The Fiddler’s
Companion
© 1996-2008 Andrew Kuntz
_______________________________
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Notation
Note: The tunes below are recorded in what
is called “abc notation.” They
can easily be converted to standard musical notation via highlighting with
your cursor starting at “X:1” through to the end of the abc’s, then
“cutting-and-pasting” the highlighted notation into one of the many abc
conversion programs available, or at concertina.net’s incredibly handy “ABC
Convert-A-Matic” at http://www.concertina.net/tunes_convert.html **Please note that the abc’s in the Fiddler’s
Companion work fine in most abc conversion programs. For example, I use
abc2win and abcNavigator 2 with no problems whatsoever with direct cut-and-pasting.
However, due to an anomaly of the html, pasting the abc’s into the
concertina.net converter results in double-spacing. For concertina.net’s
conversion program to work you must remove the spaces between all the lines
of abc notation after pasting, so that they are single-spaced, with no
intervening blank lines. This being done, the F/C abc’s will convert to
standard notation nicely. Or, get a copy of abcNavigator 2 – its well worth
it. [AK] |
LOST AND FOUND, THE. Irish, Jig. The tune’s name was
applied when it resurfaced in a collection of recordings made by south
LOST AND GONE. Old‑Time. The title appears in a list of traditional
LOST BOY. Old-Time, Breakdown.
LOST BOY BLUES. AKA and see "Lost John."
LOST CHILD, THE. Old‑Time, Breakdown (irregular time).
LOST GIRL. Old‑Time, Breakdown.
LOST GOOSE, THE. American, Waltz.
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,
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
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,
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:
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,
LOST INDIAN [4]. Old‑Time, Breakdown.
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
X:1
T:Lost Indian [5]
M:6/8
L:1/8
B:Ford – Traditional Music in
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
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.
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
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