The Fiddler’s Companion

© 1996-2008 Andrew Kuntz

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[COMMENT1] [COMMENT2] 

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#. 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. One part. It was customary to vocalize a holler or yelp with the two held notes in this tune, in imitation of an Indian ‘whoop’. Source for notated version: Uncle John Wills via Howdy Forrester via John Hartford. The Devil's Box, pg. 50.

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. 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 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. 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). 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:E Minor

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. 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. 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. 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, Ree