The Fiddler’s Companion

© 1996-2009 Andrew Kuntz

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LOST - LOY

 

 

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

L:1/8

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

L:1/8

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

D | G2D B2G | d2d def | g2g f2e | (e3 d2)z | d2e c2A |

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,

Babbit Lowrie Tarrel

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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 [COMMENT1]This was Font/Pitch 1,10 - Off.

 [COMMENT2]This was Font/Pitch 1,10 - On.