
Mize from several sources, including the “Drunkard’s Hiccoughs/Jack of Diamonds”
family of tunes and a song called “The Dreary Black Hills.” Source for notated
version: Seth Mize (1901-1977, Searcy County, Arkansas) [Beisswenger &
McCann]. Beisswenger & McCann (Ozark Fiddle Music), 2008; pg. 93.
LOST IS MY QUIET. AKA and see "Ye Banks and Braes (o'
Bonny Doon)," "Caledonian
Hunt's Delight."
LOST JOHN. AKA and see "Lost Boy Blues."
Old‑Time, Bluegrass; Breakdown and Song. USA; Alabama, Mississippi,
Tennessee, Kentucky. G Major. Standard tuning. AB (Phillips): AAB (Brody,
Kuntz). Mark Wilson reports that folklorist/musicologist Alan Lomax links these
songs (plural, for there are several tunes which use this floating title) to
ante‑bellum folklore about the character of John the Trickster Slave.
Charles Wolfe remarks that the family of songs has several branches, including
the old‑timey 'hillbilly' song, a blues harmonica solo version by De Ford
Bailey (Victor, 1920's), a vaudeville song ("Lost John Dean from Bowling
Green"), and a work song "Wake Up, Dead Man"). Tom Rankin (1985)
differentiates the different melodies using the title: Enos Canoy, Burnett and
Rutherford, Henry Whitter, De Ford Bailey and Oliver Sims' (the latter three
are harmonica versions. Enos Canoy originally learned the tune on the harmonica
and transferred it to the fiddle). The tune was recorded by the Northwest Alabamian (Fayette) of August
29, 1929, as likely to be played at an upcoming fiddlers' convention (Cauthen,
1990). Burnett and Rutherford sing:
***
The funniest man I ever seen
Was Lost John goin' through Bowling Green;
No hat on his head, no shoes on his feet,
Begging the women for something to eat.
***
Refrain
Long gone, long gone.
***
Lost John sittin' on a railroad track,
Waiting for the freight train to come back;
Freight train come, never made no stop,
You ought to seen Lost John gettin' on top.
***
Had an old dog and his name was Will,
Run Lost John to the top of the hill;
Ain't caought Lost John and he never will,
xxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxx.
***
John's barefoot when he left his home,
He outrun a message on the telephone;
Along come a passenger a‑skippin' and a‑flyin',
Missed the cowcatcher but he caught the blind.
***
And from Sam McGee:
***
Long John went to the balley (ballet) show, (Uncle Dave Macon sings ‘burlesque show’)
Got him a seat right in the front
row.
The girls come out to do the
buck-and-wing dance,
They had to carry him home in an
ambulance.
***
Sources for notated versions: Kenny
Baker [Brody], Rutherford and Burnett (Ky) [Kuntz], Ralph Troxell & Kenny
Baker [Phillips]. Brody (Fiddler’s
Fakebook), 1983; pg. 178‑179. Kuntz (Ragged but Right), 1987; pg. 269‑270. Phillips (Traditional American Fiddle Tunes), vol.
2, 1995; pg. 81. Copper Creek CCCD-0196, Tom,
Brad & Alice – “We’ll Die in the Pig Pen Fighting” (learned from Bob
Rogers). Columbia
15103 (78 RPM), Oliver Sims (1926). Columbia 15122‑D (78 RPM), Burnett
and Rutherford (1926). County 719, Kenny Baker‑ "Portrait of a
Bluegrass Fiddler" (1968. Learned from his father). Mag 1018, Ted Powers‑
"Old Time Fiddler." Mississippi Department of Archives and History AH‑002,
Enos Canoy Band ‑ "Great Big Yam Potatoes: Anglo‑American
Fiddle Music from Mississippi" (1985). Okeh 40391 (78 RPM), Henry Whitter
(1928). Rounder 0034, Jim Gaskin. Rounder 1004, "The Songs of Dick Burnett
and Leonard Rutherford." Vocalion 5441 (78 RPM), Stripling Brothers
(Alabama) {1929}. Vocalion (78 RPM), Southern Moonlight Entertainers (Tenn.)
{1930}.
LOST
KERRYMAN. AKA and see “Cherokee
Shuffle.” Irish, Fling. D Major. Standard tuning. AABB. An arrangement of
the old-time tune “Cherokee Shuffle.”
X: 1
T: Lost Kerryman
M: 4/4
L: 1/8
Q: 300
R: fling
S: trad. American arr. B.Black
Z: Transcribed by Bill Black
K: D
A,B, | D2 DF EDB,C | DEDB, A,2 A,B, | D2 DE F2
A2 | B4 B3 c |
dBAd BAdB | AdBA F2 DE | FEDF EDB,C | D4 D2 :|
A2 | B3 c d3 B | A2 AB AF D2 | BABc d2 e2 | f3 g
f4 |
B3
c d3 B | AFAB AFDE | FEDF EDB,C | D4 D2 :|
LOST PARTRIDGE. Old-Time, Breakdown. USA, Kentucky. A Major.
Standard tuning. AB. John Masters learned this tune from African-American
Jessamine County musician Jim Booker (b. 1872), an influential fiddler who
backed others and had his own group, the Booker Brothers, who recorded in the
1920’s. Titon (2001) says that Masters was the only fiddler who had been recorded
playing the tune, to his knowledge. Source for notated version: Jim Booker via
John Masters (Lexington, Fayette County, Ky., c. 1974) [Titon]. Titon (Old-Time
Kentucky Fiddle Tunes), 2001; No. 97, pg. 126.
LOST TRAIN BLUES. AKA and see “Puncheon Floor
[2],” “White Mule.” Old‑Time,
Bluegrass; Breakdown. USA, Tenn. G Major. Standard tuning. AABB (Brody):
ABBCCCBB (Phillips). Some accounts credit composition to Arthur Smith (Tenn),
however, Charles Wolfe thinks Smith may have learned it from the Crook Brothers
(Tenn.) who often featured it on the Opry. See also note for "Puncheon
Floor [2].” Source for notated version: Lyman Enloe [Phillips]. Brody (Fiddler’s Fakebook), 1983; pg. 179.
Phillips (Traditional Music in America),
vol. 2, 1995; pg. 82. Bluebird 5858‑A (78 RPM),
Fiddlin' Arthur Smith. Bluebird 5858 (78 RPM), Arthur Smith (1935). County 524,
"Da Costa Woltz's Southern Broadcasters; 1927 Recordings." County
546, Arthur Smith‑ "Arthur Smith, Vol. 1." County 745, John
Ashby‑ "Down On Ashby's Farm." County 762, Lyman Enloe‑
"Fiddle Tunes I Recall." Heritage 054, Ralph Blizzard ‑
"Brandywine '83: Music of French America" (1984). Rebel 1515, Curly
Ray Cline‑ "My Little Home in West
Virginia."
LOSTRUM PONIA. See "Langstrom's Pony."
LOTH TO DEPART. See "Loath to Depart."
LOTHIAN LASSES. Scottish, Reel. E Minor. Standard tuning. AA'B. Another ode to some
composer's local womenfolk, like "Ayrshire Lasses," "Lasses of
Irvine," "Lasses of Duns," "Clydeside Lasses," etc.
Lothian is a district in Scotland. John Glen (1891) finds the earliest
appearance of the tune in print in Robert
Ross's 1780 collection (pg. 17). There is some resemblance to Lady
Elphinestone’s “Major McLean,” and to “Lady Loughborough’s Reel.”
Source for notated version: Ross's Collection [Skye]. MacDonald (The Skye Collection), 1887; pg. 101.
X:1
T:Lothian Lasses
M:C|
L:1/8
R:Reel
S:MacDonald – Skye Collection (1887)
Z:AK/Fiddler’s Companion
K:Emin
D|B,(EE)F GABG|FDAF dFAF|1 GFDF
GABe|dBAF E/E/E E:|2
GFEF GABg|fe^df e/e/e e||f|gfef
gabg|fedg fgaf|gfef gabg|fdaf e/e/e (ef)|
gfef gabg|fedg fgaf|gef^d egfe|dBAF
E/E/E E||
LOTTA'S FAVORITE. American, Dance Tune (cut time). D Major. Standard tuning. ABB.
Composed by Edwin Christie, who is not the Edwin P. Christy (1815-1862) of
blackface minstrel fame, but who was a later-born journeyman composer of light
works from the Boston, Massachusetts, area. He was tolerably regarded during
his career, but did not achieve nearly the fame of his minstrel namesake.
Several of Christie’s compositions appear in Ryan’s Mammoth Collection.
The melody is listed as a ‘jig’, referring not to the familiar 6/8 time
Irish jig, but to a type of duple-time syncopated dance tune, often associated
with the banjo. The term ‘jig’ may have
been derived from its application to a solo dance (as in England), or may have
African-American origins. Howe categorizes them among the schottisches.
***
The title refers probably to Lotta Crabtree (1847-1924), popularly known simply as
Lotta. Although born in New York City, Lotta moved to California at the age of
four, after the family followed father John Crabtree, who had joined the Gold
Rush in the early 1850’s. They initially settled in Grass Valley, where Lotta
proved a precocious talent, especially after tutelage by actress Lola Montez,
who lived a few doors down. While in Grass Valley she was also taught to play
the banjo, by Jake Wallace, a minstrel performer of some fame. Lotta was
shepherded around by her mother to entertain from mining camp to mining camp
while still a child, and by 1856, when she was age 9, she was in San Francisco
variety theatres, singing, dancing and playing melodramatic roles (some written
especially for her), and creating quite a stir. Within three years she was
being touted as “Miss Lotta, the San Francisco
Favorite.” She was “one of the greatest and most famous soubrettes of the
American stage,” according to Edward Le Roy Rice, who “’blacked up’ many times
in her early career. In October, 1863, she was a member of a minstrel company
playing Virginia City, California, at Maguire’s Theatre” (pg. 179). Although
E.P. Christy did not compose the tune in Ryan’s
Mammoth that bears Lotta’s name, he may have known her. Christy took his
entire minstrel company to the West Coast in 1854, at about the time Lotta was
beginning her career as a child performer. During the Civil War years she
appeared with minstrel troupes. “Her banjo playing,” writes Frank Dumont in an
article in the New York Clipper
(March 27, 1915—“The Younger Generation in Minstrelsy and Reminiscences of the
Past”), “dancing, mimicking and grotesque humor were acquired from the
minstrels, of course. She was a grand drawing card in the East in later years.”
***
In 1864 she made her New York debut,
but was only marginally successful, after which she toured for a few years. There
are handbills that advertise Lotta in productions of Uncle Tom’s Cabin in
Boston in 1868, and again in 1869, where she played the role of Topsy. When she
again returned to New York, it was as the star of Little Nell and the Marchioness, adapted from a story by Charles
Dickens called The Old Curiosity Shop,
and she was a huge hit. She had her own touring company from 1879 until her
retirement in 1891, and was much lauded in both the United States and in
England, which she visited frequently. When she retired it was to a mansion on
Lake Hoptacong, New Jersey, where she remained quietly until her death in 1924.
When she died she left a fortune valued at over four million dollars, the
product of wise investing which began with San Francisco real estate when she
was age 22. Lotta the stage personality was famous for her winsome, childlike
appearance, infectious gaiety, and occasionally saucy manner.
***
It is interesting to speculate when
Christy may have composed his tune for her: they were both in San Francisco
during the mid-1850’s, and although Lotta was still a child, she was already
performing. Did Christy meet her at
that time? Even as a teenager Lotta was on the minstrel stage at various times,
but by the time she made her New York debut, Christy was already dead.
***
Cole (1000 Fiddle Tunes), 1940; pg. 83. Ryan’s Mammoth Collection, 1883; pg. 117.
X:1
T:Lotta’s Favorite
M:C|
L:1/8
R:”Jig”
S:Ryan’s Mammoth Collection (1883)
Z:AK/Fiddler’s Companion
K:D
A,2 | D6 (3FED | (F>A)(B>d)
(A<F) zA | (BG2)B (AF2)A | (d>.A)(F>.D) {F}(E>.D)(B,>.A,) |
D6 (3FED | F>AB>d (A<F) zA
| B>cd>e (3fef (3gab | a>gf>e d2 || (F>E) | (DB,3) z2 (B>c) |
d>ef>g (f<b)zf | (3gag
e>g (3fgf d>f | e>dc>B ^A<GF<E | DB,3 z2B>c | d>ef>g
(f<b )zf |
(3gag e>g (3fgf d>f |1
e>AB>c d2 :|2 e>AB>c dz ||
LOTTIE SCHOTTISCHE. American, Schottische. A Major. Standard tuning. AABA. Howe (1000 Jigs and Reels), c. 1867; pg. 52.
X:1
T:Lottie Schottische
M:C
R:Schottische
S:Howe – 1000 Jigs and Reels (c. 1867)
Z:AK/Fiddler’s Companion
K:A
(ec’) | .b2 (db) .a2 (ca) | g z f4
(Bd) | (df)(fe) A2 (Bd) | (df)(fe) A2 (ec’) |
.b2 (db) .a2 (ca) | g z f4 (Bd) |
(df)(fe) c’3b | a2a2a2 :: (eb) | (ba)(ac’) e2 (eb) |
(ba)(ac’) e2 (ec’) | (c’b)(eb)
(ba)(ea) | (ag)(df) (fe)(eb) | (ba)(ac’) e2 (eb) |
(ba)(ac’) e2 (ed’) | (d’c’)(ec’)
(c’b)(eb) | c’2c’2(c’3 ||
|: “tr” e4 (e/c’/) z (e/c’/)z |
(d/b/)z (d/b/)z a4 | (a/g/)z (g/f/)z B2 (Bf) |
(f/e/)z (e/d/)z A2 z2 |: “tr” e4
(e/c’/)z (e/c’/) | (d/b/)z (d/b/)z a4 | (ag)(gf) (fd’)(d’c’) | (c’b).f.g a2 :|
LOTUS CLUB (Lancashire) CLOG. American, Clog. F Major. Standard tuning.
AABB. The title may refer to New York City’s Lotus Club, founded by Irish
actor, editor and playwright John Brougham (1814-1880), who was for a time its
president. Cole (1000 Fiddle Tunes),
1940; pg. 120. O’Malley (Luke O’Malley’s
Irish Music Collection, vol. 1), 1976; No. 136, pg. 68. Ryan’s Mammoth Collection, 1883; pg.
158.
X:1
T:Lotus Club, The
M:C
L:1/8
R:Hornpipe
B:Luke O’Malley’s Irish Music Collection, No. 136 (1976)
Z:AK/Fiddler’s Companion
K:F
FEFC A,CFA|c=Bcd cAFA|G^FGA
BAG=F|(3EGB ed (3cdc (3BAG|
FEFC A,CFA|c=Bcd cAFA|G^FGA BGDE|1
F2A2F2 AG:|2 F2A2F2 (3EF^F||
|:G2 c=B dcBc|A2 d^c edcd|c=BAG
^FGAB|(3cdc =BA G2 (3EF^F|
G2 c=B dcBc|A2 d^c edcd|c=BAG ^FG
fB|1 c=Bcd c2 (3EF^F:|2 c2e2c2 AG||
LOU DIZIOU BE PIERROU. French, Bourree (3/8 time). C Major. Standard tuning. AABB. From the
Auvergne Province of central France. Stevens (Massif Central), vol. 1, 1987; No. 43.
LOU SULLIVAN'S
BREAKDOWN. Canadian, Breakdown. D Major. Standard
tuning. AABB. Messer (Anthology of
Favorite Fiddle Tunes), 1980; No. 13, pg. 14.
LOUD HOUSE OF HARMONY
STREET. Irish, Reel. A Dorian (‘A’ part)
& A Major (‘B’ part). Standard tuning. AABB. Composed by Falmouth,
Massachusetts, musician and writer Bill Black. The title is from the police log
of his local newspaper. Black (Music’s
the Very Best Thing), 1996; No. 71, pg. 37.
X:1
T: Loud House on Harmony Street
C: © B. Black
Q: 350
R: reel
M: 4/4
L: 1/8
K: Ador
G | ECEG cBcG | Aedc BGBd | e2 ce Aece | B2 GB EBGB |
cedc BGGB | cABG ABcd | eaag fddf | ecdB A3 :|
K: A
e | ecce dcde | faec dBcA | F2 AF cFAF | E2 BE cEBE |
eagf
ecce | fdec BAAF | =G2 dG eGdG | ecdB A3 :|
LOUDON'S/LOUDEN'S
BONNY WOODS (AND BRAES). AKA and see “Boys of Knock,” “The Bundoran Highland,” "The Earl of Moira's
Welcome to Scotland," “Highland
a’ Choille,” “Lord Moira’s Highland Fling,” "Lord Moira('s Welcome
to Scotland)," “Little Ark,”
"The Marquis of
Hastings' Strathspey." Scottish; Strathspey or Highland Schottische. G
Major (Kennedy, Kerr, Raven): D Major (Martin, Neil). Standard tuning. One part
(Neil): AB (Kerr): AABB (Martin): AABB' (Kennedy, Raven). The title comes from
poet Robert Tannahill's (1774-1810) work, however, the tune was originally
"The Earl of Moira's Welcome to Scotland" by Duncan MacIntyre, a
Scots dancing master in London at the end of the 18th century. Little is known
of him, save that the later spent some years in India, presumably at the same
time as Earl Moira (who was Governor‑General there in 1816), to whom the
tune is dedicated. Tannahill's words begin:
***
O, resume thy wanted smile.
O, supress thy fears, lassie,
Glorious honour crowns the toil,
That the soldier shares lassie.
Heaven will shield thy faithful lover,
Till the vengeful strife is over;
Then we'll meet nae mair to sever,
Till the day we dee, lassie.
'Midst our bonnie woods and braes
We'll spend our peaceful, happy days,
As blythe yon lightsome lamb that plays
On Loudon's flow'ry lea, lassie.
***
"They are thought to
commemorate the parting of the Earl of Moira from his young wife [Flora Muir
Campbell], the Countess of Loudon, on his departure on foreign service"
(Neil, 1991). Moira’s seat was Loudon Castle in Ayrshire (see note for “Loudoun
Castle”), and he and Flora were married in 1804, the year construction of the
manor began. Moira was then commander in chief of the forces in Scotland, and
preparations were being made for the troops to go overseas. The song is
supposed to depict the parting of a soldier and his young bride, and was
extremely popular throughout the 19th century. The tune has survived
as a both a popular fiddle and pipe tune. See also the related melody from the
playing of English traditional musician Scan Tester called “Indian Polka.” Along with “Jenny’s Bawbee” and “Niel Gow’s Wife” this tune is part of the
medley played by County Donegal fiddler Danny O’Donnell as “The Shamrock and
Thistle Highlands.” It can also be heard in County Donegal as the Highland
called “Highland a’ choille.” See also the untitled Irish reel in Moylan’s Johnny O’Leary of Sliabh Luachra (1994),
4. See note for “The
Marquis of Hasting’s Strathspey” for more. See also the Irish reel variants
“Little Ark” and “Boys of Knock.” Kennedy (Fiddlers Tune Book), vol. 2, 1954; pg.
18 (appears as "Lord Moira"). Kerr (Merry Melodies), vol. 1; No. 6, pg. 19. Martin (Ceol na Fidhle), vol. 1, 1991; pg. 50.
Martin (Traditional Scottish Fiddling),
2002; pg. 41. Neil (The Scots Fiddle),
1991; No. 112, pg. 150. Raven (English
Country Dance Tunes), 1984; pg. 178.
X:1
T:Loudon's Bonnie Woods
B:Kerr's Merry Melodies Bk 1 (c1880)
Z:Nigel Gatherer
L:1/8
M:4/4
K:G
G2 G>G B<d d2 | c>AB>G A>G F<D | G2 G>G B<d d2 | e<g
fg>ab>g a>gf<d |
e>fg>e
dab>g a>gf<d | e<g fg>ab>g a>gf>d | e>fg>e dG
B<d d2 | e<g f
LOUDOUN CASTLE.
Scottish, Slow Air (2/4 time). E Major. Standard tuning. AAB. Composed
by Nathaniel
Gow (1763-1831). Loudoun Castle, Ayrshire, is a castellated mansion that
was once seat of the Campbell Earls of Loudoun. It was built in 1804-1811 for
Flora Muir Campbell (1780-1840), 6th Countess of Loudon and
Marchioness of Hastings, and was the work of architect Archibald Elliot
(perhaps under the design influence of James and Robert Adams). Elliot built
the manor around an older 15th century structure, a four story keep
with walls some six feet thick. It boasted ninety rooms and a grand library,
although it was never quite finished due to finances. It survived until WWII, when
it was used to house Belgian troops and a fire started in a downstairs library.
It was never restored. The manor boasts its own ghost, The Grey Lady, a
somewhat benign figure. See also the note to “Loudon Bonny Woods and Braes,”
above. Gow (Fifth Collection of Strathspey Reels), 1809; pg. 16.
X:1
T:Loudoun Castle
M:2/4
L:1/8
R:Air
N:”Slow. For the Harp Play in three
Flats.”
C:Nathaniel Gow (1763-1831)
B:Gow – Fifth Collection of
Strathspey Reels (1809)
Z:AK/Fiddler’s Companion
K:E
B/>A/|~G>A Bc|F3 B/A/|~G>A
BA|G/B/c/d/ ~e/f/g|~G>A Bc|F3 B/A/|(G/4B/4/c/4d/4 e/4f/4g/4a/4) b/>E/
A/>G/|GF E:||
b|b>a gc’|f3 b/a/|~g>a
ba|g/(b/c’/d’/) {f’}e’(d’/4c’/4b/4a/4)|~g>a bc’|f3 b/a/|(g/b/)(e/g/)
~c/d/4/e/4 B/a/|[Bg]~[Af][Ge] b/a/|
~g>a bc’|f3 b/a/|g/(b/a/g/)
(f/e/d/c/)|(B/e/d/c/) B/(^B/c/A/)|~G>A Bc|F3 B/A/|(G/4B/4c/4d/4
e/4f/4g/4a/4) b/>E/ A/>G/|G~FE||
LOUGH AISLES RETURN. AKA and see "The Castlebar Traveller," "The Gossan that beat his father," "The Humours of Loughrea," "The Laurel Bush," "The West Gale," "The Reel of Bogie," "The Showman's Reel," "Spence's Reel [1]," "Tuehey's Reel," "The Yeoman's Reel." The title is perhaps a corruption of the name “Lochiels.”
LOUGH ALLEN [1] (Loc-Aillinne). AKA and see "Box About the Fireplace,"
"The Millstream." Irish, Reel
or Hornpipe. A Major. Standard tuning. ABB (O'Neill/1850 & 1001): AA'BB
(O'Neill/Krassen). Lough Allen is a lake 8 miles long and 3 miles wide located
in County Leitrim and County Roscommon in the north of Ireland; it is deep and
famous for its fishing. The upper Shannon River flows through it, and together
with Lough Ree and Lough Derg it makes up the great Shannon Lakes. The
territory was in ancient times under control of the O’Rourke clan and its
subdivisions.
***
Lough Allen, by Kevin Sweeney. © Local Ireland.
***
Levey (Dance Music of Ireland, 2nd
Collection), 1873; pg. 8 (appears as an untitled hornpipe). O'Neill
(Krassen), 1976; pg. 117. O'Neill (Music of
Ireland: 1850 Melodies), 1903/1979; No. 1321, pg. 247. O'Neill (Dance
Music of Ireland: 1001 Gems),
1907/1986; No. 582, pg. 107.
X:1
T:Lough Allen [1]
M:C|
L:1/8
R:Reel
S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 582
Z:AK/Fiddler’s Companion
K:A
cd|eAcA BGEd|eAcA d2 cd|eABA
BGEG|AcBG A2 cd|eAcA BGEd|eAcA d2 cB|
AcBd cefa|gedB A2||
|:BA|Beef gedB|agab a2 ba|gaba
gedB|AcBG A2:|
X:2
T:Lough Allen [1]
M:2/4
L:1/8
R:Hornpipe
N:Appears
as an untitled hornpipe in the Levey collection.
S:Levey - Dance Music of Ireland, 2nd Collection (1873)
Z:AK/Fiddler's Companion
K:A
(c/d/) | e/A/c/A/ B/G/E/d/ | e/A/c/A/ d(c/d/) | e/A/c/A/ B/G/E/G/ | A/c/B/G/
A(c/d/) |
e/A/c/A/ B/G/E/d/ | e/A/c/A/ d(c/B/) | A/c/B/d/ c/e/f/a/ | g/e/d/B/ A || (B/A/)
|
B/e/e/f/ g/e/d/B/ | a/g/a/b/ ab/a/ | g/a/b/a/ g/e/d/B/ | A/c/B/G/ A(B/A/) |
B/e/e/f/ g/e/d/B/ | a/g/a/b/ ag/a/ | g/a/b/a/ g/e/d/B/ | A/c/B/G/ A ||
LOUGH ALLEN [2]. Irish, Reel. Ireland, County
Leitrim. E Major/Mixolydian. Standard
tuning. AAB. “An old county of Leitrim reel” (Petrie, 1855). Stanford/Petrie (Complete Collection), 1905; No. 911, pg.
231.
LOUGH CARRA FISHERMAN (Iasgaire Loca An Ceara). AKA and see "I'm A Fisherman on Lough Carra."
Irish, Air (2/4 time, "lively"). A Major. Standard tuning. AB.
O'Neill (O’Neill’s Irish Music),
1915/1987; No. 30, pg. 23. O'Neill (Music of Ireland: 1850 Melodies),
1903/1979; No. 208, pg. 36.
X:1
T:Lough Carra Fisherman
M:2/4
L:1/8
R:Air
N:”Lively”
S:O’Neill – Music of Ireland (1903), No. 208
K:AK/Fiddler’s Companion
K:A
E | EAAA | AAAA | cded | dcBA | GBBB
| BBBB |efed | dcBA | cAAA | AAAA |
EAAB | cAAc | dfff | aeee | dfed |
cA A || c/d/ | eaaa aeee | fbbb | geeg | agfe |
fedc | dfed | cAcd | eaaa | aeee |
fbbb | geeg | agfe | f/g/a ec | dfed | cA A ||
LOUGH DERG JIG. AKA and see “Father Kelly’s
(Jig).” Irish, Jig. G Major. Standard tuning. AABBCC. The earliest composition
(1960) by Father P.J. Kelly as “The Lough Derg Jig,” although the tune is often
called “Father Kelly’s (Jig)”. When he introduced the tune to his friends in
County Galway, flute player Stephen Moloney (of the Ballinakill Céilí Band)
said, “When you and I are dead that tune will still be alive.” [N. Carolan].
X:1
T:Lough Derg Jig
S:Paul O'Shaughnessy
Z:Juergen.Gier@post.rwth-aachen.de
C:Father Kelly
M:6/8
L:1/8
K:G
D|GFG BAG|F2G AFD|GFG BAG|BdB cAF|\
G2c BAG|~F3 AFD|d^cd fed|cAF G2:|
A|:B2d gdB|dgB dgB|c2e gec|egc ege|d2f afd|\
fad fad|1gfg efg|afd cBA:|2d^cd fed|cAF G2|:c|\
~B3 BGE|F2G AFD|BdB BAG|BdB cAF|\
~B3 BGE|F2G AFD|d^cd fed|cAF G2:|
LOUGH EARN. See “Loch Earn Reel.”
LOUGH ERNE’S SHORE. Irish, Air (3/4 time). E Flat Major (Petrie): D Minor (O Boyle). Standard tuning. One part (O Boyle): AB (Petrie). O Boyle (1976) identifies this song as a reverdie, a type of Irish vision poetry in which a maiden appears and is at first thought to be supernatural, but who turns out to be very real. Though in English, he believes it to be derived from Gaelic origins and may even possibly be the work of Fermanagh hedge-school masters (who sometimes did compose in English, though to Irish airs, and who made use of Latin and Greek mythology).
***
One morning as I went a fowling Bright
Phoebus adorned the plain,
'Twas down by the shores of Lough Erne I met
with this wonderful dame;
Her voice was so sweet and so pleasing,
These beautiful notes she did sing;
The innocent fowl of the forest their love
unto her they did bring.
***
There is another song called “Lough Erne Shore,” sometimes called “Edward on the Lough Erne Shore” to distinguish it from the one given here (see, for example, Catherine McLaughlin’s version on “Hidden Fermanagh” CD). Sources for notated versions: “From Miss Ross” [Stanford/Petrie]; Paddy Tunney [O Boyle]. Ó Boyle (The Irish Song Tradition), 1976; pg. 68. Stanford/Petrie (Complete Collection), 1905; Nos. 652 & 653, pgs. 163-164. Paddy Tunney.
X:1
T:Lough Erne’s Shore
M:3/4
L:1/8
R:Air
S:Stanford/Petrie (1905), No. 652
Z:AK/Fiddler’s Companion
K:Eb
E>F | G2B2 c>e | B2G2
“tr”F>G | E2C2 E>F | G2B2 (3cBG | F2E2E2 |
E4 :| E>F | G2B2B2 | c2c2 de |
e2c2 {f}e>c | B2G2 F>E | E>G B2c2 |
c4 (3Bcd | e2 f>g {f}ec | B2G2
F>E | E2C2 E>F | G2B2 (3cBG | F2E2E2 | E4 ||
LOUGH GILL. AKA and see “Millpond.” Irish, Jig.
G Major. Standard tuning. AABB.
X:1
T:Lough Gill
M:6/8
L:1/8
Z:transcribed by Paul Keating
S:Sean Keane "Fifty Fiddle
Solos"
R:Jig
K:G
DGG BGG|dGG BGG|DFA DFA|DFA cBA|!
DGG BGG|dGG BGG|DFA {cd}cBA|1BGF G
(3B,C^C:|2BGF G2 B|!
|:dgg bgg|aff gee|Ace a3|gag fed|!
Bdg bgg|aff gee|ABc dcA|1AGF G2
B:|2AGF G3||!
LOUGH GOWNA [1]. Irish, Air (6/8 time). G Mixolydian. Standard tuning. AB. Lough Gowna
is in County Cavan. In modern times the tune was popularized by the playing of
nearby County Fermanagh musician Cathal McConnell. Source for notated version:
"From Mr. McGovern, the Hotel, Cavan. 'He learned it from his mother, who
could speak no English' (Note by the Irish collector Forde) [Joyce]. Joyce (Old Irish Folk Music and Songs), 1909;
No. 559, pg. 296.
LOUGH GOWNA [2]. AKA and see “The Ball of
Ballynafeidh,” “Banks of Lough
Gowna,” “The Shores of Lough
Gowna,” “The Slopes of
Sliabh Luachra.” Irish, Jig. A Minor. See note for “Banks of Lough Gowna.”
LOUGH ISLAND CASTLE. AKA - "Lough Isle Castle." Irish, Reel. Ireland, County Donegal. A Mixolydian. A popular reel in County Donegal whose parent tune Caoimhin Mac Aoidh (1994) identifies as the Scottish reel "Sleepy Maggie." See also the variants "Sean sa Ceo/Cheo" and "Tullaghan Lassies." Larry Sanger suggests the title may be derivative of “Loch Kyle Castle,” finding an actual castle at Kyle of Lochalsh in the Scottish Highlands.
X:1
T:Lough Isle Castle
R:reel
N:Paddy O'Brien and James Kelly recorded this. James Byrne plays a
four-part
N:version. A distinct tune from, but obviously related to, "Sean Sa
Cheo."
Z:Transcribed by Larry Sanger from a recording of John and Mickey Doherty,
Z:the only duet they ever played on record. The first two times through;
Z:fairly close transcription.
M:4/4
K:Amix
a3g|:e/g/e dg eABd|e/g/e Ag dGBd|e/g/e Ag eABA|Bdgd BGBd:|
cA A/A/A {d}cABa|cA A/A/A dGBd|cA A/A/A aged|efgd BGBd|
cA A/A/A {d}cABe|cA A/A/A dGBg|afge fded|{c}B{A}Bgd BGBa||
gedg eAAg|edeg dGBd|gedg eAAd|1 {c}B{A}Bgd BGBa:|2 {c}B{A}Bgd BGBd||
e/g/e dg eABd|e/g/e Ag dGBd|e/g/e dg eAcA|{c}B{A}Bgd BGBd|
e/g/e dg eABd|e/g/e Ag dGBd|e/g/e Ag eABA|{c}B{A}Bgd BGBd||
cA A/A/A {d}cABe|cA A/A/A dGBd|cA A/A/A cAce|{d}BGBc dfed|
cA A/A/A cABe|cA A/A/A dGBg|afge fded|{c}B{A}Bgd BGa{b}a||
gedg eAAg|edeg dGBd|gedg eAAd|1 B2gd BGBa:|2 {c}B{A}Bgd BGBd||
LOUGH KEY, THE. Irish, Hornpipe. G Major. Standard tuning.
AABB. Composed by Tipperary fiddler Seán Ryan. Lough Key is in County
Roscommon. Miller (Fiddler’s Throne),
2004; No. 298, pg. 177. James Noonan – “The Maple
Leaf: Irish Traditional Music from Boston” (2001).
LOUGH SHEELONG [1]. Irish, Slow Air (3/4 time). G Minor. Standard tuning. AB. "To be
distinguished from another well‑known air of the same name (Moore's
'Come, rest in this bosom'). See 'Molly
Bawn [1]" (Joyce). Source for notated version: Hugh O'Beirne,
professional fiddler from Ballinamore, Co. Leitrim, 1846 (Joyce). Joyce (Old Irish Folk Music and Songs), 1909;
No. 561, pg. 297.
LOUGH SHEELING [2] (Loc Saileann). AKA and see "Adieu My Loved Harp,"
"Come Rest in This Bosom," "Bridget O'Malley." Irish, Slow
Air (3/4 time). E Minor. Standard tuning. AB. This air is an old harp melody
used by Thomas Moore for his song "Come Rest in this Bosom." O'Neill
(Music of Ireland: 1850 Melodies), 1903/1979; No. 333, pg. 58.
X:1
T:Lough Sheeling [2]
M:3/4
L:1/8
R:Air
N:”Slow”
S:O’Neill – Music of Ireland (1903), No. 333
Z:AK/Fiddler’s Companion
K:E Minor
B>^d|e2 e>f ge|d2B2 GA/B/|c2c2
BA|{A}B2 z2 B^d|e2 ef ge|d2B2G2|
A3 GE^D|E3 z||BA|G2 GA BG|{B}A2G2
GA/B/|c2c2 BA|B2 z2 B^d|
e3 fge|d2B2G2|A3 GE^D|(E2 D)z||
LOUGHANURE REEL, THE. Irish, Reel. Ireland, County Donegal.
According to Caoimhin Mac Aoidh (1994) this is one of the few tunes Donegal
fiddler Neillidh Boyle recorded for collectors. Before playing the tune he told
the story of how a fiddler was strangely inspired to compose the tune. It seems
that this fiddler sitting on the side of a graveyard wall in Loughanure when he
overheard the keening or lamenting of a man at his recently deceased wife’s
graveside. This lament had an effect on the fiddler who transformed it into a
melody for a reel.
LOUGHILL HORNPIPE, THE (Cornphíopa na Leamhchoille). Irish, Hornpipe. G Major. Standard
tuning. AA'BB'. See also the related “Breen’s Hornpipe.” Source for
notated version: flutist Paddy Taylor (Ireland) [Breathnach]. Breathnach (CRÉ III), 1985; No. 229, pg. 104. Claddagh Records CC8, Paddy Taylor ‑ "The Boy in
the Gap."
LOUGHLIN’S REEL. AKA and see “Down the Banks with Mary.”
Irish, Reel.
LOUGHMOUNTAIN. Irish, Reel. E Dorian. Standard tuning. AA’BB. Treoir.
X: 1
T: Loughmountain
S: Treoir
C: Eddie O'Donnell
Z: Transcribed by Bill Black
M: 4/4
L: 1/8
Q: 350
R: reel
K: Edor
B3 E FEFA | Bdef dBAF | A3 F FDFA | dfed BAFA |
B3 E FEFA | Bdef dBAF |1 ABde fedf | edBA BE E2
:|
|2 ABde f2 ef | dBAF BE E2 || e3 d BABd | egfg
edB^c |
d3 B AFDF | dfed BAFA | e3 d BABd | egfg edB^c |
d3
c defe | dBAF BE E2 :|
LOUGHNASHADE. Irish, Hornpipe. Composed by the Belfast band Craob Rua. Lochshore CDLDL 1215, Croab Rua - “The More that’s Said the
Less the Better” (1992).
LOUGHREA JIG, THE. Irish, Jig. D Major. Standard tuning. AB. The
melody is a version of “The Frost
Is All Over [1],” "On a Monday
Morning," "The Praties
Are Dug, and the Frost is all Over,” “What Would You/I do if the
Kettle Boiled Over,” “What
Would You do if You Married a Soldier?”
Loughrea is the name of both a lake and a town in County Galway. Source
for notated version: Joe Burke via accordion player Johnny O’Leary (Sliabh
Luachra region of the Cork-Kerry border), recorded in concert at ‘The
Merchant’, August, 1993 [Moylan]. Moylan (Johnny
O’Leary), 1994; No. 72, pgs. 41-42. Topic 12T357,
Johnny O’Leary - “Music for the Set” (1977. Untitled-last part of third track).
LOUGHREA LASSES, THE (Na Cailinde Ua Loc-Riabac). Irish, Slow Air (2/4 time). F
Major. Standard tuning. AB. O'Neill (Music of Ireland: 1850 Melodies),
1903/1979; No. 415, pg. 72.
X:1
T:Loughrea Lasses, The
M:2/4
L:1/8
R:Air
N:”Slow”
S:O’Neill – Music of Ireland (1903), No. 415
Z:AK/Fiddler’s Companion
K:F
F/G/|A>B A/G/F/A/|G>A
G/F/D/C/|F/>G/F/4E/F/ G/>A/4G/4^F/G/|A2 cd/e/|
f>e dc|e>d c/B/A/G/|AB/c/
dd|d2 f>e|d>c AG|d>c A/G/F/D/|
F/>G/F/4E/F/ G/>A/4G/4^F/G/|A2
f>e|d>c AG|A2 A/G/^F/A/|G>F DD|D2 z||
D/E/|F>E F/G/A/B/|c>d
c/B/A/G/|Af ef|d2 f>e|d>c AG|F>E FG|AB cc|c3 D/E/|
F>E F/G/A/B/|c>d c/B/A/G/|Af
ef|d2 f>e|d>c AG|d>c A/G/^F/G/|G>F DD|D3||
LOUGHREA LASSES [2]. Irish,
Reel. E Minor. Standard tuning. AAB. Kennedy (Traditional Dance Music of Britain and Ireland: Reels and Rants),
1997; No. 112, pg. 27.
LOUGHROS POINT REEL. AKA and see “Dispute at the Crossroads.”
LOUGHS OF CAVAN, THE. Irish, Reel. G Major. Standard tuning. One part.
Composed by County Cavan/Philadelphia fiddle player and composer Ed Reavy
(1898-1988). Lough Sheelan and other lakes are located in County Cavan. Reavy (The Collected Compositions of Ed Reavy),
No. 49, pg. 51.
X:1
T:The Loughs of Cavan
R:reel
C:Ed Reavy
M:2/2
L:1/8
Z:Joe Reavy
N:Cavan, "the place of caves," is also a region spotted with lovely lakes
N:like Lough Sheelin. Ed likes to refer to his Cavan birthplace as "my old
N:lake country home."
K:G
GFGB AF (3FEF | dBcA BGAF | GBAF DEFA | dBcA BGAF |
GFGB AF (3FEF | dBcA BGAF | GBAF DEFA | dBcA BGGf |
g2 ag fddf | eccB cdef | gbag fafd | cBAc BGGf |
g2
ag fddf | eccB cdef gbag fafd | cedc
(3Bcd cA||
LOUGHSIDE HORNPIPE, THE. Irish, Hornpipe. Ireland, County Donegal. Caoimhin Mac Aoidh (1994) states the
"Loughside Hornpipe" was popularized by Donegal fiddler John Doherty who learned it
from the trumpa (jews harp) playing of the McMonagle family of Tievealough, with
whom he often stayed. The title is a literal translation of the Donegal
township called Tievealough.
LOUIE'S FIRST TUNE. New England, Reel. USA, Canada. G Major. Standard tuning. AABB. Source
for notated version: The Riendeau Family [Brody]. Brody (Fiddler’s Fakebook), 1983; pg. 180. Biograph
6007, Ebenezer‑ "Tell It to Me." County 725, The Riendeau
Family‑ "Old Time Fiddling."
LOUIS QUINN’S HORNPIPE. Irish, Hornpipe. Composed by County Cavan/Philadelphia fiddler Ed Reavy
in honor of his friend, fiddler Louis Quinn. ‘Ón
tSean-Am Anall’ {Danny O’Donnell} (appears as first of “Reavy’s Hornpipes”).
LOUIS WALTZ. AKA ‑ "Canadian Waltz." French‑Canadian, Waltz. D
Major. Standard tuning. One part (Martin & Hughes): AB (Bain): AA'B
(Johnson). Bain (50 Fiddle Solos),
1989; pg. 6. Johnson (The Kitchen
Musician's Occasional: Waltz, Air and Misc.), No. 1, 1991; pg. 6. Martin
& Hughes (Ho-ro-gheallaigh),
1990; pg. 18. Philo 1051, Boys of the Lough ‑
"Good Friends, Good Music" (1977. Appears as "Canadian
Waltz").
LOUISA. English, Country Dance Tune (2/4 time). F Major. Standard tuning. AABB. The tune appears in Hodsoll’s Collection of Popular Dances No. 24, an undated manuscript with tunes with Napoleonic-era titles and dance instructions for each melody.
X:1
T:Louisa
M:2/4
L:1/8
S:Hodsoll’s Collection of Popular Dances No. 24
K:F
f2 c>B|A>B c>A|G>g b>g|f>e d>c|f2 c>B|A>B c>A|d>c d>e|f2 f2:|
|:b>a
g>f|e>d c>B|A>c f2|c>f a2|b>a g>f|e>d c>B|A>f
a>g|f2 f2:|
LOUISA WALTZ. Old-Time, Waltz. USA, Texas. G Major ('A' part), D Major ('B' part)
& C Major ('C' part). Standard. ABC. Silberberg notes that East Texas
Serenaders played the tune ABAC. Source for notated versions: Daniel Williams
with the East Texas Serenaders [Phillips, Silberberg]. Phillips (Traditional American Fiddle Tunes), vol.
2, 1995; pgs. 274-275. Silberberg (93
Fiddle Tunes I Didn’t Learn at the Tractor Tavern), 2004; pg. 29.
LOUISBERG SQUARE. AKA and see “Uncle’s Jig.”
LOUISBURG BLUES. Old‑Time. Columbia 15071‑D (78
RPM), Uncle Bunt Stevens (Tenn.).
LOUISE, LA. French, Bourree (3/8 time). C Major. Standard. AABB'. From the Auvergne
Province of central France. Stevens (Massif
Central), vol. 1, 1987; No. 47.
LOUISE MARIE WALTZ. Voyager VRCD-354, Hart & Blech –
“Build Me a Boat.”
LOUISIANA ACE'S
SPECIAL.
See "Creole Stomp."
LOUISON LOUISETTE [1]. AKA ‑ "Le 32 Aout." French, Bourree a 2 Temps (2/4
time). G Major. Standard tuning. AABB. Composed by F. Paris. Stevens (Massif Central), 1988; No. 81.
LOUISON LOUISETTE [2]. French, Bouree a 3 Temps (3/8 time). G Major (A Dorian?). Standard
tuning. AABB. Composed by F. Paris. Stevens (Massif Central), 1988; No. 30.
LOUISIANA BREAKDOWN. See "Breakdown
la Louisiane."
LOUISVILLE. Old-Time, Breakdown. G Major. Standard tuning. AB. Source for notated
version: Carthy Sisco [Silberberg]. Silberberg (Tunes I Learned at Tractor
Tavern), 2002; pg. 94.
LOUISVILLE CLOG. American, Clog. G Major. Standard tuning. AABB. Composition credited to
a Frank Livingston in Ryan’s Mammoth Collection (1883). Livingston
(about whom nothing is known) contributed a number of melodies to Ryan’s Mammoth Collection, nearly all on
Southern themes. Cole (1000 Fiddle Tunes),
1940; pg. 119. Ryan’s Mammoth Collection,
1883; pg. 157.
X:1
T:Lousiville Clog
M:C|
L:1/8
R:Clog
S:Ryan’s Mammoth Collection (1883)
Z:AK/Fiddler’s Companion
K:G
(b>.a)|g>dB>g
e>cG>e|d>ed>B G>DG>B|(3A^GA f>e (3ded (3cBA|(3GFG (3AGA B2
({B}b>)a|
g>dB>g
e>cG>e|d>ed>B G>DG>B|(3A^GA f>e (3ded (3cBA|G2({f}g2)G2:|
|:(g>.f)|e>c’g>e
c>GE>C|B,>DG>B d>gb>g|f>af>d c>AF>C|B,>DG>B
d>fa>g|
e>c’g>e c>GE>C|B,>DG>B
d>gb>g|f>af>e (3ded (3cBA|G2 ({f}g2)G2:|
LOUISVILLE HORNPIPE. AKA and see "The
Liverpool Hornpipe" [1], "Brilliancy"
(Christeson), "Processional Morris" (Mellor). American, Hornpipe. D
Major. Standard tuning. AABBCC. The “Liverpool Hornpipe” with an unworthy third
part added. Ford (Traditional Music in
America), 1940; pg. 102.
X:1
T:Louisville Hornpipe
M:2/4
L:1/8
R:Hornpipe
S:Ford – Traditional Music in America (1940)
Z:AK/Fiddler’s Companion
K:D
A|F/D/F/A/ (d/e/)(f/g/)|a/f/g/e/
f/e/d/A/|G/B/G/B/ F/A/F/A/|(E/F/G/).A/ (G/F/E/).D/|
F/D/F/A/ d/e/f/g/|a/f/g/e/
f/e/d/f/|(a/f/d/).f/ (g/e/c/).A/|[df][df][df]:|
|:A|d/f/d/f/ c/e/c/e/|(B/c/d/).e/
d/c/B/A/|G/B/G/B/ F/A/F/A/|(E/F/G/).A/ (G/F/E/).D/|
F/D/F/A/ d/e/f/g/|a/f/g/e/
f/e/d/f/|a/f/d/f/ g/e/c/A/|[df][df][df]:|
|:(f/g/)|.a/.f/.d/.f/
.a/.f/.d/.f/|(a/f/)(d/f/) (a/f/)(d/f/)|.a/.f/.e/.f/ (g/f/)(e/f/)|.a/.f/.e/.f/
(g/f/)(e/f/)|
.a/.f/.d/.f/ (a/f/)(d/A/)|(B/A/)(B/d/)
(g/f/)(e/d/)|.c/.e/.a/.e/ .c/.e/.a/.e/|[df][df][df]:|
LOU’S. Canadian, Jig. Canada, Cape Breton. A Major. Standard tuning. AABB’.
Composed by Cape Breton fiddler and composer Dan R. MacDonald (1911-1976).
Cameron (Trip to Windsor), 1994; pg.
41.
LOUSY CUTTER, THE. AKA and see "Wedding O' Blyth," "Blue's Gaen Oot O' The
Fashion." English, Slip Jig and Air. England, Northumberland. G Major.
Standard tuning. AAB. "One of the most popular press‑gang
songs" (Stokoe).
***
O the lousy cutter, They've ta'en by laddie frae me,
They pressed him far away foreign, Wi' Nelson ayont the salt sea.
They always come in the night, They never come in the day,
They always come in the night, And steal the laddies away. (Stokoe)
***
Stokoe & Bruce (Northumbrian Minstrelsy), 1882; pg. 163.
LOUTH QUICKSTEP.
English, Quickstep (2/4 time). G Major. Standard tuning. AABB. Louth is
a market town on the Lud River at the eastern edge of the Lincolnshire Wolds,
in the Parts of Lindsey, Lincolnshire, in east England. It was an important
religious center from the 12th century, and once featured a
Cistercian abbey (founded 1139). 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. 7.
LOUVER, THE. Scottish, Air (3/4 time). F Major. Standard tuning. AABB. McGlashan (Collection of Scots Measures), c. 1780; pg. 34.
X:1
T:Louver, The
M:3/4
L:1/8
R:Air
S:McGlashan – Collection of Scots Measures (1780)
Z:AK/Fiddler’s Companion
K:F
A/B/c|A3 GFG|F4 F>G|A2 BAGF|c4 c/d/e|f2 c2 d2|A3 B c2|B>g B2 A2|
G3 dcB|A2 d3c|=B>A G2 g2|d3 efg|e3 dc=B|cd d4|c6:|
|:c2|f>e f>g a>f|d>^c d>e f>d|g2 fe d/f/e/d/|^c=B A2 a>g|f>e d>e f>g|
e2 A2 d>^c|d>e e4|d4 d/e/f|c3 dcB|B2 A2 G2|AB/c/ BAGF|
c4 c2|d2 B3d|c2 BABc|d>cBd fe/d/|c2 B>A c2|B>g B2 A2|G4 g2|
a2
f3a|g2 c2 f>g|a>g f>g a>b|g2 c2 f>e|f/b/a/g/ g4|f4:|
LOVAT SCOUTS, THE. Scottish, Quickstep (2/4 time). A Major.
Standard tuning. AABCCD. Composed by J. S. Skinner.
Hunter (Fiddle Music of Scotland),
1988; No. 358.
LOVAT'S RESTORATION (Fhuair Mac Shimi 'n oighreachd). Scottish, Strathspey. D Major.
Standard tuning. AB (Fraser): AA'B (Alburger, Athole). The title concerns
Scotland's Fraser of Lovat family, and has to do with the celebration and
festivity which attended General Fraser's election to Parliament, which
happened even before his estates (forfeited in 1745) were returned to him
(Alburger). "The restoration of the Lovat estate, and the other estates
forfeited in 1745, gave occasion to this air, expressing the joy of the
inhabitants at the return of their former landlords, after the tyranny
exercised by some of the commissioners' factors" (Fraser). Alburger (Scottish Fiddlers and Their Music),
1983; Ex. 97, pgs. 162‑163. Fraser (The
Airs and Melodies Peculiar to the Highlands of Scotland and the Isles),
1874' No. 68, pg. 24. Stewart-Robertson (The
Athole Collection), 1884; pg. 116.
X:1
T:Lovat’s Restoration
M:C
L:1/8
R:Strathspey
B:Stewart-Robertson: The
Athole Collection (1884)
Z:AK/Fiddler’s Companion
K:D
f|:d<d f>d e>df>d|B<B e>B c>A e<A|1 d>df>d e>d f<d|F<F d>F E2 D>f:|2
d>df>d e>d f<d|e>cd>F E2D||B|A<F d>F e>Fd>F|A<F d>F E>F G<B|
A<F d>F e<cd>f|A<dF<d E2 D>B|A<F d>F e>Fd>F|A<F d>F E>F G<g|
a>f
e<c d>f B<d|A<dF<d E2 D>f||
LOVE AMONG THE ROSES. AKA and see "Rolling
on the Ryegrass," "The
Ladies Tight Dress," "The Ladies Top Dress," "The Lady on the Railroad,"
"The Railway Station," "The Connachtman's Rambles [1],"
"McCaffrey's Reel," "Roll her on the banks,"
"The Listowel Lasses,"
"Boil the Kettle Early,"
"Kitty
got a clinking (coming from the races) [1]," "The Brown Red Girl," "What the Devil ails you [2],"
"The Kilfinane Reel,"
"Punch for the Ladies [2],"
"Maureen Playboy," "Old Molly Ahern," "The Piper's Lass," "The Rathkeale Hunt," "The Shannon Breeze [1]," "The Telegraph," "Sean‑Mhaire Ni
Eachthighearn."
LOVE AND A BOTTLE. English, Country Dance Tune (6/8 time). G Dorian/Minor. Standard
tuning. AABB. The tune dates to the year 1713. Barnes (English Country Dance Tunes), 1986.
LOVE AND A PIPE. English??, Air (2/4 time). G Major. Standard tuning. One part. O’Farrell (Pocket Companion, vol. II), c. 1806; pgs. 162-163.
X:1
T:Love and a Pipe
M:2/4
L:1/8
R:Air
N:Set as a “duett”
S:O’Farrell – Pocket Companion, vol. II (c. 1806)
Z:AK/Fiddler’s Companion
K:G
G/>A/B/c/ | dd e>c | e/d/d d/cA/c/ | Bd AB/A/ | G z G/A/B/c/ | dg e>c | e/d/d d/c/A/c/ |
Bd Ad | B2 d/c/A/c/ | Bg A/G/A/B/ | G2 F/>G/A/B/ | cA GB | A/>F/D F/>G/A/B/ |
cA
GB | d z G/>A/B/c/ | dg e>c | e/d/d d/cA/c/ | Bd Ad | Bz d/c/A/c/ | Bg
A/G/A/B/ | G2 ||
LOVE AND HOSPITALITY. AKA and see "Kissing
and Drinking." Irish, Air (6/8 time). G Major. Standard tuning. AB.
O'Neill (O’Neill’s Irish Music),
1915; No. 88, pg. 50.
X:1
T:Love and Hospitality
M:6/8
L:1/8
R:Air
S:O’Neill – O’Neill’s Irish Music (1915)
Z:AK/Fiddler’s Companion
K:G
GEG A2c | B2d A2B | GEG A2c | BGA
GED | GEG A2c | B2d A2B | GBd ABc |
BGA GED || D/E/FD d2d | AGE c2c |
A/B/cA d2d | AGE GED | D/E/FD d2d |
AGE c2c | Bcd ABc | BGA GED ||
LOVE AND LAGER BEER. American, March (??2/4 time). C Major. Standard tuning. ABCD. Howe (c.
1867) prints directions for a contra dance along with the tune. Howe (1000 Jigs and Reels), c. 1867; pg. 82.
X:1
T:Love and Lager Beer
M:2/4
L:1/8
R:March
S:Howe – 1000 Jigs and Reels (c. 1867)
Z:AK/Fiddler’s Companion
K:C
e/f/ | gg dd | e>f gf/d/ | cB/c/
dc/d/ | e^f/g/ de/=f/ | gg dd | e>f gf/d/ |
ce/c/ GA/B/ | ccc || e/f/ | gg af/d/
| e>e fd/B/ | cc B/c/d/e/ | B/e/^f/g/ Ge/=f/ |
gg af/d/ | ee fd/B/ | c/e/d/f/
e/g/^f/a/ | ggg || (3G,A,B, | C>E G>B | c3 d/e/ |
ff ee | d/c/B/A/ G/F/E/D/ | C>E
G>B | c3 d/e/ | f/e/d/c/ B/c/d/B/ | ccc ||
CD/E/ F/G/A/B/ | c/B/c/d/ cd/e/ |
f/g/a/g/ f/e/d/c/ | B/c/d/e/ G/F/E/D/ |
CD/E/ F/G/A/B/ | c/B/c/d/ cd/e/ |
f/e/d/c/ B/c/d/B/ | ccc ||
LOVE AND LOSE. AKA and see "Aimer et Perdre."
LOVE
AND OPPORTUNITY. English, Country Dance Tune (2/4
time). G Major. Standard tuning. AABB. The melody also appears in the music
manuscript collection of English musician John Rook (Waverton, Cumbria, 1840). Aird (Selection
of Scotch, English, Irish and Foreign Airs), vol. II, 1785; No. 159, pg.
58.
X:1
T:Love and
Opportunity
M:2/4
L:1/8
S:Aird,
vol. II (1785)
Z:AK/Fiddler’s Companion
K:G
de/f/ gd | d/e/d/c/ B2 | GB/G/ Ac/A/ | d/B/A/G/ G/F/E/D/ | de/f/ gd | d/e/d/c/ B2 | e2 dF | G2G2 :|
|: cBAG | cBcd | efge | e2d2 | g>aba | gfgd | de d/c/B/A/ | G2 G2 :|
X:2
T:Love and Opportunity
M:2/4
L:1/8
S:John Rook music manuscript collection (Waverton, Cumbria, 1840)
K:G
de/f/ gd|d/e/d/c/ B2|GB/G/ Ac/A/|d/B/A/G/ G/F/E/D/|de/f/g d|
d/e/d/c/ B2|e2 dF|G2 G2::cBAG|cBcd|efge|
e2d2|g>aba|gfgd|de d/c/B/A/|G2 G2:|
LOVE AND THE GOUT. English, Reel (2/4 time). England, Shropshire. D Major. Standard
tuning. AABB. Source for notated version: a c. 1837-1840 MS by Shropshire
musician John Moore [Ashman]. Ashman (The
Ironbridge Hornpipe), 1991; No. 31b, pg. 9.
LOVE AND THE NOVICE. See “Black Headed Dearie.”
LOVE AND WHISKEY. AKA and see “Bob and Joan,” “Fill the Bumper Fair,” “Stoneybatter [1].” Irish, Air (3/4 or
3/2 time). G Major. Standard tuning. AABB. O’Farrell (c. 1808) lists the tune as
Irish. The “Love and Whiskey” title for the melody (long popular under the
titles “Bob and Joan,” “Bobbing Joan,” and variants) comes from a song in “The
Wife of Two Husbands,” a drama in five acts performed on the New York stage
(“intersperced with songs, choruses, music and dances) O’Farrell (Pocket Companion, vol. III), c. 1808; pgs. 2-3. Wilson (Companion to the Ballroom), 1816; pg.
28.
X:1
T:Love & Whiskey or Bob &
Joan – with Var’s
M:3/4
R:Air
S:O’Farrell – Pocket Companion, vol. III (c. 1808)
Z:AK/Fiddler’s Companion
K:G
dc | BG GE G2 | BG GE FA | BG GE F2
| D>A AG FA :: Gd dc B2 | Gd dG Bd |
Gd dc B2 | AB AG FA | Gd dc B2 | Gd
dc Bg | ed (cB) c2 | EA A/B/A/G/ FA :|
gb ef g2 | gb ee fa | ge ef (gf/g/)
| ad dd fa :: (g>f/2e/4) dG B2 | g/f/g/e/ dG Bd |
(e/f/g/)e/ dG B2 | cA AG FA |
(g>f/2e/4) dG B2 | e/f/g/e/ dG Bd | gb ef g>f |
eA AG FA :: BE EF G2 | BE EG FA | BE
EF G>B | AD DG FA :: Gd d/e/d/c/ B2 |
dGGG Bd | Gd d/e/d/c/ B2 | eA
A/B/A/G/ FA | Gd d/e/d/c/ B2 | Gd dc B>g |
bg {b}a(g/f/) gf | eA AG FA :|
X:2
T:Love and Whiskey
M:3/4
L:1/8
S:Ann Winnington’s music
manuscript book (No. 35), c. 1810
N:The
frontispiece to the MS. indicates Winnington resided in New York.
Z:AK/Fiddler’s
Companion
K:C
eccA c2 |
eccA B<d | eccA c2 | d>edc B<d :: cegf e2 | cegf e>g | agfe d2 |
[GB]ddc Bd :|
LOVE AT THE ENDINGS. Irish, Reel. D Major. Standard tuning. AA'BB'. Composed by the late
County Cavan/Philadelphia composer and fiddler Ed Reavy (1898-1988). Ed’s son
Joe Reavy alludes to O’Casey’s Purple
Dust, in which O’Killigan speaks in an effort to woo Avril away from ther
British lord and move with him to the west of Ireland. He suggests they’ll find
“things to say and things to do, and love at the endings.” Reavy, Music from Corktown; pg. 20. Reavy (The Collected Compositions of Ed Reavy),
No. 12, pg. 12. Taylor (Through the
Half-Door), 1992; No. 32, pg. 23. Folkways 8876,
Kevin Burke – “Sweeney’s Dream” (1977). Ossian Publications OSS-18, Kevin Burke
- "Sweeney's Dream." Outlet SOLP 1033, Josephine Keegan - "Irish
Traditional Music" (1977). Shanachie SHA 79018, De Danann - “Star Spangled
Molly” (appears as "The Head of Cabbage"--see note for that tune for
an explanation). Shaskeen - "Atlantic Breeze."
X:1
T:Love At The Endings
M:2/2
L:1/8
C:Ed Reavy
S:The Collected Compostions of Ed Reavy
R:Reel
N:Who can forget the impassioned speech of
N:O'Killigan in O'Casey's Purple Dust, especially when he sets out to
N:woo Avril away from her British lord. O'Killigan has only the simple
N:things in his favor. But Avril finally succumbs to his grand talk as
N:he urges her "to spit out what's here" and make a home with him out
N:in the west of Ireland where they'll both find "things to say and
N:things to do, and love at the endings."
Z:Joe Reavy
K:D
FE|DEFA BcdB | AF (3FDF AFEF | DEFA (3BcB AF | (3GFE (3FED B,DDF |
DEFA BcdB | AF (3FEF ABde | fgfe dfec |1 dBAF D3 E:|2 dBAF D3 g |
fgfe defg | afbf afed | fgfe dfbf | afdf e2 de | fgfe dcdB | AF (3FEF E2 DE |
FABc dfec |1 dBAF d3 g :|2 dBAF D3E :||
X:2
T:Love at the Endings
T:Head of Cabbage, The
R:reel
C:Ed Reavy (1898-1988)
D:De Danann: Star Spangled Molly
Z:id:hn-reel-365
Z:transcribed by henrik.norbeck@mailbox.swipnet.se
M:C|
L:1/8
K:D
DEFA B2dB|AF~F2 AFEF|DEFA B2AF|GEFD B,EEF|
DEFA B2dB|AF~F2 ABde|fgfe dfec|1 dBAF D2FE:|2 dBAF D3g||
|:fgfe defg|afbf afeg|~f3e dfbf|afdf e2de|
fgfe dcdB|AF~F2 ABde|~f3e dfec|1 dBAF D3g:|2 dBAF D2FE||
"Variations"
|:DEFA BAdB|AF~F2 AFEF|DEFA ~B3A|FEED E2FE|
DEFA BAdB|AF~F2 ABde|f2fe defe|1 dBAF D2FE:|2 dBAF D3g||
|:f2fe defg|a2bf afed|~f3e defg|~a3f e2de|
~f3e d2dB|A2AF ABde|~f3e defe|1 dBAF D3g:|2 dBAF D2FE||
LOVE BRIDGE WALTZ. Cajun, Waltz. A Mixolydian {Doucet/Sing Out}: A Major
{LeJeune/Francois}. Standard tuning. ABCD {Doucet/Sing Out}:
AA(Vocal)BAA(Vocal)BA(Vocal)BBA {Francois}. Traditional. A related song,
according to Raymond Francois (1990), is Ambrose Thibodeaux's "La Valse Independance." The “Eunice Two-Step” is a duple-time setting
of the melody. Source for notated version: Michael Doucet (La.) [Sing Out]; Iry LeJeune (La.) [Francois].
Francois (Yé Yaille Chère!), 1990;
pgs. 205-207. Sing Out, vol. 35, No.
3, Fall 1990; pg. 8. Goldband Records GB-LP7741, Iry
LeJeune.
LOVE FOR EVER [1]. English, Country Dance Tune (6/8 time). England; Northumberland. G
Major. Standard tuning. AABB. Seattle (William
Vickers), 1987, Part 3; No. 496. Gourd Music 110,
Barry Phillips and Friends – “The World Turned Upside Down” (1992).
LOVE FOR EVER [2]. English, Reel. England, Yorkshire. D Major. Standard tuning. AABB.
Source for notated version: an MS collection by fiddler Lawrence Leadley,
1827-1897 (Helperby, Yorkshire) [Merryweather & Seattle]. Merryweather
& Seattle (The Fiddle of Helperby),
1994; No. 123, pg. 65.
LOVE FOR LOVE (Grad Air Grad). Irish, Slow Air (4/4 time). G Major. Standard
tuning. One part. Source for notated version: credited to Chicago Police
Sergeant James O’Neill, a fiddler originally from County Down and Francis
O’Neill’s collaborator [O’Neill]. O'Neill (Music of Ireland: 1850 Melodies),
1903/1979; No. 381, pg. 66.
X:1
T:Love for Love
M:C
L:1/8
R:Air
N:”Slow with expression”
S:O’Neill – Music of Ireland (1903), No. 381
Z:AK/Fiddler’s Companion
K:G
d|g>dd>B c>de>g|d<B
A/B/{d}c/A/ G3A|B<dg<b a<^c d>e|f>g e/d/e/f/ d3e|e2 a/g/f/e/
d<gd<B|
c>d/e/2 dc c2 Bc|d<B A<G g2
G>A|B>c B/A/B/d/ G3 ^G|Ac ed/b/ a/g/f/g/ ec|B>c A/G/A/B/ (G2 G)||
LOVE FROM THE HEART. AKA and see "Mississippi
Sawyer [1]." American, Reel. The melody appears under this title in
George P. Knauff's Virginia Reels,
volume IV (Baltimore, 1839).
LOVE IN A HURRY. English, Reel. D Major.
Standard tuning. AAB. Kennedy (Traditional
Dance Music of Britain and Ireland: Reels and Rants), 1997; No. 113, pg.
28.
LOVE IN A VILLAGE [1]. AKA and see "New Bath whim,"
“The Spell,” "Trip to Bedford House." English,
American; Reel (4/4 time). C Major. Standard tuning. AABB. The title "Love
in a Village" may have derived from a popular 1762 comic opera of the same
name by Thomas A. Arne and Isaac Bickerstaff (1735-1812), called “the most
popular comic opera of the eighteenth century.” It was also the first of its
kind—a play with music—although in the 18th century the term was not
often distinguished from ballad opera, notes Peter A. Tasch (The Dramatic Cobbler, 1972). Critic
William J. Lawrence wrote:
***
Comic opera had its origin at Covent Garden in December 1762 with
Bickerstaff’s Love in a Village, which, in spite of the fact that it presented
a patchwork plot set to patchwork music, attainted a success and a long-
sustained popularity unequalled save the The Beggars Opera.
***
There were 42 songs in Love in a Village, five written
specifically for the opera by Arne. Samuel Howard (1710-1782) contributed two.
The remaining music was compiled from previously written works by fourteen
composers, including Arne. “Love in a Village [1]” appears under this title in
American musician Henry Beck's German flute MS of 1786, and in Northumbrian
musician William Vickers’ 1770 music manuscript collection. Earlier it was
originally an English dance tune called "New Bath whim" in John
Johnson's Twenty Four Country Dances for
the Year 1765 (London) and "Trip to Bedford House" in Twenty Four Country Dances for the Year 1766
(London: R. Bride). In Scotland, both Robert Bremner and the Gows published the
tune under the title “The Spell.” Various dances to the tune appear in American
copybooks of the late 18th century; a similar one in both Nancy Shepley's
(Pepperell, Mass., c. 1795) and Asa Willcox's (Hartford County, Conn., 1793),
while a different dance is contained in the Gentleman's
and Lady's Companion (Norwich, Conn., 1798). Harding’s All Round Collection, 1905; No. 14, pg. 5. Gourd Music 110, Barry Phillips and Friends – “The World
Turned Upside Down” (1992).
X:1
T:Love in a Village [1]
M:2/4
L:1/8
R:Reel
S:Harding’s All-Round Collection (1905)
Z:AK/Fiddler’s Companion
K:C
CE/G/ c/G/E/G/ | CE/G/ F/D/B,/D/ |
CE/G/ c/G/E/G/ | A/G/F/D/ Cz :|
|: gg/e/ ff/d/ | ee/c/ d/B/G |
G/A/B/c/ d/e/f/d/ | e/g/f/e/ d2 |
gg/e/ ff/d/ | ee/c/ d/B/G | G/A/B/c/
d/e/f/d/ | e/c/d/B/ cz :|
X:2
T:Love in a Village [1]
M:C|
L:1/8
R:Reel
S:William Vickers’ 1770 music
manuscript collection (Northumberland)
K:C
C2 EG cGEC|C2 EG FDB,G,|C2 EG
cGEC|ecAF E2C2:|
|:gage fgfd|egec BdBG|GABc de
f2|eagf e2c2K
LOVE IN A VILLAGE [2]. Scottish, Reel. G Major. Standard tuning. AAB. The melody appears in
the 1768 Gillespie Manuscript of Perth
and in Robert Petrie’s Third Collection
of Strathspey Reels (1800). See note for “Love in a Village [1]” for more.
Source for notated version: Robert Petrie’s 3rd Collection [S.
Johnson]. Carlin (The Gow Collection),
1986; No. 388. Gow (Complete Repository),
Part 3, 1806; pg. 17. S. Johnson (A Twenty Year Anniversary Collection),
2003; pg. 33.
X:1
T:Love in a Village [2]
M:C
L:1/8
R:Reel
S:Gow – 3rd Repository
(1806)
Z:AK/Fiddler’s Companion
K:G
(GG)(GG) (B/c/d) BG|(GG)(GG) (F/G/A)
FD|(GG)(GG) (B/c/d) BG|(c/d/e) (A/B/c) BG ~G2:|
gggd (B/c/d) BG| gggB (A/B/c)
AF|gggd (B/c/d) BG|(c/d/e) (A/B/c) BG ~G2|
gggd (B/c/d) BG|gggB (A/B/c) AF|gggd
(B/c/d) BG|(c/d/e) (A/B/c) BG ~G2||
LOVE IN A VILLAGE [3]. AKA and see "Duke of Perth."
English, Reel. G Major. Standard tuning. AABB. There are several unrelated tunes
called “Love in a Village,” which takes its name from a 1762 ballad opera by
Arne and Bickerstaff. The tune appears in a music manuscript by John Jackson,
c. 1760. It has also been called “Lord
Rockingham’s Reel” and “Scamdens Cade,”
among other titles (see note for “Duke of Perth”). Lord
Rockingham was the builder and first occupier of Wentworth Woodhouse, an 18th
century mansion in Sussex. Trim
(Thomas Hardy), 1990; No. 23.
LOVE IN A VILLAGE [4]. English, Country Dance Tune (2/4 time). G Major. Standard. AABB. The melody and a dance are unique to London publisher Charles and Samuel Thompson's 200 Country Dances, volume II (London, 1765), page 74. Thompson (Compleat Collection of 200 Favourite Country Dances, vol. 2), 1765; No. 150.
X:1
T:Love in a Village
M:2/4
L:1/8
B:Thompson’s Compleat Collection of 200 Favourite Country Dances, vol. 2 (London, 1765)
Z:Transcribed and edited by Flynn Titford-Mock, 2007
Z:abc’s:AK/Fiddler’s Companion
K:G
G>AB>c|d B2 e|dBAG|F D2 F|GABc|d B2 {cd}e|dcBA|{A}G4:|
|:G>AB>c|(d<B)(g<d)|(e<c)(c’<c)|(d<B)(b<B)|G>AB>c|(dB)(ge)|bdcB|”tr”B2 A2|
G>AB>c|d
B2 e|dBAG|F D2 F|GABc|d B2 {cd}e|dcBA|{A}G4:||
LOVE IN A VILLAGE [5]. Irish, American; Reel. The melody was printed in George P. Knauff's Virginia Reels, volume I (Baltimore,
1839), though it originally appeared in an eighteenth-century Irish publication
[according to Jabbour—although it has yet to be ascertained]. It was being
played in the United States by c. 1800, according to Alan Jabbour.
X:1
T:Love in a Village [5]
M:2/4
L:1/8
R:Reel
B:George P. Knauff –
Virginia Reels
N:Published in
Baltimore by Geo. Willig n.d. (1839?)
Z:AK/Fiddler’s Companion
K:C
(a/g/f/a/) (g/f/e/g/)|(f/e/d/f/)
(e/d/c/B/)|Ac/A/ A/c/A/|A/B/c/d/ ee|a/g/f/a/ g/f/e/g/|f/e/d/f/ e/d/c/B/|
A/B/c/d/ e/f/g/e/|f/d/e/c/
dz|(a/_b/a/=f/) (g/a/g/e/)|(=f/g/f/d/) e/d/c/B/|A/A/c/A/ ^G/A/B/A/|c/A/e/A/
d/A/c/A/|
g/a/b/a/ f/=g/a/g/|(^e/f/g/f/)
=e/d/c/B/|(A/B/c/d/) (e/f/g/e/)|(f/a/e/c/) dz||(d/e/f/g/) af/a/|df/a/
(g/e/c/e/)|
df/d/ af/a/|(b/a/g/f/) ee|d/d/f/d/
af/a/|df/d/ (g/e/c/e/)|(d/e/f/g/) af/a/|(a/g/f/e/) (d/e/f/g/)||
LOVE IN SECRET. An air, one of a supposed seven or eight hundred, by the ancient Irish
harper Thomas O’Connellan (see note for “The Breach of Aughrim”).
LOVE IS A TORMENTING
PAIN ("An Cuac
Deas" or "Is Galar Craidhte an Gradh"). Irish, Air (3/4 time,
"tenderly"). F Major. Standard tuning. AAB. The Irish collector
Edward Bunting states in his 1840 collection that the tune was a composition
from the year 1670 of the harper-composer William Connellan, whose more famous
brother was the musician Thomas Connellan, although Bunting’s own MS notes seem
to suggest it was originally called the "Golden Hero." The Stanford-Petrie collection (1905) contains a
tune entitled "Mo
chreach is mo dhith, is claoidhte an galar an gradh" (No. 1573), a
version of this melody. O'Neill's version seems taken directly from Bunting,
although he inexplicably credits himself (or his collaborator James O’Neill)
for the version in Music of Ireland (1903).
Source for notated version: the Irish collector Edward Bunting noted the tune
from harper Denis Hempson at Magilligan in 1796. O'Neill (Music of Ireland:
1850 Melodies), 1903; No. 172, pg. 30. O'Sullivan/Bunting, 1983; No. 60,
pg. 93 (from Bunting’s 1840 collection).
X:1
T:Love is a Tormenting Pain
M:3/4
L:1/8
R:Air
N:”Tenderly”
S:O’Neill – Music of Ireland
(1903), No. 172
Z:AK/Fiddler’s Companion
K:F
c2 | e2 (c>d f2) | {E}F2F2
(F/4G/2)<A | c2 (d>c) (AG) | A4 c2 |
d2 (c>d) f2 | {E}F2F2G2 |
{F/G/}A4 (G/4F/2<E) | F4 :| c2 | c2c2 (d>e) |
f4a2 | f4e2 | d4c2 | c2 (dc) (Ac) | d2 (c>d) (e>d) | (e2c2) c2 | c4 (3cde
|
(f2e2d2) | (c2B2A2) | G2 (A>G F2)
| A4 c2 | d2 (c>d f2) | F2 (F2G2) | A4G2 | F4 ||
LOVE IS THE CAUSE OF
MY MOURNING.
Scottish, Air (3/4 time). G Major. Standard tuning. AABB. McGibbon (Scots Tunes, book III), c. 1750; pgs.
64-65.
X:1
T:Love is the cause of my mourning
M:3/4
L:1/8
R:Air
N:”Slow”
S:McGibbon – Scots Tunes, book III, pgs. 64-65
(c. 1750)
Z:AK/Fiddler’s Companion
K:G
D2 | G2 (B>c) ({B/c/}d2) |
({c}B3) A (B/A/G) | G3a ({g/a/}b2) | B4 Bd | e2 (ge)(dB) |
d>e d(c/B/) AG |
{g/a/}(ba)(ge)(dB) | A>B”tr”AG E2 | G>A B2 ({B/c/}d2) | ({c}”tr”B3)A
B/A/G |
g3a ({g/a/}b2) | B4(gd) | B2
(dB)”tr”(AG) | A3GAB | d2 (B>d)(A>d) | B4 :: d2 | g2 g>aba |
g>age d2 | edebag | e>ged B2 |
dBdege | d>edB”tr”AG | {g/a/}(ba)(ge)(dB) | A>B”tr”AG E2 |
ga (b2{g/a/}b2) | “tr”b3a ({b/a/}g2
| g3a ({g/a/}b2) | B4(gd) | B2(dB)”tr”(AG) | A3GAB | d2(B>d)(A>d)| B4 :|
LOVE LETTER, THE. Irish, Slow Air (3/4 time). G Dorian. Standard
tuning. ABB. Source for notated version: Paddy Conneely, the Galway piper, via
Forde (Joyce). Joyce (Old Irish Folk
Music and Songs), 1909; No. 459, pgs. 256‑257.
LOVE LIES A-BLEEDING. English, Country Dance Tune (2/2
time). G Minor. Standard tuning. AB. Sharp (Country
Dance Tunes), 1909/1994; pg. 53.
X:1
T:Love Lies a-Bleeding
L:1/8
M:2/2
S:Sharp – Country Dance Tunes (1909)
Z:AK/Fiddler’s Companion
K:B_
z|GABc d2G2|g2 ^fg a2 d2|b2 ag fedd|cdBc
A2G2|GABc d2G2|g2 ^fg a2d2|
b2 ag fedd|cdBc A2G||A|B2 G>B c2
F>c|B2 G>d c2B2|f2 f>e d>cB>B|
c>dB>c A2 GA|B2 G>B c2
F>c|B2 G>B c2B2|f2 f>e d>cB>B|c>dB>c A2G||
LOVE-LINKS. English, Jig. A Major (Cole): G Major (Howe). Standard tuning. AABB.
Howe categorizes this melody with “English Airs.” Cole (1000 Fiddle Tunes), 1940; pg. 72. Howe (1000 Jigs and Reels), c. 1867; pg. 161. Ryan’s Mammoth Collection, 1883; pg. 104.
X:1
T:Love Links, The
M:6/8
L:1/8
R:Jig
S:Howe – 1000 Jigs and Reels (c. 1867)
Z:AK/Fiddler’s Companion
K:G
GBd GBd | D2D DEF | (G3G2) :: (f/g/)
| a2f g2e | ded d2 (f/g/) |
afd ge^c | d2d d2 (F/G/) | A2A AB^c
| d2d def | efg AB^c | (d3d2) :|
LOVE NANCY. Old-Time, Slow Air. A Major. ADae tuning. In the repertoire of
Pocahontas County, West Virginia, fiddler Edden Hammons. Alan Jabbour (1984,
notes reprinted in “The Edden Hammons Collection, vol. 1”) says the tune seems
to be a derivation of “an older British-American ballad sometimes entitled
‘William and Nancy” (Courting Too Slow), and recorded from the Appalachian
singers by various 20th century ballad collectors.” He cites Cecil
Sharp’s English Folk-Songs from the
Southern Appalachians as one source with a similar setting collected in
Kentucky, and points out that sung versions usually follow an AABA form, while
Hammons version has a “phrasal structure …remodelled so that if feels like a
three-phrase tune. In all likelihood it was never sung exactly this way but
evolved into its present form strictly as an instrumental piece.” West Virginia University Press SA-1, “The Edden Hammons
Collection, vol. 1” (1999).
LOVE NEGLECTED. AKA and see “Nowill Hills,” “Of Noble Race was Shenkin.”
LOVE, PORT AND SHERRY. English, Jig. D Major. Standard tuning. AABB. Kennedy (Fiddlers Tune Book), vol. 2, 1954; pg.
39. Raven (English Country Dance Tunes),
1984; pg. 100.
X:1
T:Love, Port and Sherry
M:6/8
L:1/8
R:Jig
K:D
A|d3 fed|cea age|d3 fed|cdB ABc|d3 fed|cea abg|fed cBc|dAF D2:|
|:A/G/|FFF FAF|GGG GBG|AAA fed|cea a2 d/e/|fed gfe|agf bag|
fed cBc|dAF D2:|
LOVE SOMEBODY [1]. AKA and see "Soldier's Joy
[1],” "I Am My Mother's
Darlin' Child."
***
Love somebody, yes I do.
LOVE SOMEBODY [2]. AKA‑ “Big Muddy,” "Buffalo
Nickel [1]," “Chinky Pin,” "Darling
Child," "Farmer Had a Dog,"
"Fourth of July," "Hair in the Butter," "I Love Somebody, Yes I Do,"
"I'm My Momma's
Darling (Child)," "Lead Out,”
"Midnight Serenade [1],"
“Missouri Mule,” "My
Love is/She’s But a Lassie Yet [1]," "Old Kingdom," "Old Lady Tucker," “Old Missouri,” "Richmond Blues," "Sweet Sixteen," "Ten Nights in a Bar Room,"
"Too Young to Marry [1],"
"Yellow Eyed Cat." Old‑Time,
Breakdown. USA: Texas; Greer County, Oklahoma (main title), Tennessee,
Illinois, Indiana, Missouri (alternate title). D Major. Standard tuning. AABB.
The tune is used for a country dance popular in England and America called
"The Cumberland Square Eight," and a version appeared in this country
as early as 1839 under the title "Richmond Blues" in George P.
Knauff's Virginia Reels, volume II
(Baltimore). In Scotland the tune is called "My Love is But a Lassie
Yet," a version of which Beethoven set for orchestra. "An interesting
example of the re‑naming of a fiddler's selection is that of a tune
brought from Texas by settlers in the region which is now Greer County,
Oklahoma, and called by them 'Love Somebody.' This same melody in Illinois,
Missouri, and Indiana is designated 'Old Lady Tucker,' and as such was
transported to the Indian Territory from that region" (Thede, 1967). In
Arizona the tune is known as “Old Missouri.”
***
Charles Wolfe (1991) says the tune
is better-known in white repertory than black and that it was popular as a
fiddle tune in middle Tennessee, often being heard at the Grand Ole Opry in the
1920’s and 30’s. The earliest recordings of this many-titled tune by the “Love
Somebody” title was by Uncle Dave Macon with Sid Harkreader in 1924, the Crook
Brothers Barn Dance Orchestra (1928), and Luke Highnight’s Ozark Strutters in
1928. A version was collected by African-American collector Thomas Talley (Negro Folk Rhymes), which goes:
***
I loves somebody, yes, I do;
An’ I wants somebody to love me too.
Wid my chyart an’ oxes stan’in’ ‘roun’,
Her pretty liddle foot needn’ tetch de
groun’.
***
I loves somebody, yes I do,
Dat randsome, handsome, Sickamastew,
Wid her reddingoat an’ waterfall,
She’s de pretty liddle gal dat beats ‘em all.
***
Versions appear in Perrow (Songs and Rhymes from the South, 1915,
pg. 125), and fragments in Brown (3:140-41). Sources for notated versions: J.S.
Price (Greer County, Oklahoma) [Thede]; John Powell [Chase]. Chase (American Folk Tales and Songs), 1956;
pg. 206. Thede (The Fiddle Book),
1967; pg. 47. Victor 40099 (78 RPM), the Crook
Brothers Barn Dance Orchestra (1928). Vocalion 14857 (78 RPM), Uncle Dave Macon
with Sid Harkreader (1924).
LOVE THAT HAS UNDONE
ME, THE ('S olc a chuir
a'mhire rium).
Scottish, Slow Air (4/4 time). E Flat Major. Standard tuning. AAB. "This
air has various sets of Gaelic verses to it. Those sung by the editor's
progenitor, referred to the melancholy reflections of a deluded and forsaken
female. There are verses entirely different, and a different set of the air, in
Albyn's Anthology" (Fraser). Fraser (The
Airs and Melodies Peculiar to the Highlands of Scotland and the Isles),
1874; No. 228, pg. 93.
X:1
T:Love that has undone me, The
T:’S olc a chuir a’mhire rium
M:C
L:1/8
R:Air
S:Fraser Collection
(1874)
Z:AK/Fiddler’s Companion
K:Eb
E|G2 e>c (Bc) G>E|G<B e>c B>G F>E|G2 e>c (Bc) G>c|B>DE>G F>E E2:|
B|G<ee<g (Bc) G>B|Gee>f/4g/4 fG F2|G<e e>c B>AG>c|B>DE>G F<E E2|
g>fe>d
c>B G2|g>fe>c B>G F2|G>BF>E F<G e>d|c>B(GB) F>E
E||
LOVE WILL FIND OUT THE
WAY. English, Air (3/2 time). G Major.
Standard tuning. AB. The air appears in Forbes' Songs and Fancies (1666), Musick's
Recreation on the Lyra‑Viol (1652), and Musick's Delight on the Cithren (1666). Chappell (Popular Music of the Olden Time), vol.
1, 1859; pg. 189.
LOVE WILL YOU MARRY ME? AKA and see "The Braes of Mar [1],” “Johnny Will/Won't You
Marry Me?” “Lord MacDonald [1],”
“Sir Alex. McDonald’s Reel,”
"Some Say the Devil's Dead."
Irish, Highland Fling.
LOVE WON'T YOU MARRY
ME?
AKA – “Love Will You Marry Me?” AKA and see "The Braes of Mar [1],” “Johnny Will/Won't You
Marry Me?” “Lasses of Donnybrook,”
“Lord MacDonald's [1],” “Sir Alexander McDonald’s Reel,”
"Some Say the Devil's Dead."
Irish, Highland Fling. G Major. Standard tuning. AABB. Derived from “I’m O’er Young to Marry
Yet.” The title comes from various ditties set to the song, often in
call-and-response form, such as:
***
Love won’t you marry me,
Marry me, marry me?
Love won’t you marry me
And keep me from all danger
***
No I
won’t marry you,
Marry
you, marry you;
No I
won’t marry you
Because
you are a stranger.
***
X: 1
T:Love Won’t You Marry Me?
M:4/4
L:1/8
R:Highland Fling
K:G
D3E GABA | GE E2 cEE2 | D3E GABc | dedB ABGE | D3E GABA | GE E2 cEE2 | D
3E GABc | d2 dB ABGA :: d2 dc Bc d2 | e2 ed efge | d2 dc BcdB | GABG A2 Bc |
d2 dc Bcd2 | e2 ed efge | deg2 gedB | GABG A2 GE :|
LOVELY ANNE [1]. Irish, Air (3/4 time). D Minor. Standard tuning. ABB. Source for notated
version: “From P. Coneely” [Stanford/Petrie]. Stanford/Petrie (Complete Collection), 1905; No. 726, pg.
182.
X:1
T:Lovely Anne [1]
M:3/4
L:1/8
S:Stanford/Petrie (1905), No. 726
Z:AK/Fiddler’s Companion
K:Dmin
A>D D3B | A>G F3G | A2f2
e>f | d>c A3B | A>D D3B | A>G F3G |
A2f2ef | d2c2 |: zc | .d.d.d.c A2 |
.f.f c3d | A>G FGAA |
D3 z/C/ DE | (F>G A2) (de) | (fd
c3)B | AG A2 DE | F4 :|
LOVELY ANNE [2] (Áine Mhaiseach). Irish, Reel. A Dorian. Standard tuning. AB.
Similar to “(A) Rainy Day [1]” in
O’Neill’s Dance Music of Ireland: 1001
Gems (1907). Source for
notated version: fiddler James McMahon (County Fermanagh), collected in the
mid-20th century by Liam Donnelly (County Tyrone & Belfast) [Breathnach].
Breathnach (CRÉ IV), 1996; No. 170,
pg. 80.
LOVELY BANNION. Irish, Highland (cut time) D Major/Mixolydian. Standard tuning. AB. In
the repertoire of County Cavan/Philadelphia fiddler and composer Ed Reavy (1898-1988),
though he said it was not his. Reavy (The
Collected Compositions of Ed Reavy), No. 122, pg. 136.
LOVELY CALVES, THE. AKA and see "Na Gamhna Geala."
LOVELY EVENING. See “Feasgar ciuin.”
LOVELY JANE. Old-Time, Breakdown.
USA, West Virginia. D Major. Standard tuning. AB. This ‘crooked’ tune has one
part in a major scale, the other in a modal scale. In the repertoire of the
late Braxton County, West Virginia, fiddler Melvin Wine (d. 1999). Source for notated version: Melvin
Wine [Silberberg]. Silberberg (Tunes I Learned at Tractor Tavern), 2002;
pg. 94.
LOVELY JOAN. Williamson (The Penny Whistle Book), 1977; pg. 17.
LOVELY KATE. English, Country Dance Tune
(whole time). F Major. Standard tuning. AABB. The melody is unique to Charles
and Samuel Thompson’s Compleat Collection, vol. 3 (London, 1773).
Thompson (Compleat Collection of 200 Favourite Country Dances, vol.
3), 1773; No. 111.
X:1
T:Lovely Kate
M:C
L:1/8
B:Thompson’s Compleat Collection of 200 Favourite Country Dances, vol. 3 (London, 1773)
Z:Transcribed and edited by Flynn Titford-Mock, 2007
Z:abc’s:AK/Fiddler’s Companion
K:F
C|FAcA Bdgb|AcfF EGEC|fafc dBgb|agfe f2F::c|fefg afcA|BGgf ecGE|
FAdF
EgcE|Dc=Bd c2C2|fcBA Bcdc|BAGF FEDC|B,DGB cegb|agfe f2 F:||
LOVELY LAD, THE (An Buacaill Maiseac). Irish, Single Jig. Ireland,
Munster. D Mixolydian. Standard tuning. AB (Stanford/Petrie): AABB (O’Neill).
See also the related double jig “Pipe
on the Hob [2].” Source for notated version: “A Munster single jig from Ned
Goggin. From (the Irish collector) Mr. Joyce” [Stanford/Petrie]. O'Neill (Dance
Music of Ireland: 1001 Gems), 1907/1986;
No. 406, pg. 80. Stanford/Petrie (Complete
Collection), 1905; No. 922, pg. 234.
X:1
T:Lovely Lad
M:6/8
L:1/8
R:Single Jig
S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 406)
Z:AK/Fiddler’s Companion
K:D
(3A/B/c/|d2A A2G|F2D D2F|EFE =c2G|E2=C
C2A| d2B =c2A|B2G A2G|F2D EFG|F2D D2:|
|:d|f2d Ade|f2d def|e2=c Gcd|e2=c
cde|f2d g2e|a2f g2e|f2d efg|f2d d2:|
LOVELY LASS OF
INVERNESS. Scottish. The tune is by James
Oswald and was used by Robert Burns for one of his songs.
LOVELY LASS TO A FRIAR
CAME [1], A. AKA - "A Lovely Nun to a Friar
Came." AKA and see "Cailin Dear,"
"The Friar and the Nun [2]."
English, Air (4/4 time). G Major. Standard tuning. One part. The tune appears
in John Gay's ballad opera The Beggar's
Opera, 1728, (under the title "Thus when a food housewife sees a
rat") and in a collection by Odell in 1729, after which it became very popular
for a time under this title in England, but it was originally an Irish air
called "Cailin Dear" which dates to 1660 (according to Flood, 1906,
for one). It was printed by the Irish collector Bunting in the early 1800's,
who was apparently unaware of the original title, using instead Gay's English
one (see note for version #2). The song and air are also in Watts' Musical Miscellany (1731). Raven (English Country Dance Tunes), 1984; pg.
58.
LOVELY LASS/NUN TO A
FRIAR CAME [2], A (Cailin Deas Chum
Brathar Tainic).
Irish, Air (4/4 time). C Major. Standard tuning. One part. The Irish collector
Edward Bunting had the tune from the harper Hempson (at Magilligan in 1796),
who asserted it was an Irish melody learned from his first master (with
variations in the octave above to signify a female voice speaking to a friar at
confession, who replies in the lower octave); however, Bunting states in the
introduction to his 1840 volume that the tune may not, in fact have originally
been Irish, but that it was such a favorite with the old harpers and their
audiences for so long and "the emphatic manner in which the fourth tone of
the scale is used, seems to claim for it a high antiquity, and justifies the
restoration of the air to its proper place among the melodies of
Ireland." He records that
variations were added by Lyons the harper in 1698. O'Sullivan finds the
earliest reference to a variant of the tune printed in Bunting to be on an
engraved single-sheet edition c. 1710, now in the British Museum. See also notes
for version #1 and for the tune "The Friar and the Nun."
O'Sullivan, Bunting, 1983; No. 142, pgs. 198-199.
LOVELY LASSIE WINKING, THE (Sméideadh na Meidhre Maisí). Irish, Reel. D Major. Standard tuning.
AAB. The tune is called “Jenny Got a
Clinking” in County Longford. Source for notated version: the c. 1880's
collection of Stephen Grier (Farnaght, County Leitrim) [Breathnach]. Breathnach
(CRÉ IV), 1996; No. 167, pg. 79.
LOVELY LOUGH SHEELIN. Irish, Highland (cut time). D Major. Standard tuning. AB. Composed by
County Cavan/Philadelphia fiddler and composer Ed Reavy (1898-1988). The lake
was near Reavy’s home in County Cavan. Reavy (The Collected Compositions of Ed Reavy), No. 119, pg. 133.
LOVELY MALLY. Scottish, Jig. D Major. Standard tuning. AABB. Aird (Selections of Scotch, English, Irish and Foreign Airs), vol. II, 1785; No. 133, pg. 49.
X:1
T:Lovely Mally
M:6/8
L:1/8
Z:Aird, vol. II (1785)
Z:AK/Fiddler’s Companion
K:D
F | DED dcd | AGF EFG | FED dcd | AGF D2F |
DED dcd | AGF EFG | FAF GEA | FDD D2 :|
|: A | d2g fga | bgb afa | gag fgf | bge e2f |
ded
fga | bag fed | BAB d2B | AFD D2 :|
LOVELY MOLLY ("Mairin Deas" or "Mairin
Maiseac").
AKA and see "The Glenside Cottage."
Irish, Reel. D Mixolydian ('A' part) & E Minor ('B' part). Standard tuning.
AAB (O'Neill/Krassen): AA'B (O'Neill/1850 & 1001). See also the related “Murphy’s Greyhound.” Source for
notated version: Donegal fiddler and Chicago Police Sergeant James O’Neill, the
collaborator of Francis O’Neill on Music
of Ireland [O’Neill]. O'Neill (Krassen), 1976; pg. 114. O'Neill (Music of Ireland: 1850 Melodies),
1903/1979; No. 1298, pg. 244. O'Neill (Dance
Music of Ireland: 1001 Gems), 1907/1986; No. 563, pg. 104.
X:1
T:Lovely Molly
M:C|
L:1/8
R:Reel
K:Edor
“G”B2AF “D”DEFA | ”Em”(3Bcd {D}Ad
“Bm”Bd”G”ef |
“G”dBAF “Bm”DEFA | ”Em”(3Bcd AB FEEA
:|| “Em”Beed “Bm”BddA |
”Em”Beef gfed|”G”Beed Bdef | ”D”dBAF
“Em”FEEA | “Em”Beed “Bm”BddA |
”Em”Beef “G”gfga | ”Am”bgaf “C”gefe
| “D”dBAF “Em”FEE2 ||
LOVELY NANCY [1]. English, Air and Waltz. G Major
(Barnes, Kennedy, Raven): E Flat Major (Chappell). Standard tuning. AABB (most
versions): AABBCCDD (Callaghan). The air appears in the 18th century
ballad opera The Jovial Crew when it
was revived in February, 1760 (but not in the original 1731 play). It was added
after the first performance, according to the English musicologist William
Chappell (1859), with the words below being sung by the female beggars. Waltz
versions, of course, are a later adaptation of the air.
***
John Glen (Early Scottish Melodies, 1900) and Purser (1992) attribute the tune
to the Scottish composer and publisher James Oswald, who included it in his Caledonian Pocket Companion (vol. II, c.
1745), although Chappell would only credit the variations to him. It also
appears previous in Oswald’s Curious
Scots Tunes for a Violin and Flute (1742), albeit with no claim to
authorship. Chappell concluded: “I have seen many half-sheet copies of the song
‘Lovely Nancy’ but never with an author’s name, and I doubt whether any one
could properly claim it, fir it seems to be only an alteration of ‘Ye virgins
so pretty’.” Glen also finds the song in Calliope,
or English Harmony (1739, pg. 176) under the title “Strephon’s Complaint”,
which begins “How can you, Lovely Nancy.” It is the same air, although Glen
believes it was contributed to the collection by Oswald before he left
Edinburgh.
***
A hugely popular melody, it was
printed in numerous mid-18th century collections and tutors, such as
Longman’s Compleat Instructions for the
German Flute (1796), Thompson’s Compleat
Tutor for the French Horn (1755), and Calliope,
or English Harmony (1746). “Lovely Nancy” even can be heard today on a
musical clock made by Joseph Ellicott in Bucks County, Pa., around the 1770’s. It
was employed by the British military in America as a signal for retreat
(Purser, 1992) [Ed.: note that’ retreat’
meant the ceasing of the days activities in the evening at camp, not a withdraw
from combat], and was similarly employed by American fifers in the
Revolutionary War (Keller, 1992). It appears in many American musician’s
copybooks of the period (and nearly all surviving fifers manuscripts from the
War for Independence), such as those of Captain George Bush, Giles Gibbs
(1760-1780), fluter Henry Beck, Abel Joslens, Thomas Nixon and John Greenwood,
as well as that of Henry Livingston,
Jr. The latter purchased the estate of
Locust Grove, Poughkeepsie, New York, in 1771 at the age of 23. In 1775 he was
a Major in the 3rd New York Regiment, which participated in
Montgomery’s invasion of Canada in a failed attempt to wrest Québec from
British control. An important land-owner in the Hudson Valley, and a member of
the powerful Livingston family, Henry was also a surveyor and real estate
speculator, an illustrator and map-maker, and a Justice of the Peace for
Dutchess County. He was also a poet and musician, and presumably a dancer, as
he was elected a Manager for the New York Assembly’s dancing season of
1774-1775, along with his 3rd cousin, John Jay, later U.S. Chief
Justice of Governor of New York. A number of English musicians penned “Lovely
Nancy” in their copybooks as well, including William Clarke (Lincoln, 1770),
William Tyldesley (Swinton, Lancashire, c. 1860), John Winder (Wyresdale,
Lancashire, 1789), Benjamin Cooke (Leeds, west Yorkshire, c. 1770), John Clare
(Helpstone, Northants, 1821), and James Winder (Wyresdale, Lancashire, 1835).
***
Can nothing, Sir, move you,
Our sorrows to mend;
Have you nothing to give, Sir,
Have you nothing to lend?
My heart does so heave,
I’m afraid it will break;
Of victuals we’ve scarce had
A morsel this week. [Jovial Crew]
***
Four lines of the original words
were printed by Walsh in his Select Aires
for the Guitar, etc.:
***
How can you, lovely Nancy, this cruelly slight
A swain who is wretched when banish’d your sight?
Who for your sake alone thinks life worth his care,
But which soon, if you frown on, must end in despair.
***
Source for notated version: the
music manuscript of Captain George Bush (1753?-1797), a fiddler and officer in
the Continental Army during the American Revolution [Keller]. Barnes (English Country Dance Tunes, vol. 2),
2005; pg. 78. Callaghan (Hardcore English),
2007; pg. 85. Chappell (Popular Music of
the Olden Times), vol. 2, 1859; pgs. 162‑163. Keller (Fiddle Tunes
from the American Revolution), 1992; pg. 17. Kennedy (Fiddlers Tune Book), vol. 1, 1951; No. 72, pg. 35. Raven (English Country Dance Tunes), 1984; pg.
136. New World Records 80276-2, “Music of the American
Revolution: The Birth of Liberty.”
X:1
T:Lovely Nancy [1]
M:3/4
L:1/8
S:Chappell – Popular Music of the Olden Time (1859)
Z:AK/Fiddler’s Companion
K:Eb
G>F|E2E2 E>F/2G/4|G2 ec
BG|G2F2 G>F|E2E2 E>F/2G/4|
G2F2 ec|B>c BG F>G|E8:|
|:G>A|B2B2 ec|c2B2 G>A|B2B2
eG|G2F2 G>F|E2E2 E>F/2G/4|
G2F2 A>B/2c/4|B>c BG
F>G|E6:|
X:2
T:Lovely Nancy [1]
M:6/8
L:1/8
S:George Bush manuscript
K:D
f>e | d2d2 d>f | e2e2 e>g |
f2 bagf | {f}e4 {g}f>e | d2d2 d>f |
e2e2 ba | abafef | d4 :: f>g |
a2a2 ba | a4 f>g | a2a2 bf | {f}e4 f>e |
d2d2 af | e2e2 g>b | abafef | d4
:|
X:3
T:Lovely Nancy [1]
M:3/4
L:1/8
S:Henry Livingston’s manuscript
copybook, late 18th century
Z:AK/Fiddler’s Companion
K:G
|: B>A | GDGDGB | ADADAc | BG dB
gB | B2A2 B>A | GDGDGB |
ADADAc | BgdBcA | G4 :: B>c |
dBdBge | “tr”e2d2 B>c | dBdBgB |
B2A2
B>A | FDGDGB | ADADAc | BgdBcA | G4 :|
LOVELY NANCY
[2].
Irish, Jig. G Major. Standard tuning. AABB. Treoir.
X: 1
T: Lovely Nancy [2]
S: "Treoir"
M: 6/8
L: 1/8
R: jig
Z: Transcribed by Bill Black.
K: G
B | dBd g2 g | efg dBG | BGG dGG | FAA ABc |
dBd g2 g | efg dBG | cde dBG | FEF G2 :|
A | BGG dGG | eGG dGG | BGG dGG | FAA A2 c |
BGG
dGG | eGG d2 c | BAG AGA | BGG G2 :|
LOVELY NORTHERNE LASS, THE. AKA and see "Broom, the Bonny, Bonny Broom."
LOVELY NUN TO A FRIAR
CAME, A. See "A Lovely Lass to a Friar Came,"
"The Friar and the Nun."
LOVELY NYMPH. Scottish, Air. The air was a celebrated composition of James Oswald and
was introduced in the burletta of "Midas."
LOVELY ROBBIE. AKA and see “Jolly Robin,” “Sleepy Maggy/Maggie.”
LOVELY SALLY. Irish, Air (3/4 time). G Major. Standard tuning. One part. Roche Collection, 1983, vol. 1; No. 55,
pg. 27.
LOVELY STORNOWAY. Scottish, Slow Air (3/4 time). A Major. Standard tuning. One part.
Martin (Ceol na Fidhle), vol. 2,
1988; pg. 3.
LOVELY SUSAN. English, Waltz. D Major. Standard tuning. One part. Raven (English Country Dance Tunes), 1984; pg.
137.
LOVELY SWEET BANKS OF
THE SUIR, THE. Irish, Air (3/4 time). F Major.
Standard tuning. AB (Stanford/Petrie): AAB (Joyce). P. W. Joyce (1890) notes:
“The song which has given name to this air--beginning ‘The very first day I
left Carrick,’ is still printed on sheets, and sung by ballad-singers in the
southern counties.” “The Banks of
the Suir” is a similar title. O’Neill (1913) classifies this melody in a
group with “Willy Reilly” et al (see note for “Willy Reilly"). Howe’s
and Joyce’s versions are identical. Source for notated version: “From P.
Coneely” (Coneely was a popular piper from Galway who died in 1850)
[Stanford/Petrie]. Howe (1000 Jigs and
Reels), c. 1867; pg. 24. Joyce (Ancient
Irish Music), 1890; No. 39, pg. 41. Stanford/Petrie (Complete Collection), 1905; No. 801, pg. 200.
X:1
T:Lovely sweet banks of the Suir,
The
M:3/4
L:1/8
R:Air
N:”Andante”
S:Stanford/Petrie (1905), No. 801
Z:AK/Fiddler’s Companion
K:F
D/E/F/G/ | A2 d>e fe | d2A2GB |
AF D>EFG | Ad cd AF | {F/A/}G2F2F2 |
F4 D/E/F/G/ | A2 d>e fe | d2A2 GB
| AF DEFG | Ad cd A>F | G2F2F2 | F4 ||
AB | c2 Acde | f2 defd | e2c2 de |
f2e2 dc | A2d2^c2 | d4 =cd/e/ | f2 de fe |
D2A2 GB |
AF D>EFG | (Ad) cd A>F | G2F2F2 | F4 ||
X:2
T:Lovely Sweet
Banks of the Suir, The
M:3/4
L:1/8
R:Air
S:Joyce – Ancient
Irish Music (1890)
Z:AK/Fiddler’s
Companion
K:F
FG | A2d2d2 | c2 AG FD | D2 CD FG | A2c2 A>F | G2F2F2 | F4 :|
FG | A2c2 de | f2 df e>c | d>c A2 (3cde | f2e2 dc | A2c2c2 | d4 (3cde |
F2g2 fd | c2 AG FD | D2 CD FG | A2c2 AF | G2F2F2 | F4 ||
LOVER’S COMPLAINT, THE. Irish, Air (2/4 time). F Major. Standard
tuning. One part. Source for notated version: “From O’Neill’s collection,
1787" [Stanford/Petrie]. Stanford/Petrie (Complete Collection), 1905; No. 402, pg. 102.
X:1
T:Lover’s Complaint, The
M:2/4
L:1/8
R:Air
S:Stanford/Petrie (1905), No. 402
Z:AK/Fiddler’s Companion
K:F
C/>D/ | FG Ad | c2 dc/B/ | A2 BG
| GF F || F/G/ | Ac de |
f2 ed | e2 dc | Ac c || F/>G/ | Ac
de | f2 ed | e2 dc | Ac d ||
C/D/ | FG Ad | c2 dc/B/ | “tr”A2 BG
| GF F ||
LOVER'S DISCOURSE, THE (Comrad Na Graideoir). Irish, Air (4/4 time). A Minor.
Standard tuning. One part. Source for notated version: Chicago Police Sergeant
James O’Neill, a fiddler originally from County Down and Francis O’Neill’s
collaborator [O’Neill]. O'Neill (Music of Ireland: 1850 Melodies),
1903/1979; No. 492, pg. 86.
X:1
T:Lover’s Discourse, The
M:4/4
L:1/8
R:Air
N:”Moderate”
S:O’Neill – Music of Ireland (1903),
No. 492
Z:AK/Fiddler’s Companion
K:Amin
cB | ABAG E2 E^G | A2A2A2 cd | e2 dc
d2 ec | G4 E2 cd | e2 dc d2 ec |
A>BAG E2 E^G | A2A2 BcdB | c3B A2
cB | ABAG EDE^G | A4 A2 ||
LOVER'S GHOST, THE. Irish, Air (4/4
time). C Minor. Standard tuning. One part. "I learned both air and words
at home when I was a boy. The subjict is the visit of a young woman's ghost at
night to her living lover: but she has to depart at cockcrow. The words are
well suited to the sad air: words and air are now published for the first time.
For Mr. A.P. Graves's adaptation see his Irish
Song Book', p. 21. The air given there, however, is quite different than
mine" (Joyce). Sean O Boyle (1976) remarks that "The Lover's
Ghost," similar to "Barbara Allen," "The Ploughboy"
and other songs, is an English or Scottish transplant to Ireland, where it was
often sung to a native melody. Joyce (Old Irish Folk Music and Songs), 1909;
No. 408, pg. 219.
Compass Records 7 4446 2,Oisíin McAuley – “From the Hills of Donegal” (2007).
LOVER’S LAMENT, THE. Irish, Air (3/4 time). Ireland, Galway. F
Major. Standard tuning. AB. Source for notated version: “P. MacDowell, Esq.”
[Stanford/Petrie]. Stanford/Petrie (Complete
Collection), 1905; No. 445, pg. 112.
X:1
T:Lover’s Lament, The
M:3/4
L:1/8
R:Air
N:”Andante”
S:Stanford/Petrie (1905), No. 445
Z:AK/Fiddler’s Companion
K:F
cd/e/ | f2 e<g fd | c>B A2G2 |
F2G2A2 | A d3 ^c2 | d4 cd/e/ | f2e2 fd |
cB A3G | FA A<F GF | D3 FEG | F4
|| AG | F2 F>G Ac | d2 d<f ed |
c>A {A}f2 ed | e2A2=B2 | c4 cd/e/
| f2 e<g fd | cB A2 FG | A3 FGF | D3 FEG | F4 ||
LOVER'S LUCK, THE. English, Country Dance Tune (3/2 time). G
Minor/Dorian. Standard tuning. AABB. The tune dates to the year 1699. Barnes (English Country Dance Tunes), 1986.
LOVER’S PETITION, THE.
English, Country Dance Tune (cut time). A Minor. Standard tuning. AABB.
The tune was composed by John Barrett around 1700. Later printings of the song
appear in John Watts’ Musical Miscellany,
vol. 4 (London, 1730), Dr. Arne’s Monthly
Melody, or Polite Amusements for Gentlemen and Ladies (London, 1760) and
his British Amusement (London, 1762).
Barnes (English Country Dance Tunes,
vol. 2), 2005; pg. 44 (appears as “Fleur-de-lis”, the named of a 1994 dance by
Fried de Metz Herman set to the tune). .
LOVER'S STORY, THE. Irish, Air (3/4 time). G Major. Standard
tuning. AB. "From the singing of Joe Martin of Kilfinane Co.
Limerick" (Joyce). Joyce (Old Irish
Folk Music and Songs), 1909; No. 24, pg. 15.
X:1
T:Lover’s Story, The
M:3/4
L:1/8
R:Air
S:Joyce – Old Irish Folk Music and Songs (1909)
Z:AK/Fiddler’s Companion
N:”With feeling”
K:G
dB|G2 G>A Bc|d2B2 gf|e2c2 BA|B d3
BA|G2 G>ABc|d2B2 BA|B2 e>gfd|e4||
(3def|g2e2g2|fdBABc|d2e2 dB|AG E2
GA|B2g2 f/e/d/f/|e2c2 BA|A2G2G2|G4||
LOVER'S WALTZ [1]. Old‑Time, Waltz. The tune was recorded for the Library of
Congress by musicologist/folklorist Vance Randolph from Ozark Mountain fiddlers
in the early 1940's.
LOVER'S WALTZ [2], THE. American, Waltz. D Major. Standard tuning. AB.
Composed in 1985 by Hudson Valley, New York, region musicians Molly Mason and
Jay Ungar. Matthiesen (The Waltz Book),
1992; pg. 33.
LOVER’S WHIMS. Scottish, Air (3/4 time). G Major. Standard tuning. One part. The tune
is listed as a ‘Scotch air’ by Howe. Howe (1000
Jigs and Reels), c. 1867; pg. 152.
X:1
T:Lover’s Whims
M:3/4
L:1/8
R:Air
S:Howe – 1000 Jigs and Reels (c. 1867)
Z:AK/Fiddler’s Companion
K:G
(GA) (Bc) d2 | G2e4 | d2 (cB) (AG) |
A4D2 | (GA) (Bc) d2 |
G2g4 | (fe) e4 | d6 | (GA) (Bc) d2 |
G2 e4 | d2 (cB) (AG) | A4 D2 |
(GA) (Bc) d2 | G2g4 | (fe) e4 | d6 |
(dc) (Bc) d2 | d6 |
(cB) (AB) c2 | c6 | B2 gf g2 | d2
(gf) g2 | B2 (cB) (AB) | G6 ||
LOVE'S A TORMENTING
PAIN. See "Love is a Tormenting Pain."
LOVE'S ALARMS. English. England, Northumberland. Title appears in Henry Robson's list
of popular Northumbrian song and dance tunes ("The Northern Minstrel's
Budget"), which he published c. 1800.
LOVE'S REEL. Scottish, Reel. The melody appears in the 1768 Gillespie Manuscript of Perth.
LOVE’S TORMENTING PAIN. See “Love is a Tormenting Pain.”
LOVE'S TRIUMPH. English, Country Dance Tune (2/2 time). B Flat Major. Standard tuning.
AABB. The melody dates to the year 1713. Barnes (English Country Dance Tunes), 1986.
LOVE'S YOUNG DREAM (Aisling Og an Graid). AKA and see "The Old Woman," "Hark, I Hear the
Ocean's Sweep." Irish, Jig or Air (6/8 time, "boldly"). G Major.
Standard tuning. AB (O'Neill): AABB (Kerr). Kerr (Merry Melodies), vol. 2; No. 256, pg. 28. O'Neill (Music of
Ireland: 1850 Melodies), 1903/1979; No. 590, pg. 104.
X:1
T:Love’s Young Dream
M:6/8
L:1/8
R:Air
N:”Boldly”
S:O’Neill – Music of Ireland (1903), No. 590
Z:AK/Fiddler’s Companion
K:G
d/c/|B2G A2E|G2E DEG|A3 A3|(A3 A2)
d/c/|B2G A2E|G2 E DEF|G3 G3|(G3 G2)||
A|B2c d2d|e2f g2e|d2B A2G|{B}(A3 A2)
d/c/|B2G A2E|G2E DEF|A3 A3|
(A3 A2) d/c/|B G2 A2E|G2E DEF|G3
G3|(G3 G2)||
LOVESICK POLLY. English, Country Dance Tune (4/4 time). E Minor. Standard tuning. AABB.
Source for notated version: “From one of the Thompson manuscripts” [Knowles].
Knowles (A Northern Lass), 1995; pg.
12.
LOVESICK WALTZ. Cajun, Waltz. USA, southwestern USA. D Major. Standard tuning.
A(Vocal)AABB(Vocal)A. A related song is Joe Bonsall's "Tu Peux t' Blamer," according to
Raymond Francois (1990) who says the French title is not used. Source for notated
version: Aldus Roger, Phillip Alleman (La.) [Francois]. Francois (Yé Yaille, Chère!), 1990; pgs. 403-404. La Louisiane Records LL-LP114, Aldus Roger.
LOVIN' HENRY. A country rag piece. Recorded in 1929 for Columbia by fiddler Jess
Young (Chattanooga, Tenn.).
LOVISA, THE. AKA and see “Chain Cotillion.”
LOW BACKED CAR [1], THE. Irish, Jig. G Major. Standard tuning. AAB.
Very similar to the duple-time English tune “Nutting
Girl.” Kerr (Merry Melodies),
vol. 2; No. 257, pg. 28.
X:1
T:Low Backed Car [1], The
M:6/8
L:1/8
R:Jig
B:Kerr – Merry Melodies, vol. 2, No. 257
(c. 1880’s)
Z:AK/Fiddler’s Companion
K:G
D|G2B B2d|d2c A2F|G2B d2d|(d3 d2)
B|cBc A2A|
BAB GAB|c2A G2F|(G3 G2):||B|G2g
g2e|e2d d2B|
G2g g2e|d3 cBA|G2g g2e|e2d dcB|A2G
A2B|
d3 cBA|GED G2G|(G3 G2)B|AGE A2A|A3
(ABc)|
dcB dcB|Gfe dBA|GED G2G|(G3 G2)||
LOW BACK(ED) CAR [2] (Ais An Druim-Iseal). AKA and see "The Jolly Plowman/Ploughman [1],"
"Jack the Jolly Ploughboy."
Irish, Air (6/8 time, "playfully"). F Major (O’Neill): G Major
(Howe). Standard tuning. AB. The song is Samuel Lover's best-known piece. In
America, the melody was listed as having commonly been played for Orange
County, New York, country dances in the 1930's (Lettie Osborn, New York Folklife Quarterly). The 'B'
part differs from version #1. See note for "Jack the Jolly
Ploughboy." Howe (1000 Jigs and
Reels), c. 1867; pg. 115. O'Neill (Music of Ireland: 1850 Melodies),
1903/1979; No. 387, pg. 67.
X:1
T:Low-Backed Car, The
M:6/8
L:1/8
R:Air
N:”Playfully”
S:O’Neill – Music of Ireland (1903), No. 387
Z:AK/Fiddler’s Companion
K:F
F|F2A A2c|B2G z2E|F2A c2c|c3 z2A|B2B
G2G|A2A F2A|B2G F2E|F3 z2F|
F2B B2d|d2c c2F|F2B B2d|c2z z2F|F2f
f2d|d2c cBA|G2F G2A|c3 A2G||
FDC F2F|F3 z2A|GFD G2G|G3 zAB|cBA
cBA|fed cAG|FDC F2F|F3 z2||
LOW DOWN IN THE BROOM. AKA – “Low in the Broom.” AKA and see "Red, Red Rose [2]." Scottish,
Strathspey. D Major. Standard. AABB. The melody appears in the 1768 Gillespie
Manuscript of Perth. In the 19th century F.F. Graham replaced a strathspey
called "Major Graham (of Inchbrakie)" with "Low Down in the
Broom" as the vehicle for Robert Burns's lyric "My love is like a red
red rose [1];" it is the song tune familiar today. O’Farrell also lists
the tune as Scotch. Kerr (Merry Melodies),
Vol. 2; No. 147, pg. 17. O’Farrell (Pocket Companion, vol. I), c. 1805;
pgs. 78-79.
X:1
T:Low in the Broom
M:C
L:1/8
N:”Slow”
S:O’Farrell – Pocket Companion, vol. 1 (c. 1805)
Z:AK/Fiddler’s Companion
K:D
d | ADEF A>dAF | E>DEF e3 {d/e/}f | D2 EF dcBA | B>ABc d3 :|
|| A | de/f/ ed BdAF | A2 gf e2 ag | (f>g/2a/4) fd B{A/B/}d AF | A2 Bc d4 ||
D2 EF d>cBA | BA>Bd {d}e2 (d/4e/2<f) | D2 EF A>d B/A/G/F/ | A2 Bc d2 ||
A | (d>e/2f/4) ed B{A/B/}d B/A/G/F/ | A2 g>f e2 ag |
(f>g/2a/4)
g/f/e/d/ B{A/B/}d {B}A{G}F | A2 B/A/B/c/ d2 ||
LOW FLIER, THE. English, Country Dance Tune (2/4 time). D
Minor. Standard. AABB. A modern composition by Brian Peters. Knowles (A Northern Lass), 1995; pg. 22.
LOW HIGHLAND, THE. AKA and see "The Castlecomer Lasses," "Down the Groves," "Erin's Groves," "The Gay Fellow's Favourite,"
"The Good Fluter," "The Green Fields of Erin [1],"
“The Green Groves of Erin [1],”
"The Groves of Erin," "The Heather Breeze," "Mary in the Mall," "Miss Shaw's Reel," “Miss Stewart of Grantully
[2],” “Padaí Bhilli
na Rópaí’s Highland,” "The Queenstown
Lasses." Irish, Highland. Ireland, County Donegal. A Dorian. Standard.
AA’B. The title describes the ‘A’ part, played on the ‘G’ string of the fiddle.
The Donegal version of the Scottish strathspey "Miss Steward of
Grantully," played as a highland. It is associated with Padai Bhilli na
Ropai of Kiltyfanad, County Donegal, whose short stay in America made a
profound influence on fiddler/composer Ed Reavy of Philadelphia. Source for
notated version: fiddler and storyteller Con Cassidy (County Donegal) [Feldman
& O’Doherty]. Feldman & O’Doherty (The
Northern Fiddler), 1979; pg. 155.
LOW IN THE BROOM. AKA and see “Low Down in the
Broom.”
`
LOW LANDS OF HOLLAND
[1], THE.
Scottish, Slow Air (4/4 time). D Major. Standard. AA. The melody appears in
James Oswald's Collection of Curious
Scots Tunes (1741), attributed to
"David Rizo," which is Alburger suggests is possibly a
pseudonym for Oswald. The real David Rizzio was Queen Mary's secretary and an
accomplished lutenist and singer (see Alburger, 1983, for a discussion of the
legend). Another early song by this
title appears in Herd's Ancient and
Modern Scottish Songs, vol. II (1776). The theme of the song stems from the
Anglo-Dutch conflicts of the mid-17th century, when pressgangs
roamed the countryside surrounding port communities. See also entries under
"The Lowlands of Holland."
***
Last night I was a-married and in my wedding bed,
Up came a bold sea captain, and stood at my bed-head;
Saying 'Arise, arise, young married man and come along with me,
To the lowlands of Holland for to fight the enemy.
***
Alburger (Scottish Fiddlers and Their Music), 1983; Ex. 21, pg. 42.
LOW LEVEL HORNPIPE, THE. Irish, Hornpipe. B Flat Major. Standard tuning.
AABB (Mulvihill): AA’BB’ (O’Malley). A popular hornpipe in County Donegal; it
contrasts with “The High Level
(Hornpipe) [1].” A “Low Level Hornpipe” can be found in the Alex Sutherland
manuscript of County Leitrim, set in the key of ‘A’. Mulvihill (1st Collection), 1986; No. 6,
pg. 89. O’Malley (Luke O’Malley’s
Collection of Irish Music, vol.1), 1976; No. 133, pg. 67. Claddagh CCF34, Pierre Schryer and Dermot Byrne – “Two
Worlds United.”
X:1
T:Low Level, The
M:C|
L:1/8
R:Hornpipe
B:Luke O’Malley’s Collection of Irish Music, vol. 1, No. 133 (1976)
Z:AK/Fiddler’s Companion
K:Bb
FE|:D2 FB dBFD|EBGB EBGB|A2 cf
agec|Bfdf Bfdf|
D2 FB dBFD|EBGB EBGB|FAcf agec|1
Bbfd B2 FE:|2 Bbfd B2 de||
(3fgf dB FBdf|DFBd fBdf|(3gag ec
EGce|agf=e gfd_e|
(3fgf dB FBdf|DFBd fBdf|agf=e
_eAdc|1 Bbfd B2 de:|2 Bbfd B2z2||
LOW PARK. AKA and see “Hare’s Foot,” “Silvermines [1].” Irish, Reel. Ireland,
northern Ireland. G Major. Standard tuning. AB. Source for notated version:
fiddler John McKeown [Feldman & O’Doherty]. Feldman & O’Doherty (The Northern Fiddler), 1979; pg. 236.
LOW ROAD TO GLIN [1], THE. Irish, Reel. E Dorian. Standard tuning. AB.
Composed by Bronx, N.Y., fiddler and music teacher Martin Mulvihill in 1971.
Glin is located in north Limerick, on the south bank of the river Shannon,
where Mulvihill was born. Black (Music’s
the Very Best Thing), 1996; No., 326, pg. 174.
X:1
T:Low Road to Glin, The [1]
M:4/4
L:1/8
R:Reel
Z:transcribed by Caroline Foty
K:Edor
|: B2 Ad BEEA|B2Ad Bded|B2Ad
BEEG|FADA FDDA| B2 Ad BEEA|B2Ad Bded |
fdec BABc|1 dBAG FDDA:|2 dBAG FDDf
||: e2Be geBg|edef gfec|d2 Ad fdec | BABc dBAf |
e2Be geBg|edef gfga|bgaf gfed|1 Bcde
fgeg :|2 Bcde fged|
X:2
T: The Low Road to Glin [1]
C: M. Mulvihill
Q: 350
R: reel
M: 4/4
L: 1/8
Z:Transcribed by Bill Black
K: Edor
A |: B2 Ad BE E2 | B2 Ad Bded | (3Bcd Ad BE E2 | FDAG FD D2 |
B2 Ad BE E2 | B2 Ad Bded | fded BABc | dBAd BE E2 :|
e2 Be geBe | edef gfec | d2 Ad fd (3ded | BABc dAFA |
e2 Be geBe | edef gfga | bgaf gfed | (3Bcd ef ge e2 :|
LOW ROAD TO GLIN [2], THE. Irish, Reel. D Major. Standard. AA’BB’.
X:1
T:Low Road to Glin [2]
M:4/4
L:1/8
Q:100
Z:Transcribed by Gerry Strong
K:D
|:~F2 AF DFAF|~F2 AF EA, ~A,2|~F2 AF DEFA|B2 AF EA,CE|!
~F2 AF DFAF|~F2 AF EA, ~A,2|~F2 AF DEFA|1B2 AF D3 E:|2B2 AF D3 e|!
|:f2 df efdf|afdf eB ~B2|~f2 df af ~f2|bfaf efde|!
fgaf
{f}g2 fe|dfed BcdB|~F2 AF DEFA|1B2 AF D3 e:|2B2 AF D4||
LOWDON, THE.
English, Country Dance Tune (2/4 time). A Major. Standard tuning.
AABBCCDD. The melody appears unique to Charles and Samuel Thompson’s Compleat
Collection, vol. 3 (London, 1773). Thompson (Compleat Collection of
200 Favourite Country Dances, vol. 3), 1773; No. 199.
X:199
T:Lowdon, The
M:2/4
L:1/8
B:Thompson’s Compleat Collection of 200 Favourite Country Dances, vol. 3 (London, 1773)
Z:Transcribed and edited by Flynn Titford-Mock, 2007
Z:abc’s:AK/Fiddler’s Companion
K:A
e>aec|B>ABc|d>cde|fgaf|efec|fgaf|ecBc|AA/A/
A2:|
|:ceAe|Be^de|ceAe|BE E2|ceAe|B^dfa|gfe^d|ee/e/ e2:|
|:aaag|fffe|ceAc|BE E2|aaag|fffc|BABc|AA/A/ A2:|
|:CEAc|FAdf|ecec|BE E2|CEAc|FAdf|ecBc|AA/A/ A2:||
LOWDOWN JIG, THE. AKA and see “Bush on the Hill [2].”
LOWER EDGE OF
BREATHITT, THE. Old-Time, Breakdown. USA, Kentucky.
A “crooked” tune similar to Emmett Lundy’s “Molly Put the Kettle On.”
LOWER ORMOND. AKA and see "Kitty in
the Lane [1]." Irish, Reel. E Minor. Standard tuning. AB.
Stanford/Petrie (Complete Collection),
1905; No. 882, pg. 221.
LOWERY'S QUADRILLE. Old-Time, Quadrille. D Major. Standard tuning. ABC (Silberberg):
AABB'CC (Phillips). Often played slower than a breakdown, although it is
sometimes heard played at dances, although modified to fit 48 bars (i.e. AABC,
etc.). The source of ‘revival’ versions is Indiana fiddler John Summers, whom
Kerry Blech says had the tune from a western Ohio fiddler. Joel Steinberg (who
spend time with and recorded Summers), however, says Summers learned it from
his friend Fred Waver, of Upland, Indiana, or perhaps from Fred’s father, also
a fiddler. “The senior Weaver,” says Joel,
“learned it from a (local I think) fiddler, who didn’t have a name for
it, but who was named (Mr. Weaver thought) Lowery.” The tune features plucked or
pizzicato notes at the end of the ‘C’ part. Sources for notated versions: Armin
Barnett (Seattle, Washington) [Phillips]; Barry Shultz [Silberberg]. Kuntz,
Private Collection. Phillips (Traditional
American Fiddle Tunes), Vol. 2, 1995; pg. 82. Silberberg (Tunes I
Learned at Tractor Tavern), 2002; pg. 94.
X:1
T:Lowery’s Quadrille
L:1/8
M:2/4
S:Harry Sweet
Z:AK/Fiddler’s Companion
K:D
(G,|”D”A,)B,/B,/ DD/E/|F<A A(3A/B/c/|dB/A/ B/A/A/D/|”A”E/D/E/E/ F/E/D|
“D”A,B, DD/E/|F<A A>(A|d)A B/B/A|”A”E/D/F/E/ “D”D:|
|:”D”F/E/|D/E/F/A/ d/B/A|”G”(B2 B/)B/d/B/|”D”AA/B/ A/F/E/D/|”A”E2 F>E|
“D”D/E/F/A/ d/B/A|”G”B>B d>B|”D”A/A/B/d/ “A7”e/e/g/e/|”D”f<d d:|
|:d|”D”f2 f>e|fe d/B/A|”A”f<a a>a|b/e/a/e/ f/A/d
|”D”e<f “A”a>f|”D”e/d/B/A/ d/B/A|“D”d z “A7”A
z|”D”D>E D:|
LOWE'S HORNPIPE. Scottish, Hornpipe. B Flat Major. Standard. AAB. Composed by William Marshall (1748-1833). Moyra Cowie (The Life and Times of William Marshall,
1999) believes that the title may refer to Joseph Lowe (1791-1866), a musician
and dancing teacher who published a collection of dance tunes. Lowe was for a
time the leader of the orchestra at the Northern Meeting in Inverness,
supported by Jane Maxwell, the Duchess of Gordon, and Marshall’s employer. See
also note for “Miss Euphemia
Lowe.” Marshall, Fiddlecase Edition,
1978; 1822 Collection, pg. 13.
X:1
T:Lowe’s Hornpipe
L:1/8
M:C
S:Marshall – 1822 Collection
Z:AK/Fiddler’s Companion
K:Bb
d/e/|g/e/f/d/ (B/A/)(B/F/) G(BB)d/e/|f/e/d/c/
(B/A/)(B/F/) G(cc)d/e/|
f/e/d/c/ (B/A/)(B/F/) (G/B/)Ac
(c/B/)AG|(F/A/)c/e/ (d/g/)f/e/ d(BB):|
F/E/|D/F/B/F/ D/F/B/F/ E/G/B/G/
E/G/B/G/|A/c/e/c/ A/c/e/c/ B/d/f/d/ B/d/f/d/|
D/F/B/F/ D/F/B/F/ E/G/B/G/
E/G/B/G/|F/A/c/e/ d/g/f/e/ d(BB) F/E/|
D/F/B/F/ D/F/B/F/ E/G/B/G/
E/G/B/G/|A/c/e/c/ A/c/e/c/ B/d/f/d/ B/d/f/d/|
D/F/B/F/ D/F/B/F/ E/G/B/G/
E/G/B/G/|F/A/c/e/ d/g/f/e/ d(BB)||
LOWE'S REEL. Scottish, Reel. A Major. Standard tuning. AABB'. Composition credited
to John Cumming by Kerr. Perhaps named in honor of tune composer and publisher
Joseph Lowe. Kerr (Merry Melodies),
vol. 3; No. 92, pg. 12.
X:1
T:Lowe’s Reel
M:C
L:1/8
R:Reel
S:Kerr – Merry Melodies, vol.3, No. 92
(c. 1880’s)
Z:AK/Fiddler’s Companion
K:A
A/A/A A2 Acec | dcBc defg | a>A
A/A/A a2 ec | dBcA GBBc :|
|:A/A/A a2 efce|cAce aece|1 A/A/A a2
efce|dBcA GBBc:|2 eaga efce|dBcA GBBc||
LOWLAND LADS, THE. AKA
and see “Ah! Sure Such a Pair.”
English, Jig or Air. D Major. Standard tuning. AABB. The melody appears in the
music manuscript copybook of Henry Livingston, Jr. Livingston purchased the estate of Locust Grove, Poughkeepsie,
New York, in 1771 at the age of 23. In 1775 he was a Major in the 3rd
New York Regiment, which participated in Montgomery’s invasion of Canada in a
failed attempt to wrest Montreal from British control. An important land-owner
in the Hudson Valley, and a member of the powerful Livingston family, Henry was
also a surveyor and real estate speculator, an illustrator and map-maker, and a
Justice of the Peace for Dutchess County. He was also a poet and musician, and
presumably a dancer, as he was elected a Manager for the New York Assembly’s
dancing season of 1774-1775, along with his 3rd cousin, John Jay,
later U.S. Chief Justice of Governor of New York.
***
The melody is the air for the song
“Ah, sure a pair was never seen” from Richard Sheridan’s (1751-1816) comic
opera The Duenna (1775), staged at
Drury Lane and Covent Garden, London. Livingston must have much admired the
work, for he included a number of songs from the opera in his copybook. The
music was composed by a father and son, both named Thomas Linley, although the
opera is chiefly remembered for its libretto, the work of Sheridan.
In fact, the libretto was well-enough thought of to form the basis of an opera
by Roberto Gerhard, and for Prokofiev’s Betrothal
in a Monastery. Linley the son was a friend of the young Mozart, while the
elder Linely was Sheridan’s father-in-law.
X:1
T:Lowland Lads, The
M:6/8
L:1/8
S:Henry Livingston’s manuscript
copybook, late 18th century
Z:AK/Fiddler’s Companion
K:D
D | E>FD F>GF A>BA
({d/e/}f2)d | dBF G>AB | A>GF FED |
D>ED A>BA |ded ({f/g/}a2)f |
f<dA> B>cd | A>BA FD2 :|
|: F2G Ad2 | f>ed e<AA |
F<Af e2d | c2d eAA | F2d {d}c2B|
A2 ({e/f/}g) {g}f2e | f>ed
B>cd | A>BA FD2:: f>ga B>cd | A>BA FD2 :|
LOWLAND RANT. Scottish, Strathspey. G Major. Standard tuning. AB (Kerr): AAB
(Kennedy). Kennedy (Traditional Dance
Music of Britain and Ireland: Reels and Rants), 1997; No. 114, pg. 28. Kerr
(Merry Melodies), vol. 4; No. 123,
pg. 15.
X:1
T:Lowland Rant
M:C
L:1/8
R:Strathspey
S:Kerr – Merry Melodies, vol. 4, No. 123
Z:AK/Fiddler’s Companion
K:G
D | G>AG>D E>FG>g |
d<B A>G E3F | G>AG>D E>FG>g | d<B A>B G3D |
G>AG>D E>FG>g | d<B
A>G E3F | G>AG>D E>FG>g | d<B A>B G3 ||
c’ | b>ga>f g>e d<B |
A>c B<G E3c’ | b>gf>a g>e d<B | A>G A<B G3b |
g<b g>d e<g d>B | A<c
B<D E3F | G>AG>D E>FG>g | d<B A>B G3 ||
LOWLANDS OF HOLLAND
[1]. See “Low Lands of Holland [1].”
LOWLANDS OF HOLLAND
[2].
Scottish. The air, different than version #1, was published in the Scots Musical Museum. Robert Gilfillan (b.
1789, Dunfermline) used an adaptation of the melody for his popular song
"O Why left I my Hame," c. 1800, sometimes known as "The Exile’s
Song." Stenhouse asserts that William Marshall
added a second part to this air and created one of his most famous pieces,
"Miss
Admiral Gordon," from which "Major Graham" was derived. John
Glen (1891) demurs, however, and says the air (for which there is no evidence
of antiquity) published in the Museum
was in fact derivative of Marshall's original air and produced by Urbani. The
poet Robert Burns reports that someone close to Marshall told him that Marshall
took the idea of "Miss Admiral Gordon" from a tune called "The German Lairdie."
LOWLANDS OF HOLLAND
[3]. Irish,
Air (4/4 time). E Minor. Standard tuning. AB. "This song to this air is
known also in Scotland; but the Irish and the Scotch versions differ much. The
Scotch song is given in Wood's Songs of
Scotland; and I give here our Anglo‑Irish words as I have always
heard them sung by the people of Limerick. So far regarding the words. The
Irish air is however quite different from the Scotch; it is well known in Munster;
and I have been quite familiar with it all my life. It is now published for the
first time" (Joyce). O’Neill prints a “Lowlands of Holland” which bears
little resemblance to Joyce’s tune, and says his setting “appears to be unkown
beyond a limited district in west Cork” (where O’Neill was born). Joyce (Old Irish Folk Music and Song), 1909;
No. 404, pg. 214.
LOWLANDS OF HOLLAND, THE. Irish, March (2/4 time). G Major. Standard
tuning. AB. Mulvihill (1st
Collection), 1986; No. 11, pg. 105.
LOWLANDS OF SCOTLAND, THE. AKA and see "Bob with the One Horn [2],"
"The Bundle of Straw,"
"Cois an Ghiorria," "The Ewe Reel," "The Ew(i)e wi' the Crooked
Horn [1]," "The Foe," "Follow me to Carlow," "Go See the Fun," "The Hare's Foot," “I’ll Follow My Love to
Carlow,” "Jim Kennedy's
Favorite," "The Kerry
Lasses [1]," "The Merry Lasses,"
"Miss Huntley's,"
"My Love is Far Away,"
"The Pretty Girl in Danger,"
"The Ram with the Crooked Horn," "The Red Blanket," "The Silvermines,” "Sweet Roslea and the Sky Over
It," "The Tralee Lasses.”
Scottish, Reel. E Minor. Standard tuning. AB (Kennedy): AA’BB’ (Kerr). The reel
is traditionally paired with the strathspey “Highlands of Scotland.” Kennedy (Traditional Dance Music of Britain and
Ireland: Reels and Rants), 1997; No. 115, pg. 28. Kerr (Merry Melodies), vol. 4; No. 116, pg.
14. Maggie’s Music MMCD222, Bonnie Rideout – “Scottish
Fire” (2000).
X:1
T:Lowlands of Scotland, The
M:2/4
L:1/8
R:Reel
S:Kerr – Merry Melodies, vol. 4, No. 116
Z:AK/Fiddler’s Companion
K:Emin
G3A (BE) “tr”E2 | BdcA (BE) “tr”E2 |
G2 (GA) BABd |1 egfa gedB :|2 egfd e2 (ef) ||
|: g2 (fg) edBd | d2 (ed) Bdef |1 g2
(fg) edBd | egfd e2 (ef) :|2 gaba gfed | egfa gedB ||
LOWRIE TARREL. Shetlands, Reel. The tune is a variant of "The Mason's Apron,” and known throughout
the Shetland islands. Cooke (1986) gives the following text to the dance tune,
collected in the Shetlands:
***
O pirrie Lowrie, muckle Lowrie,
The sheep's heid is in the pot
And du sall get the sparrel.
***
While Tom Anderson gives:
***
Peerie Lowrie, silly Lowrie,
Drunken Lowrie Tarrell;
When we kill wir grice (pig)
Du sall get da sparrell (intestines).
***
Rounder 3006, Boys of
the Lough ‑ "Second Album" (1974. Learned from Tom Anderson).
LOWRY'S QUADRILLE. See “Lowery’s
Quadrille.”
LOYAL FARMERS. Scottish, Strathspey. Composed by John
Bowie, near Perth, published 1797. This may be this same tune as “The Loyal
Farmer” printed in the Calvert Collection
(1799), assembled by Thomas Calvert of Kelso, Scotland. A note with the
collection states that Calvert supplied “a variety of music and instruments,
instruments lent out, tun’d and repaired.”
X: 1
T:The Loyal Farmer
M:4/4
L:1/8
B:The Calvert Collection (1799) - Page 14
Z:AK/Fiddler’s Companion
K:F
A/B/|cfAf cfAf|cfAf gGG A/B/|cfAf cfAf|c(f e/f/g/)e/ fFF:|
|:A/B/|cFAc f>gfd|cF d/c/B/A/ B(GG) A/B/|1 cFAf a/g/f/e/ fc|
df
e/f/g/e/ f(FF):|2 cfaf gefc|df (e/f/)g/e/ f(FF)||
LOYAL HEALTH, THE. AKA and see "Farinell's Ground."
LOYAL SCOT, THE. AKA and see "Lumps of Pudding(s) [2]."
LOYALIST HORNPIPE. AKA and
see "Back of the Haggard," “Black’s Hornpipe [2],” “Duke’s Hornpipe,” “Kershaw’s Hornpipe,” "Lady Flashdash Hornpipe,” “Miss Manner’s Hornpipe.”
English, Hornpipe. G Major. Standard tuning. AABB. From the 1840 music
manuscript book of John Rook (Multum in
Parvo, or A Collection of Old English, Scotch, Irish, Welsh Tunes), a
musician from Warerton, England. Rook was a multi-instrumentalist, judging from
the cover picture of his collection, and played what appears to be the
Northumbrian small-pipes, bugle, flute, fife and fiddle, among others, as he
indicates the collection is “for his
amusement on the above instruments.” See note for “Kershaw’s Hornpipe.”
X:1
T:Loyalist’s Hornpipe
M:C|
L:1/8
S:John Rook manuscripts, 1840, Warerton, England
Z:AK/Fiddler’s Companion
K:G
f2|gbgb afdf|gece dBGB|cedf
ec’2bg|fgaf f2 ed|gd d2 ad d2|
bdc’d d’deg|egce
dcBA|G2G2G2::ef|gdgd BGBd|ecGc ecfe|
c’abg afge|fgae d2 dc|Bgg2 caa2|dbb2
ec’c’2|d’bgb ec’af|g2g2g2:|
_______________________________
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