The Fiddler’s Companion

© 1996-2009 Andrew Kuntz

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[COMMENT1] [COMMENT2] 

LP - LZ

[COMMENT3] 

 

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]

 

 

[COMMENT4] [COMMENT5] [COMMENT6] 

LUAC LEAT-PINGINE TAE. AKA and see "(A) Ha'porth of Tea."

                       

LUAITHREADAN’S JIG. AKA – “Lurgadán Jig,” “Luachrachán Jig.” AKA and see “Dermot Grogan’s (Jig) [2].” Irish, Jig. D Major. Standard tuning. AABB. The tune was in the repertoire of Mullagh, County Clare, fiddler Junior Crehan (1908-1998), a member of the famed Laichtín Naofa Céilí Band. Although some in the family attribute it to Junior, his grandson Kevin Crehan believes Junior had the tune from his mentor, Sculley Casey. The story, although, is that the tune came directly from a Luathradawn, a Leprechaun-type character (a fairy or a small hump-backed man). Crehan had noticed that objects in his house were missing or rearranged, and finally saw small footprints in the ash beside the fireplace. He resolved with his son Pat to catch the culprit, suspecting it was one of the wee folk and knowing that whomever captures one of the creatures can ransom him for his pot of gold. He and Pat hid one night behind the dresser beside the fireplace, and, lo and behold, the luathradawn emerged from the chimney and began to roam about. Junior and Pat banged the dresser over the fireplace and caught the wee creature.  When they demanded his riches however, the luathradawn claimed to be as devoid of precious metal as they were; he did however, notice a fiddle hanging on the wall, and suggested that a suitable ransom would be that he would teach them a special fairy tune, hitherto unknown by humans. He also would give them advice, which if followed would leave them never in need. After memorizing the tune Junior and Pat released their captive, and Junior penned the following verse:

***

As I sat by the fire with my son Paidin
A sudden change came over the scene
Down the chimney came a little man so old,
And I asked him for the Crock of Gold;
"No gold I have but good advice
And if you heed it you will be wise-
Grow small barley and keep a pig,
And play this tune 'The Luathradawn's Jig'"!

***

Source for notated version: New Jersey flute player Mike Rafferty, born in Ballinakill, Co. Galway, in 1926, who learned it from Tony Smith [Harker]. Harker (300 Tunes from Mike Rafferty), 2005; No. 222, pg. 68. Cló Iar-Chonnachta Records, CICD 148, Mick Conneely – “Selkie” (2001. Appears as “Looharadhawn’s Jig”). Larraga MMR112000, Mike & Mary Rafferty – “The Road from Ballinakill” (2001).

X:1

T:Luathradawn's Jig
R:jig
C:Junior Crehan
Z:id:hn-jig-285

Z:transcribed by henrik.norbeck@mailbox.swipnet.se
M:6/8
Q:3/8=80
K:D
d|BAF AFE|EFD EDB,|A,B,D ~E3|FED E2d|
BAF AFE|EFD EDB,|A,B,D ~E3|FDC D2:|
|:E|DFA ~d3|ede fdB|def edB|ABd e2f|
edB BAF|DFD EDB,|A,B,D ~E3|FDC D2:|

X:2

T:Lurgadán Jig

M:6/8

L:1/8

C:Junior Crehan

M:D

d|BAF AFE|D3 EDB,|A,B,D EDE|FEE E2d|BAF AFE|

D3 EDB,|A,B,D EDE|FDD D2::E|DFA ~d3|ede fdB|

def edB|ABd e2f|edB BAF|D3 EDB,|A,B,D EDE|FDD D2:||

 

LUBBER’S HOLE.  AKA and see “Tower Lane.” English, Country Dance Tune (2/4 time). B Flat Major. Standard tuning. AABB. The title appears unique to London publisher Charles and Samuel Thompson’s 1765 publication. A “lubber’s hole” is a nautical term referring to the space between the head of a lower mast and the edge of the top, so-called because it was considered the safer way of ascending for inexperienced or novice seamen. No self-respecting hand would use the lubber’s hole when aloft. The term was also applied to any evasion of duty, or a lazy or cowardly way of accomplishing Thompson (Compleat Collection of 200 Favourite Country Dances, vol. 2), 1765; No. 17.

X:1

T:Lubbers Hole, or Tower Lane

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:Bb

BdcB|df f2|BdcB|c/B/A/G/ F2|BdcB|(3def f2|g/a/b ag|ag f2:|

|:bf d/e/f/d/|Bf d/e/f/d/|bf d/e/f/d/|ec c2|bf d/e/f/d/|Bfdf|g>g a>a|b>B B2:||

                       

LUBLY FAN. AKA and see "Buffalo Gals [1]," "Roundtown Girls," "Midnight Serenade [2]." American, Song Tune. The melody, usually known as "Buffalo Gals," or in the Upland South as "Round Town Girls," appears under this title in some mid-nineteenth century publications. "Lubly Fan" was composed as a song by Cool White, a blackface minstrel with the Virginia Serenaders, and published in 1844.

                       

LUCANIA POLKA. Scottish, Polka. G Major ('A' part) & E Minor ('B' part). Standard tuning. ABB. Carlin (Master Collection), 1984; No. 126, pg. 79. Topic 12T280, J. Scott Skinner “The Starthspey King.”

                       

LUCENDA WALTZ. AKA and see “Lucinda Waltz,” "Zenda Waltz," "La Zenda Waltz," "Zinder Waltz."

                       

LUCK PENNY, THE ("An Tuilceanac" or "An Dúthracht"). AKA – “The Luckpenny,” “The Lucky Penny.” Irish, Double Jig. G Major. Standard tuning. AABBC (Breathnach, Cranitch): AABBCC (O'Neill, Taylor): AABBCC’ (Kennedy, Mulvihill). The ‘lucky penny’ was the extra penny paid for good-will on the price of animals at rural livestock fairs in Ireland. It is mentioned in this excerpt from an account of Glenties Harvest Fair written and published in 1972 by the late Joe Campbell, Glenties:

***

Around 8:00 AM business was in full swing, and what a din. The lowing of cattle, the bleating of sheep,

the barking of dogs, the neighing of horses, the grunting and squealing of pigs, but above all, the shouting

of drovers and the "bualadh Bhos" of the buyers and sellers trying to strike a bargain.
"How much for the "oul mincher"", one dealer would ask
"Go along ye bligard" would come the quick reply. "How dar' ye call my two - year - oul springing heifer

an oul mincher."
"She hasn't a tooth in her head", would come the retort.
"Faith, then ye haven't so many in yer own gob", would come the reply.
And so it went on until around noon when all bargains were finished and buyers and sellers made their way

to the main street and to one or other of the dozen odd pubs then in the town to settle their accounts and to

squabble further over the “lucky-penny” that each dealer had to receive before a bargain was complete.

***

Sources for notated versions: fiddler Paddy Kiloran (Ireland) [Breathnach]; set dance music recorded live at Na Píobairí Uilleann, mid-1980’s [Taylor]. Breathnach (CRÉ III), 1985; No. 14, pg. 8. Cranitch (Irish Fiddle Book), 1996; No. 9, pg. 128. Cranitch (Irish Session Tunes: Red Book), 2000; 9. Kennedy (Jigs & Quicksteps, Trips & Humours), 1997; No. 108, pg. 27. Mulvihill (1st Collection), 1986; No. 37, pg. 72 (learned from a recording by Andy McGann, Joe Burke & Felix Dolan). O'Neill (Krassen), 1976; pg. 69. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1098, pg. 207. O'Neill (Dance Music of Ireland: 1001 Gems), 1986; No. 290, pg. 63. Taylor (Music for the Sets: Yellow Book), 1995; pg. 28. Shanachie Records 33003, Paddy Killorn ‑ "Paddy Killoran's Back in Town" (1977). Shaskeen Records OS‑360, Andy McGann, Felix Dolan, Joe Burke ‑ "A Tribute to Michael Coleman" (c. 1965).

See also listings at:

Jane Keefer’s Folk Music Index: An Index to Recorded Sources

Alan Ng’s Irishtune.info

X:1

T:Luck Penny, The

M:6/8

L:1/8

R:Jig

S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 290

Z:AK/Fiddler’s Companion

K:G

G/A/|BAG AGF|DGE FGA|BAG Bcd|cAG F2 d/c/|BAG AGF|GBd gag|fed gdB|cAF G2:|

|: d | dgf gfg | abg fed | bag afd | def g2a | bag agf | gbg fed | def gdB | cAF G2 :|

|: B/c/|dBG GFG | BGB dBG | cAF FEF | AFA cAF | dBG GFG|gbg fed|def gdB|cAF G2:|

 

LUCKIE BAWDINS'. Scottish, Reel. B Minor. Standard. AB. Cole (1000 Fiddle Tunes), 1940; pg. 44. Ryan’s Mammoth Collection, 1883; pg. 72.

X:1

T:Luckie Bawdins’

M:C|

L:1/8

R:Reel

S:Ryan’s Mammoth Collection (1883)

Z:AK/Fiddler’s Companion

K:B Minor

f | dB (3BBB dcBd | cAce aece | dB (3BBB dcBc | dfec B2zf | dB (3BBB dcBd |

cAce aece | dB (3BBB dcBc | dfec B2z || f | dBdf {^a}b2(fd) | cAce {^g}a2(ec) |

dBdf {^a}b2(fd) | caec B2(Bf) | dBdf bfdB | cAce aecA | Bdce dfe{^g}a | feac (3BBB B ||

 

LUCKY BLACK'S DAUGHTER. Scottish, Country Dance Tune (4/4 time). The melody appears in the Drummond Castle Manuscript (in the possession of the Earl of Ancaster at Drummond Castle), inscribed "A Collection of Country Dances written for the use of his Grace the Duke of Perth by Dav. Young, 1734."

 

LUCKY CAN YOU LINK ONY. AKA and see "Ca' the Stirks (Frae Out the Corn)." Shetland, Reel. Shetlands, Unst Island. F Major. Standard tuning. ABB. The late Lerwick fiddler, composer and collector Tom Anderson (1978) explained the title as meaning an invitation to dance in the Shetlands ‑ i.e. "Lassie can you dance." Source for notated version: "collected by F.R. and T.F. from James Scollay of Burravoe, Yell" [Flett & Flett]. Flett & Flett (Traditional Dancing in Scotland), 1964; pg. 221. Topic 12TS370, Aly Bain & Tom Anderson ‑ "Shetland Folk Fiddling, vol. 2" (1978).

 


LUCKY HIT, THE. English, Country Dance Tune (6/8 time). C Major. Standard tuning. One part. This old melody appears as a new song under a different title in John Watt's edition of The Fashionable Lady or Harlequin Opera (1730). Watt's gives the old title for the tune as "The Lucky Hit." Kidson (Old English Country Dances), 1890; pg. 4.

X:1

T:Lucky Hit, The

M:6/8

L:1/8

S:Frank Kidson – Old English Country Dances  (1890)

Z:AK/Fiddler’s Companion

K:C

G2c B2c|d2e d2G|e2g c2f|d3 z2e|

f2a g2c|B2A G2f|e2z d2z|c3 z2 z||

 

LUCKY IN LOVE.  AKA and see “Oh, Gang with Me to Yon Town,” "I'll Gang Nae Mair to Yon Toun." Irish, Reel. G Major. Standard tuning. AABB’. Similar in parts to “Tansey’s Favourite [1].” Harry Bradshaw and Jackie Small say the tune probably owes its popularity to Tents, Tarmon, County Leitrim flute player John McKenna (1880-1947), who emigrated to New York in 1911. “Lucky in Love” was apparently a local Leitrim tune that McKenna brought into the standard repertoire through his influential 78 RPM recording.  Its origins, however, are in Robert Bremner's Scots tune “Oh, Gang with Me to Yon Town” (also “I’ll Gang No More to Yon Town”). Reg Hall (1995) agrees, and says the McKenna’s 1934 recording (where the tune was paired with “The Bloom of Youth”) “was seminal for many later up-and-coming flute players around southern Sligo.” Sources for notated versions: Brendan Mulvihill (Baltimore, Md.) [Mulvihill]; fiddler Charlie Lennon [Bulmer & Sharpley]. Bulmer & Sharpley (Music from Ireland), vol. 2, No. 20. Cotter (Traditional Irish Tin Whistle Tutor), 1989; 65. Mulvihill (1st Collection), 1986; No. 71, pg. 19. Charlie Lennon & Mick O’Connor – “Lucky in Love.”

X:1 t

T:Lucky in Love

M:4/4

L:1/8

R:reel

Z:transcribed by Caroline Foty

K:G

|: ~g3d BGGA|BGdc BAAd|~g3d BGAB|1 cedc BGBd :|2 cedc BGGA|

|: BGdG eGdG|GBdB cAAc|1 BGdG eGdB|cedc BGGA :|2 GABd ~a3g|fdef gaba||

 

LUCKY NUMBER, THE. Irish, Reel. D Major. Standard tuning. AB. Similar to “The Piper’s Despair” and “Curly Mike.” Source for notated version: the Rice-Walsh manuscript, a collection of music from the repertoire of Jeremiah Breen, a blind fiddler from North Kerry, notated by his student [O’Neill]. O’Neill (Waifs and Strays of Gaelic Melody), 1922; No. 272.

X:1

T:Lucky Number, The

M:4/4

L:1/8

S:Rice-Walsh manuscript

Z:Paul Kinder

R:Reel

K:D

EFGA BdAd|BdAd BdAF|D2 FD ADFD|ADFD ADFD|

EFGA BdAd|BdAd BdAd|B2 eg fagb|agfg e2 ef||

gebe gebe|gebe gebe|(3fga fd dfaf|dfaf dfaf|

gebe gebe|gebe gebe|(3fga fd dfaf|(3efg ec dBAF||

                       

LUCKY TRAPPER'S REEL. American, Reel. G Major. Standard tuning. AABB. Phillips (Traditional American Fiddle Tunes), Vol. 1, 1994; pg. 147.

                       

LUCREZIA WALTZ. American (?), Waltz. F Major. Standard tuning. AB. Howe (Diamond School for the Violin), c. 1861.

X:1

T:Lucrezia Waltz

L:1/8

M:3/8

S:Elias Howe – Diamond School for the Violin  (c. 1861)

Z:AK/Fiddler’s Companion

K:F

AB|cag|gfe|d{e}d/^c/d/e/|ddd|dGA|cBG|F{G}F/E/F/G/|FAB|cag|

gfe| d{e}d/^c/d/e/|ddd|dGA|cBG|Ff/f/f/f/|f z||f/e/|{e}d^cd|{e}d^cd|

eA2|eAB|cag|{g}fef|g c2|g c2|aba|gag|fgf|efe|d^cd|{d/f/}fed|eA/A/A|A||

                       

LUCY CAMPBELL'S [1] (Luighseach Chaimbhéal). AKA and see "Miss Louisa Campbell's Delight," "The Bridal O'T." Irish, Scottish; Reel. D Major. Standard tuning. ABC (Cole): ABCD (Breathnach, Cranitch, Mallinson, Miller & Perron/2006, Mitchell, Treoir): AA’BBCD (Harker/Rafferty): AABB'CC'DD (Miller & Perron/1977). Breathnach (1963) identifies this tune as originally the Scottish reel “Miss Louisa Campbell’s Delight,” first published in 1780 (according to Glen). “The Bridal O’T” is the name of a song written to the tune. The tune is a staple of modern Irish sessions (although occasionally confused with “The Bucks of Oranmore,” which has a similar first part). County Sligo fiddler Michael Coleman (1891-1945) recorded the melody in New York in 1935 on a 78 RPM for Decca Records. Sources for notated versions: the Rice-Walsh manuscript, a collection of music from the repertoire of Jeremiah Breen, a blind fiddler from North Kerry, notated by his student [O’Neill]; fiddler Tommy Potts (Ireland) [Breathnach]; piper Willie Clancy (1918-1973, Miltown Malbay, West Clare) [Mitchell]; set dance music recorded at Na Píobairí Uilleann in the 1980’s (Taylor/Yellow); New Jersey flute player Mike Rafferty, born in Ballinakill, Co. Galway, in 1926 [Harker].. Breathnach (CRÉ I), 1963; No. 154, pg. 61. Cole (1000 Fiddle Tunes), 1940; pg. 36. Cotter (Traditional Irish Tin Whistle Tutor), 1989; 72. Crantich (Irish Fiddle Book), 1996; pg. 121. Harker (300 Tunes from Mike Rafferty), 2005; No. 87, pg. 28. Howe (1000 Jigs and Reels), c. 1867; pg. 64. Lyth (Bowing Styles in Irish Fiddle Playing, vol. 1), 1981; 36. Mallinson (Enduring), 1995; No. 16, pg. 7. Miller & Perron (Irish Traditional Fiddle Music), 1977; vol. 3, No. 22. Miller & Perron (Irish Traditional Fiddle Music), 2nd Edition, 2006; pg. 87. Mitchell (Dance Music of Willie Clancy), 1993; No. 13, pg. 36. O’Neill (Waifs and Strays of Gaelic Melody), 1922; No. 326 (appears as “Lucy Campbell’s Hornpipe”). Ryan’s Mammoth Collection, 1883; pg. 63. Taylor (Music for the Sets: Yellow Book), 1995; pg. 1. Treoir, vol. 39, No. 1, 2007. Cló Iar-Chonnachta CICD 173, Brian Conway – “Consider the Source” (2008). Columbia 35612, "The Chieftains" (1978). Comhaltas Ceoltoiri CL13, Tommy Peoples. Compass Records 7 4407 2, Ciaran Tourish – “Down the Line” (2005). Decca Records, Michael Coleman. Gennett 5451 (78 RPM), Michael Gallagher (uilleann pipes) {1924}. Starr 9567 (78 RPM), Michael Gallagher (uilleann pipes) {1924}. Rounder LP 7007 Graham Townsend – “Classics of Irish, Scottish and French-Canadian Fiddling” (1976). Rounder Heritage Series 1166-11592-2, Graham Townsend (et al) – “The Art of Traditional Fiddle” (2001. Learned from a 78 RPM recording by Sligo fiddler Michael Coleman).

See also listings at:

Alan Snyder’s Cape Breton Fiddle Recording Index

Jane Keefer’s Folk Music Index: An Index to Recorded Sources 

Alan Ng’s Irishtune.info

X:1

T:Lucy Campbell [1]

L:1/8

M:4/4

R:Reel

K:D
AD (3FED D2 dB|ADFA B~E3|ADFA defe|dBAF AD D2:|

||dBAB dgfe|dBAd B~E3|dBAB df{a}fe|dBAF AD D2|

dBAB defe|d~B3 g~B3|dBAB defe|dBAF ADDg||fa{b}af defg|

adfa bgeg|fa{b}af defe|dBAF AD D2|fa{b}af defg|adfa bgef|

~g3e fgfe|dBAF AD D2||d~f3 dfef|d~f3 afef|df{g}fe ~f3e|

dBAF AD D2|d~f3 dfef|d~f3 afef|g3e fgfe|dBAF ADDB||

X:2

T:Lucy Campbell's Hornpipe

M:2/4

L:1/16

S:Rice-Walsh manuscript

Z:Paul Kinder

R:Hornpipe

K:D

FG|A3B A2F2|Adcd BAGF|A2d2 cdef|e2E2 E2FG|

A3B A2F2|d3e f2e2|fdcd BAGF|A2D2 D2:|

|:fe|d2B2 A2F2|d2e2 f2e2|d2B2 Adfa|g2e2 egfe|

d2B2 A2F2|d2e2 f2e2|d2A2 BAGF|A2D2 D2:|

|:FG|A2d2 gfed|a2d2 gfed|A2d2 gfga|b2e2 e2 FG|

A2d2 gfed|a2d2 gfed|gdBG FAde|f2d2 d2:|

|:fe|d2f2 A2f2|d2f2 A2f2|d2f2 FAdf|e2E2 E2 fe|

dff2 Aff2|dff2 Aff2|gfga geag|f2d2 d2:|

|:fg|a3b agfe|d2e2 f2e2|d2B2 Bdfa|g2e2 egfg|

fgab agfe|dcde f2e2|fdcd BAGF|A2D2 D2:|

|:dB|ADFG BAGF|ADFG BAGF|ADFG BAGF|B2E2 E2dB|

BAGF GFGA|BABc dede|fdcd BAGF|A2D2 D2:||

X:3

T:Lady Lucy Campbell’s Reel

M:4/4

L:1/8

R:Reel

S:Howe – 1000 Jigs and Reels (c. 1867)

Z:AK/Fiddler’s Companion

K:D

B | ADFD ADDB | ADFA BEEB | AFED defe | dBAG AD D :: f | dBAG defe |

dBAF Eeef | dBAF | defe | dBAF AFD :: f | dfAf dfAf | dfAf eBBc | defd egfe |

dBAF AD D :: f | abaf defe | faba beef | abaf defe | dBAF AD D :|

X:4
T:Untitled Reel (Lucy Campbell)
M:C|
L:1/8

N:Transcribed from a 1929 film of a Catskill, N.Y. (a town in the Hudson Valley) country fiddler

N:playing the tune. He says he learned the tune when he was around age

N:20 (and was aged 70 at the time of the filming) from another local fiddler.

N:He had no name for the tune, but insisted he played it as learned fifty years ago. 

N:The film is in the University of South Carolina's Newsfilm Library.

Z:You-Tube link posted to Fiddle-L by Dave Ruch 1/30/09
K:D
[D2A2]FF A2 fe|dBAF A D3|[D2A2] FF A2 fe|dBAF A D3|
[D2A2] FF A2 FF|AFAA B2 (3BdB|AAFA Dafe|dBAF D4||
a2 af defd|gfga b e3|a2 af defe|dBAF D4:||

 

LUCY CAMPBELL [2] (Luighseach Chaimbéal). AKA and see "The Dear Meal (is Cheap Again)," "Leap Year," "Cairngorum." Irish, Reel. D Major. Standard tuning. AABCD. Another Irish version of Niel Gow's strathspey. Breathnach (1976) notes his version in CRÉ II (No. 185) is “given to illustrate a certain style of piping.” He gives another version in CRÉ I, No. 154. Source for notated version: piper Andy Conroy, 1971 (Co. Roscommon, Ireland) [Breathnach]. Breathnach (CRÉ II), 1976; No. 185, pg. 97.

 


LUCY CAMPBELL [3]. AKA and see “Ball na Grandach” (The Grant’s Ball,” “Lucy Campbell’s Delight.” Scottish, Strathspey. D Major. Standard tuning. ABCD (McGlashan): ABCDEF (Gow). The tune appears earliest in Neil Stewart’s 1761 collection, according to John Glen (as a two part tune in A Major), and somewhat later in McGlashan’s collection (1780) as “Lucy Campbell’s Delight” (in D Major). Cape Breton editor, composer and fiddler Paul Cranford finds that “Lucy Campbell” is a bagpipe setting of an F Major strathspey called “Lady Mary Menzies Reel” and a D Major strathspey entitled “Pudding Maggie,” both of which appear in Bremner’s 1757 collection. “Lady Louden('s Strathspey)” is a tune which piper Hamish Moore finds similar to “Lucy Campbell.”

 

LUCY CAMPBELL'S STRATHSPEY [4]. AKA and see "Miss Lucy Campbell." Canadian, Strathspey. Canada, Cape Breton. A Major/Mixolydian: F Major (Mount). Standard or ADae tuning. ABCD (Dunlay & Greenberg): AABBCCDD (Sing Out). The tune is played as a four part tune in the key of 'A' (with a modal flavor) in Cape Breton, but is derived from Niel Gow's (1727‑1807) six part strathspey ("Miss Lucy Campbell") in D Major. Dunlay & Greenberg (1996) state that “Pudding Maggie,” a Scottish strathspey, is the source of the first and third turns of the Cape Breton versions. The melody appears as “Lady Lucy Campbell’s Strathspey,” set in the key of ‘F’, in the music manuscripts of William Sydney Mount, a renowned American painter and fiddler from Setauket, Long Island, probably transcribed in the 1840’s. Sources for notated versions: Dan Joe MacInnis (Cape Breton) [Sing Out]; Donald Campbell (Cape Breton) [Dunlay & Greenberg]. Dunlay & Greenberg, 1996; pg. 128. Sing Out, vol. 34, No. 4 (Fall, 1989); pg. 30. Ross’s Collection of Pipe Music, 1885. Cape Breton's Magazine Cassette, "Cape Breton Fiddlers on Early LP's." Celtic 14, Dan Joe MacInnis. University College of Cape Breton Press Recording, Dan Joe MacInnis ‑ "Celtic Music of Cape Breton, vol. 1." Canadian Broadcasting Corp. NMAS 1972, Natalie MacMaster - "Fit as a Fiddle" (1993). Greentrax CTRAX 073, Hamish Moore - “Stepping on the Bridge/Dannsa’ air an Drochaid” (1994). JAD-1, Jackie Dunn - “Dunn to a T” (1995). JC 123, John Campbell - “Heritage Remembered” (1978). SLMC-1001, Sandy MacIntyre - “Cape Breton...My Land, My Music” (c. 1980). Smithsonian Folkways Records, SFW CD 40507, The Beaton Family of Mabou – “Cape Breton Fiddle and Piano Music” (2004). STEPH 1-94, Stephanie Wills - “Tradition Continued” (1994). Topic 12TS354, Mary MacDonald - “Cape Breton Scottish Fiddle” (1978). Wildcat Records WILDCD 101, Ronan Martin – “Ronan Martin” (2008).

See also listings at:

Alan Snyder’s Cape Breton Fiddle Recording Index

X:1

T:Lady Lucy Campbell’s Strathspey

M:C

L:1/8

S:William Sydney Mount manuscripts, c. 1840’s.

Z:AK/Fiddler’s Companion

K:F

f | c<F c>A c>Fc>A | c<F c>A dGG>A | c<F c>A f>ga>g | f>d d/c/B/A/ cFF :|

|: a | f<d c>A f>ga>g | f<d c>A gGGa | f>dcA f>Ga>g | f<d d/c/B/A/ cFF :|

|: d | cF {d}c/B/A cF {d}c/B/A | cF {d}c/B/A/ dGGA | cG c/B/A fgag |

f>d d/c/B/A/ cFF :: a | faca faca | faca gGGa | faca fgag | fd d/c/B/A/ cAA :|

|: A | CF A/G/F cF A/G/F | CF A/G/F dGGA | cF A/G/F cF A/G/F | fdcA cFF :|

|: a | c’>d’c’a fgaf | gafa gGGa | c’>d’c’a fgag | fd f/e/d/c/ cFF :|

|: d | cABc defd | cABc dGGd | cABc defd | cf c/B/A/B/ cFF :|

“variations, ‘B’ part”

a | c’<d’c’>a f>ga>g | f<d c>A ggga | c’>d’c’a f>ga>g | f>d c/d/c/A/ cFF :|

 

LUCY FARR'S. Irish, English; Barndance. B Flat Major. Standard tuning. AABB. From the late Galway-born (Baunyknave, Ballinakill) fiddler Lucy Farr (1910-2003), who lived in England from the year 1935, where she moved to take up a career in nursing. Farr, like Aggie Whyte a representative of the East Galway fiddling tradition, can be heard playing the tune on “Heart and Home,” an archival recording from 1991-1992. In London she was a member of the Four Courts Ceili Band and the Rakes. The tune is also played in other keys; Mairtin O'Connor plays it in D Major. Celtic Crossings CD0299-02, Gearóid Ó hAllmhuráin & Patrick Ourceau – “Tracin” (1999). Green Linnett GLCD 1155, Martin Hayes -“Under the Moon” (1995). Old Hat Music OH!02, "The Old Hat Dance Band" (1992).

X:1

T:Lucy Farr's - Barn Dance

R:barndance

S:Linda Hickman: Galvin School of music weekend, Nov 29th, 1997

Z:Transcribed by Mike Hogan

M:C|

L:1/8

K:G

D|:G2 G2 G2 G2|GABG E2 D2|B2 B2 B2 B2|BcdB A3 A|

BcdB G2 G2|GABG E2 D2|DEGA BcdB|A2 G2 G4:||

BcdB G2G2|GABG E2 D2|DEGA BcdB|B2 A2 A3 A|

BcdB G2G2|GABG E2 D2|DEGA BcdB|A2 G2 G4:||

 

LUCY FARR’S FLING. Irish, Fling. A variant of “Maggie Pickens/Pickie.”

 

LUCY FARR’S JIG. AKA and see “The Hungry Rocks [1].”

 

LUCY FARR’S (POLKA) [1]. AKA and see “Ballynahulla No. 1,” “Ballyhoura Mountains,” “Cuz Teahan’s [1],” “Mike Buckley’s Favourite,” “Teahan’s Favorite Polka.” Irish, Polka. G Major. Standard. AABB. From Galway born fiddler Lucy Farr, who has lived in England for some time.

X:1

T:Ballyhoura Mountains

T:Lucy Farr’s (Polka) [1]

M:2/4

L:1/8

R:Polka

K:G

Bc/B/ AG|EG GA|Bc/B/ AG|Bd ed|

Bc/B/ AG|EG GA|BG/B/ dB|AG G2:|

|:gd ed|Bd d2|gd ed|Bd A2|

gd ed|Bd ed|Bc/B/ AG/A/|BG G2:|

 

LUCY FARR’S (POLKA) [2]. AKA and see “Jer O’Connell’s,” “O’Sullivan’s Fancy.”

 

LUCY LONG. American, Dance and Song Tune. A Major. Standard tuning. AABCC.

***

I Jist come out afore you, to sing a little song,

I plays it on the banjo, and dey calls it Lucy Long.

Chorus:

Oh, take your time , Miss Lucy,

Take your time, Miss Lucy Long.

Oh, take your time, Miss Lucy,

Take your time, Miss Lucy Long. (Ford)

***

A minstrel era song. Ford (Traditional Music in America), 1940; pg. 59 (additional verses on pg. 395).

 

LUCY McKENNA (Luigseach Nic Cionnaith). Irish, Double Jig. A Dorian. Standard tuning. AABB. Source for notated version: whistle player Pat White/Padraic de Faoite (Ireland), who had it from the Lucy McKenna of the title [Breathnach]. Breathnach (CRÉ I), 1963; No. 25, pg. 11.

 

LUCY’S DELIGHT.  English, Country Dance Tune (cut time). G Major. Standard tuning. AABBCC. The melody was first published in David Rutherford’s Compleat Collection of 200 of the Most Celebrated Country Dances (London, 1756). It also appears in the music manuscript collections of Thomas Hammersley (London, 1790), fiddler George White (Cherry Valley, N.Y., 1790), flute player Micah Hawkins (New York, 1794), and Luther Kingsley (Mansfield, Conn., 1795). Hammersley gives “Ye Villa” as an alternate title. Thompson (Compleat Collection of 200 Favourite Country Dances, vol. 1), 1757; No. 185.

X:1

T:Lucy’s Delight

M:C|

L:1/8

B:Thompson’s Compleat Collection of 200 Favourite Country Dances, vol. 1 (London, 1757)

Z:Transcribed and edited by Flynn Titford-Mock, 2007

Z:abc’s:AK/Fiddler’s Companion

K:G

d/c/B/A/ Gd ecBg|d/c/B/A/ Gd cA=fA|d/c/B/A/ Gd edcB|cdBc A2 D2:|
|:d/c/B/A/ Gd|ecBg|d/c/B/A/ Gd cA=fA|d/c/B/A/ Gd ecBg|c>dcA GG/G/ G2:|

|:BG A/B/c/A/ BG A/B/c/A/|BGcA =FA A/B/c/A/|BG A/B/c/A/ BG A/B/c/A/|c>dc>A GG/G/ G2:||

 

LUCY’S WALTZ.  American, Waltz. A Minor. Standard tuning. AA’BC. Composed in 2000 by Orly Krasner. Barnes (English Country Dance Tunes, vol. 2), 2005; pg. 77.

 

LUDE’S LAMENT. Scottish, Air. Similar in the first strain to "Drunk At Night and Dry i' the Morning [1].” Oswald (Caledonian Pocket Companion), 1780?, vol. 2, pg. 65. Maggie’s Music MMCD222, Bonnie Rideout – “Scottish Fire” (2000).

 


LUDE'S SUPPER (Suipeir Tighearna Leoid). Scottish, Air. A composition of Ulster‑born (d. 1653) harper Rory Dall (Blind Rory), whose last name is given variously as O'Caithean, O’Cathain, O’Cahan or O'Callen, who received the patronage of several Scottish noble families. The tune appears in Daniel Dow's (1732‑1783) Collection of Ancient Scots Music and Bruce Armstong’s The Highland Harp. John Gunn, in his Historical Enquiry respecting the Performance on the Harp in the Highlands, says that about the year 1650 Ruaidhri Dall Morison accompanied the Marquis of Huntly on a visit to Robertson of Lude and celebrated the event with this composition. Sanger and Kinnaird (Tree of Strings, 1992) suggest that it was not Morison who was in attendance, since he was not born until 1656, but rather the harper was Ruaidhri Dall O’Cahan. Similarly, if the date of the visit is correct it is unlikely that the Marquis of Huntly was involved as George Gordon, the second Marquis, was arrested in 1648 and executed in 1649, after which his estates were held by Argyll until 1660.  See also note for “Give Me Your Hand” for more on Rory Dall.

 

LUDLOW RECRUIT, THE. English, Reel. E Minor. Standard tuning. AABB. A modern composition by editor Michael Raven. Raven (English Country Dance Tunes), 1984; pg. 193.

 

LUGGELAW (Lug Na Leaca). AKA and see "No, Not More Welcome." Irish, Air (3/4 time). G Major (O’Neill): E Flat Major (Stanford/Petrie). Standard tuning. AB. Source for notated version: “From P. Carew’s MS” [Stanford/Petrie]. O'Neill (Music of Ireland: 1850 Melodies), 1979; No. 138, pg. 24. Stanford/Petrie (Complete Collection), 1905; No. 712, pg. 179.

X:1

T:Luggelaw

M:3/4

L:1/8

R:Air

N:”Moderate”

S:O’Neill – Music of Ireland (1903), No. 712

Z:AK/Fiddler’s Companion

K:G

G/A/ BB | A>B cd ee | d>B GA Bd | d2 BG {B}A>G | Gz GA BB | A>B cd ee |

dB GA Bd | ed BG {B}A>G | G2 z || d de | e2g2 {f}e>d | Bd d2 e(f/g/) | B2 cB AG |
A2 z B cB | A>B cd ee | d>B G>A Bd | ed BG {B}A>G | G3 ||

 

LUIBIN [1](, AN). AKA - "The Spinning Wheel Song." Irish, Air (6/8 time). A Flat/E Flat Major. Standard tuning. One part. This six bar hexatonic phrase is an example of a luibin, "a peculiar species of chaunt, having a very well marked time, and a frequently recurring chorus or catchword. It is sung at the merry-makings and assemblages of the young women when they meet at 'spinnings' or 'quiltings' and is accompanied by extraneous verses, of which each singer furnished a line. The intervention of the chorus after each line gives time for the preparation of the succeeding one by the next singer, and thus the Loobeen (sic) goes round until the chain of song is completed. Hence its name, signifying literally the 'link' tune" (Bunting, 1840). A later note by Bunting (for "Luibin" [3]) indicates that young men as well as women participated in this game-like singing. O'Sullivan (1983) finds other spinning tunes (all from County Clare) in Stanford-Petrie (Nos. 1366, 1367, 1368, 1369, 1473, 1474, 1475), as well as occasional printings in the Journal of the Irish Folk Song Society. Source for notated version: the Irish collector Edward Bunting obtained the song from a Miss Murphy of Dublin in 1839. O'Sullivan/Bunting, 1983; No. 134, pgs. 191-192.

 

LUIBIN [2](, AN). Irish, Air (6/8 time). A Flat/E Flat Major. Standard tuning. One part. Another hexatonic "spinning song" (see note for "Luibin" [1]). Source for notated version: the Irish collector Edward Bunting noted the melody from a Miss Murphy of Dublin in 1839. O'Sullivan/Bunting, 1983; No. 135, pg. 192. 

 

LUIBIN [3](, AN). Irish, Air (6/8 time). A Flat Major. Standard tuning. One part. A third hexatonic tune from Bunting. Source for notated version: the Irish collector Edward Bunting noted the melody from a Miss Murphy of Dublin in 1839. O'Sullivan/Bunting, 1983; No. 136, pgs. 193-194.

 

LUIGHSEACH CHAIMBHÉAL. AKA and see "Lucy Campbell's [1]."


 

LUIGHSEACH NIC CIONNAITH (Lucy McKenna). AKA and see “Lucy McKenna.”

                       

LUINNEAG MHIC LEOID. AKA and see "Macleod of Macleod's Chorus Song."

                       

LUINNEOG SLIGIG. AKA and see "The Sligo Chorus."

                       

LUKE DILLON. Irish, Planxty (3/4 time). D Major. Standard tuning. AB. Composed by Turlough O'Carolan. Complete Collection of Carolan's Irish Tunes, 1985; No. 39, pg. 45.

                       

LUKE OF MONYMUSK.  American, Reel. D Major. Standard tuning. AABB. Composed by New Hampshire tin whistle and flute player Sarah Bauhan. Miller (Fiddler’s Throne), 2004; No. 196, pg. 123. Whistler’s Music WM9899, Sarah Bauhan – “Broad Waters” (1999).

 

LUKE O’MALLEY’S.  Irish, Hornpipe. A Major. Standard tuning. AA’BB’. Composed by New Jersey piano accordion player Luke O’Malley. O’Malley (Luke O’Malley’s Collection of Irish Music), 1976; No. 135, pg. 68.

X:1

T:Luke O’Malley’s

M:C

L:1/8

R:Hornpipe

B:Luke O’Malley’s Collection of Irish Music, No. 135, pg. 68.

K:A

ED|:CEAc ecAc|eaga ecAc|dB^AB GE^DE|FDB,D G,2 ED|

CEAc ecAc|eaga ecAc|dB^AB GE^DE|1 (3DED B,G, A,2 ED:|2 (3DED B,G, A,2c2||

|:cF^EF GECE|FDCD B,2 ED|CEAc ecAc|B^dfd e2 E=D|

CEAc ecAc|eaga ecAc|dB^AB GE^DE|1 (3DED B,G, A,2c2:|2 DB,^A,B, =A3||

                     

LUKKARI-HEIKIN POLKKA. Scandinavian, Polka. D Major ('A' & 'B' parts) & B Minor ('C' part). Standard tuning. AA'BB'CC'AA’. Private collection, A. Kuntz.

X:1

T:Lukkari-Heikin polka

M:2/4

L:1/8

R:Polka

K:D
A/A/|AD F/F/D/F/|AD F/F/D/F/|GE CE|Dd c/d/c/B/|AD F/F/D/F/|AD F/F/D/F/|

GE CE/E/|1 ED DA/A/:|2 (ED) Dz||:GB GB|GB B/d/c/B/|GB GB|GB B/d/c/B/|

AD F/F/D/F/|AD F/F/D/F/|GE CE/E/|1 ED D2:|2 DC Dd/c/||:B(B/d/) ff|bf g/f/e/d|

C(c/d/) ee|f/e/d/c/ dB|BB/c/ff|bf g/f/e/d/|cc/d/ f/e/d/c/|1 BB B2:|2 BB BA/A/||

                       

LULLABY. AKA and see "Suantree."

                       

LULLABY FOR IRISH PIPES. Irish, Air (3/4 time). F Major. Standard tuning. AB. O’Neill (1922) says of his source: “James Whiteside, the ‘Bard of Bray’, County Wicklow, was a genius—scholar, poet, musician, composer. Born in County Monaghan in 1844, he retired after 40 years service as a schoolteacher at Bray. His playing of the violin won two first honors at two Feiseanna. An interesting sketch of his life appears on pages 384-7, [O’Neill’s] Irish Minstrels and Musicians.” Source for notated version: the Whiteside manuscript [O’Neill]. O’Neill (Waifs and Strays of Gaelic Melody), 1922.

X:1

T:Lullaby for Irish Pipes

M:3/4

L:1/8

S:James Whiteside manuscript

Z:Paul Kinder

R:Air

K:F

"Andantino"(3dcA|G2 G2 (3AGF|G2 G2 F/2E/2F/2G/2|A2 d2 e2|f3 e (3dcA|!

G2 G2 (3AGF|G2 G2 F/2E/2F/2G/2|A3 G A2|D4 (3dcA|!

G2 G2 (3AGF|G2 G2 F/2E/2F/2G/2|A2 d2 e2|f3 e fg|!

a3 g fa|g3 f de|f3 d (3dcA|G4||!

G/2F/2G/2A/2|B4 AG|A3 G A2|D4 E2|F4 GA|!

B4 AG|A4 (3dcA|G2 G2 (3AGF|G4 G/2F/2G/2A/2|!

B4 AG|A4 (3dcA|G2 G2 (3AGF|G4 fg|!

a3 g fa|g3 f de|f3 d (3dcA|c4 fg|!

a3 g fa|g3 f de|f3 d d/2c/2A/2G/2|F4 GA|!

B4 AG|A4 (dcA|G2 G2 (3AGF|G4||

                       

LULL(E) ME BEYOND THEE. AKA and see "Northern Turtle," "Oil of Barley," "Cold and Raw," "Craigieburn Wood." English, Country Dance Tune (6/8 or 6/4 time). D Minor (Barnes, Sharp, Williamson): G Dorian (Chappell). Standard. ABB (Barnes, Sharp): AABC (Chappell): AABB (Williamson). The air was first published by Playford in his "The English Dancing Master" in editions from 1650 through 1690. Williamson (1976) states the tune is a variant to an earlier tune called "Oil of Barley" or "Cold and Raw," which was printed by Thomas d'Urfey in 1686, and that D'Urfey believed the tune to be Scots in origin. The English collector Chappell (1859) remarks that the air appears to have been known at first only as "a new Northern tune," but elsewhere he states that tunes so called were English rather than Scots, and that 'northern' refers not to Scotland but to the northern counties of England. Later the Scots national poet, Robert Burns, fashioned a song on this tune entitled "Craigieburn Wood." Barnes (English Country Dance Tunes), 1986. Chappell (Popular Music of the Olden Times), vol. 1, 1859; pgs. 320‑321. Raven (English Country Dance Tunes), 1984; pg. 46. Sharp (Country Dance Tunes), 1909/1994; pg. 35. Williamson (English, Welsh, Scottish and Irish Fiddle Tunes), 1976; pg. 20. Dorian 90238, The Baltimore Consort – “A Trip to Killburn.”

X:1

T:Lull Me Beyond Thee

M:6/8

L:1/8

S:Sharp – Country Dance Tunes

Z:AK/Fiddler’s Companion

K:D Minor

A2(A f>ef | g>fg a3) | A2 (A f>ed | ^c3d3) | A2(A f>ef |

g>fg a3) |A2(A f>ed | ^c3 d3) ||

|: f2(f g>fg | a>ba g2)(c | f2f g>fg | a3g3) | (a>ba) (g>fe) |

(f>ed) a3 | A2(A f>ed | ^c3d3) :|

 

LULU LOVES THEM YOUNG. Old-Time, Breakdown. Ray Alden's (Peekskill, N.Y.) version of "Sleeping Lulu." 

 

LULU'S POLKA. English, Polka. D Major. Standard tuning. AB. Raven (English Country Dance Tunes), 1984; pg. 152.

 

LUM HAT, THE. Scottish, Hornpipe. A Major. Standard tuning. AABBCCDD. Composed by self‑taught fiddler and composer Bert Murray (b. Aberdeen, 1913). The tune is dedicated to Tam Reid, the 'king of the bothy ballad singers,' one of whose favorite songs was "The New Lum Hat." Neil (The Scots Fiddle), 1991; No. 75, pg. 99.


 

LUMBERJACK. AKA and see “The Roadside Fiddler.” American, Reel. G Major: D Major (Phillips). Standard tuning. AB (Silberberg): AA'BB' (Phillips). Sources for notated versions Stuart Williams (Seattle) [Phillips]; Glenn Berry [Silberberg]. Phillips (Traditional American Fiddle Tunes, vol. 1), 1994; pg. 148. Silberberg (Tunes I Learned at Tractor Tavern), 2002; pg. 96.

 

LUMBERJACKS, THE. French-Canadian, Reel. G Major. Standard tuning. AABB'. Not Phillips' "Lumberjack." Sweet (Fifer’s Delight), 1965/1981; pg. 67.

X:1

T:Lumberjacks, The

M:2/4

L:1/8

R:Reel

Z:AK/Fiddler’s Companion

K:G

B/c/ | d/e/d/B/ GB/d/ | c/d/c/B/ Ag | f/g/f/e/ d/f/a/f/ | g/a/g/e/ dB/c/ | d/e/d/B/ GB/d/ |

c/d/c/B/ ag | f/g/f/e/ d/f/a/f/ | g/f/g/a/ g :: B/c/ | d/gg/ gB/c/ |

d/ff/ fA/B/ |1 c/ee/ ed/c/ | B/c/d/e/ d :|2 c/ee/ ed/c/ | B/G/A/F/ G :|

 

LUMBERJACK’S REEL, THE. AKA and see “The Honeymoon (Reel) [2].” Canadian, Irish; Reel.

 

LUMBERS. AKA and see "Gower Reel."

 

LUMMDON. English, Country Dance Tune (9/8 time). G Major. Standard tuning. AABB. Hunington (William Litten's), 1977; pg. 31.

 

LUMPS OF PLUM PUDDING [1]. English, Jig (irregular) or Morris Dance Tune (6/8 time). G Major (Bacon‑Bampton & Field Town, Mallinson‑Bledington): A Major (Bacon‑Bledington, Carlin). Standard tuning. AABABAA (Bacon‑Bampton): ABCBCB (Bacon & Mallinson ‑ Bledington, Bacon ‑ Fieldtown): AABBC (Carlin). A major key form of the tune "Lumps of Pudding". Morris dance versions are from the villages of Bampton (Oxfordshire), Bledington (Gloucestershire) and Leafield (AKA ‑ Field Town, Oxfordshire), in England's Cotswolds. A solo jig was danced to the Bleddington version, while words were sung in Bampton:

***

Lumps of plum pudding and pieces of pie,

Me mother she gave me for telling a lie;

She gave me so much I fear I shall die

From lumps of plum pudding and pieces of pie.

***

Bacon (The Morris Ring), 1974; pgs. 54, 90 & 164. Carlin (Master Collection), 1984; No. 51, pg. 39. Mallinson (Mally’s Cotswold Morris Tunes), 1988, vol. 2; No. 36, pg. 18. Sharp (Morris Dance Tunes), Set V, pg. 24 and Set IX, pg. 14. Topic TSCD458, John Kirkpatrick - “Plain Capers” (1976/1992).

 


LUMPS OF PUDDING(S) [2]. AKA and see "Shives of Bread," "I'm Content With My Lot," "Contentment is Wealth," "Sweet Pudding," "The Gallowglass," "Niel Gow's Lament for (the Death of) his Brother." English, Welsh, Scottish; Jig and Air. G Minor (Mellor, Orford, Vickers): A Dorian (Johnson/1984, Johnson/1997). Standard tuning. AABBCC (Mellor, Vickers): AABBCCDDEEFF. Johnson (1984) believes this popular tune to be a 17th century English country dance tune, though it was claimed by both England and Scotland. It was published in Playford's English Dancing Master of 1701 and 1703, the Sinkler Manuscript (1710, as "Sweet Pudding"), parodied in John Gay's Beggar's Opera (1728, as "Thus I stand like the Turk with his doxies around"), Oswald's Caledonian Pocket Companion (c. 1756, vol. 2, pg. 4), Pills to Purge Melancholy (vol. VI, 1720, song and tune), Walsh's Caledonian Country Dancing Master, No. 45, and the Gillespie Manuscript of Perth (1768). The melody also appears in several Welsh manuscripts. The jig serves as the finale (air No. 28) for Gay's famous 1728 ballad opera (Beggar's Opera), which was so popular that the German composer Handel wryly remarked that his own opera current that year had been driven off the stage by 'lumps of pudding' (Emmerson, 1971). In fact, the tune can be found in a number of ballad operas of the period, sometimes under different titles (Pulver, 1923). The title appears in Henry Robson's list of popular Northumbrian song and dance tunes ("The Northern Minstrel's Budget"), which he published c. 1800. North of that border, the melody was known in Scotland as the tune for Robert Burns' "Contented Wi' Little," which title and tune engendered offshoots in Irish tradition‑‑ "Contentment Is Wealth" and "I'm Content With My Lot" (Ta Me Sasta len' Staid).

***

The title is taken from a line in an English song set to the melody, called “Lumps of Pudding.” It begins:

***

When I was in the low country,

When I was in the low country;

What slices of pudding and pieces of bread

My mother gave me when I was in need
***

My mother she killed a good fat hog,

She made such puddings would choak a dog;

And I shall ne’er forget till I dee,

What lumps of pudding my mother gave me.

***

A Scottish version (from Herd, Gilpin and Paton’s Ancient and Modern Scottish Songs, Heroic Ballads, Etc., 1870, pg. 221) goes:

***

My daddy he steal’d the minister’s cow,

And a’ we weans gat puddings anew;

The dirt crap out, as the meat gaed in,

And wow sic puddings as we gat then!

Sic lumps o’ puddings, sic dads o’ bread,

The stack in my throat, and maist were my dead.

***

As I gaed by the minister’s yard,

I spied the minister kissing his maid;

Gin ye winnae believe, cum here and fee

Sic a braw new coat the minister gied me.

Sic lumps o’ puddings, etc….

***

The tune is mentioned in this anecdote from Hotten & Larwood’s book The History of Signboards from the Earliest Times to the Present Day (1866, pg. 379):

***

In the month of May, 1718, one James Austin, “inventor of the Persian

ink powder,” desiring to give his customers a substantial proof of his

graditude, invited them to the Boar’s Head to partake of an immense

plum-pudding. This pudding weighed 1,000 lbs.; a baked pudding of 1

food square, and the best piece of an ox roasted: the principal dish was

put in the copper on Monday, May 12, at the Red Lion Inn, by the Mint in

Southwark, and had to boil fourteen days. From there it was to be brought

to the Swan Tavern, in Fish Street Hill, accompanied by a band of music

playing—“What lumps of pudding my mother gave to me;” one of the

instruments was a drum in proportion to the pudding, being 18 feet 2 inches

in length, and 4 feet in diameter, which was drawn by “a device fixt on six

asses.” Finally the monstrous pudding was to be divided in St. George’s Fields,

but apparently its smell was too much for the gluttony of the Londoners; the

escort was routed, the pudding taken and devoured, and the whole ceremony

brought to an end, before Mr. Austin had a chance to regale his customers.  

***

Source for notated version: Gillespie Manuscript (a set by James Oswald {1711‑69} from his Caledonian Pocket Companion, but with improvements in his variations) [Johnson]. Johnson (Scottish Fiddle Music in the 18th Century), 1984; No. 36, pg. 95. Johnson (The Kitchen Musician No. 14: Songs, Airs and Dances of the 18th Century), 1997; pg. 11. Joyce (Old Irish Folk Music and Songs), 1909; No. 155 (“I’m Content with My Lot”). Mellor (Welsh Dance Tunes), 1935; pgs. 4-5. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 729 (“Contentment is Wealth”). Orford (John of the Greeny Cheshire Way), 1985; pg. 111. Seattle (William Vickers), 1987, Part 2; No. 400. Maggie’s Music MMCD220, Hesperus – “Celtic Roots” ().

X:1

T:Lumps of Puddings

M:6/8

L:1/8

R:Jig

S:James Oswald

Z:AK/Fidder’s Companion

K:Ador

(A/B/) | “tr”c>BA Aag | “tr”e>de A2c | BAG Gge | d>(cB/A/) G2 g/a/ | bag eag | edc {c}g2e |

dBG ABd ede A2 :: (c/d/) | e(c/d/e/c/) e(c/d/e/c/) | e(c/d/e/c/) A2 (B/c/) | d(B/c/d/B/) d(B/c/d/B/) |

d(B/c/d/B) G2 c/d/ | e(c/d/e/c/) e(c/d/e/c/) | eca “tr”g2e | dBG ABd | ede A2 :: e/d/ | cea cea | cea A2(d/c/) |

Bdg Bdg | Bdg G2 (e/d/) | cea cea | cea “tr”g2e | dBG ABd | ede A2 :: e | (a/^g/a/b/)a (a/g/a/b/)a |

(a/^g/a/b/)a A2f | (g/f/g/a/)g (g/f/g/a/)g | (g/f/g/a/)g G2e | (a/^g/a/b/)a (a/g/a/b/)a | aec’ “tr”b2a |

gBG ABd | ede A2 :: A/B/ | cBA acA | acA acA | BAG gBG | gBG gBG | c(A/B/c/A/) d(B/c/d/B/) |

eca “tr”g2e | dBG Agf | ede A2 :: e | (a/#g/)(a/g/)(a/g/) acA | acA A2 e/f/ | (g/f/)(g/f/)(g/f/) gBG |

gBG G2 e/g/ | (a/^g/)(a/g/)(a/g/) acA | cea “tr”g2e | dBG ABd | ede A2 :|

 

LUNAR LANDING.  Canadian, Reel. Composed by Sarnia, southwestern Ontario, fiddler John(ny) Durocher (1934-1989); one of several tunes he composed in honor of the c. 60’s-70’s space program. Durocher was born the youngest of sixteen children, to a modest family of few resources. He quit school in his young teens to help make family ends meet and remained a factory worker for most of his life, not even possessing a drivers license. John came to fiddling when he found a broken fiddle in the trash one day and asked the owner for permission to retrieve it; with some repair work he had his first instrument. A few lessons from a local teacher (which served to teach him how to read and write music), were all the formal music education John received. He was a prolific composer of fiddle tunes, however, and named them for sports and current events, family and friends and topics of his day, explains Ritchie. Durocher’s music was picked up by radio fiddler Don Messer, who included many of his tunes in his broadcasts and printed collections, helping Durocher to become quite influential in the Ontario scene for his over 400 compositions. [For more see Ron Ritchie, “John Durocher: A Gifted Composer,” Fiddler Magazine, vol. 12, No. 2, Summer 2005, pgs. 25-27].

 

LUNG-GAILE, AN. AKA and see "The Steampacket."

 

LURGADÁN JIG. See “Luaithreadan’s Jig.”

 

LURGAN HORNPIPE (Cornphíopa na Lorgan). AKA and see “Coldier’s Hornpipe.” Irish, Hornpipe. G Major. Standard tuning. AABB. Source for notated version: the 20th century collection of Bernard Bogue (Counties Monaghan and Tyrone) [Breathnach].  Breathnach (CRÉ IV), 1996; No. 221, pg. 103.

 

LURG'S REEL. Scottish, Reel. John Glen (1891) finds the earliest appearance of the melody in print in Robert Ross's 1780 collection (pg. 15).

 

LUS NA mBANRÍON (The Queen’s Herb). AKA and see “The Dusty Miller.” Irish.

 

LUS-NA-MEALA. AKA and see "The Honeysuckle."

 

LUSHBAUGH GALS. AKA and see "Buffalo Gals [1]."

 

LUSS ROAD. Scottish, Strathspey. G Major. Standard tuning. AB. There are Luss Roads in Glasgow and in Balloch, Dunbartonshire, where the village of Luss lies.  Kerr (Merry Melodies), vol. 4; No. 113, pg. 14.

X:1

T:Luss Road

M:C

L:1/8

R:Strathspey

S:Kerr – Merry Melodies, vol. 4, No. 113 (c. 1880’s)

Z:AK/Fiddler’s Companion

K:G

G<G F>G A>FD>C|B,>DA,>D (B,<G,) G,2|A<A ^G>A c>AE>D|C>EB,>E (C<A,) A,2|

G<G F>G A>F D2|B<B A>B c>A F2|d<d ^c>d (3ed=c (3BAG|(3FED (3cBA G2 B>d||

g<g b>a g>dB>d|G>Bd>B (3gfe (3dcB|c<c e>d c>ea>g|(3fga (3gfe d2 e>f|

g<g b>a g>dB>d|G>Bd>B g>dB>G|c<c e>c B<B d>B|(3ABc (3def (g2g)z||

 

LUSTY GALLANT. AKA and see "Captain Ward." English, Country Dance Tune (6/8 or 4/4 time). E Minor (Raven): D Dorian (Chappell). Standard. AB (Chappell): AABB (Raven). The air appears in William Ballet's Lute Book, and although Chappell (1859) does not find any ballad by that name, it was mentioned as a dance tune as early as 1577, and Chappell believes it to have been written on or before the year 1566. It was an immensly popular tune, he says, and a great many ballads were written to it. A century later it was still in currency and appeared in Playford’s English Dancing Master. Raven's version is a 6/8 country dance version and differs from the duple time lute tune printed by Chappell. Chappell (Popular Music of the Olden Time), Vol. 1, 1859; pg. 234. Raven (English Country Dance Tunes), 1984; pg. 8. Maggie’s Music MMCD216, Hesperus - “Early American Roots” (1997).


 

LUTENERS' LANE [1]. English, Reel. D Major. Standard tuning. AABB. A modern composition by editor Michael Raven. Raven (English Country Dance Tunes), 1984; pg. 199.

 

LUTENERS' LANE [2]. English, Reel. B Minor ('A' part) & D Major ('B' part). Standard tuning. AABB. A modern composition by Michael Raven. Raven (English Country Dance Tunes), 1984; pg. 199.

 

LUTENERS' LANE [3]. English, Reel. G Major. Standard tuning. AABB. A modern composition by editor Michael Raven. Raven (English Country Dance Tunes), 1984; pg. 199.

 

LUTGAIR AN t-SAIGDIURA. AKA and see "The Soldier's Joy."

 

LUTGAIR MO BEATA. AKA and see "The Joy(s) of My Life."

 

LUTRELL PASS. See “Cooley’s Reel [1].”

 

LYAR, THE.  English, Jig. G Major. Standard tuning. AABB. The melody appears in print in Charles and Samuel Thompson’s third country dance collection (London, 1773). It also appears, as do several of Thompson’s 1773 tunes, in the 1788 commonplace book of fiddlers John and William Pitt Turner of Norwich, Conn. The Lyar is the name of a play by dramatist Samuel Foote, first performed in 1762 at Covent Garden. Thompson (Compleat Collection of 200 Favourite Country Dances, vol. 3), 1773; No. 38.

X:1

T:Lyar, The

M:6/8

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:G

G[G,G]G GBd|{d}cAG FED|G[G,G]G GBd|cAF G3::d2d d2e|{g}fed g2B|

cde dcB|A>BA {G}F>ED|G[G,G]G GBd|{d}cAG FED|G[G,G]G GBd|cAF G3:||

 

LYDECKER'S QUICKSTEP. American, March (2/4 time). D Major. Standard tuning. AABB. In 1862 Bruce and Emmett’s Drummers’ and Fifers’ Guide was published to help codify and train the hordes of new musicians needed for Union Army service early in the American Civil War. George Bruce was a drum major in the New York National Guard, 7th Regiment, and had served in the United States Army as principal drum instructor at the installation at Governor’s Island in New York harbor. Emmett was none-other than Daniel Decatur Emmett, a principal figure in the mid-19th century minstrel craze and composer of “Dixie” (ironically turned into a Confederate anthem during the war) and “Old Dan Tucker,” among other favorites. Emmett had been a fifer for the 6th U.S. Infantry in the mid-1850’s. Bruce & Emmett’s Drummers’ and Fifers’ Guide, 1862; pg. 56. Sweet (Fifer’s Delight), 1965/1981; pg. 54.

X:1

T:Lydecker’s Quickstep

M:2/4

L:1/8

R:Quickstep March

S:Bruce & Emmett’s Drummers & Fifers Guide (1862)

Z:AK/Fiddler’s Companion

K:D

(3A/B/c/ | d/a/f/d/ B/g/e/c/ | d/a/f/d/ d/c/B/A/ | B/d/A/d/ G/d/F/d/ | Ee/c/ d/c/B/A/ |

d/a/f/d/ B/g/e/c/ | cd e>f | g/e/a/g/ e/A/B/c/ | dfd :: c/d/ | e/A/f/A/ g/A/f/A/ |

e/A/f/e/ d/c/B/A/ | B/b/A/a/ G/g/F/f/ | ef/e/ d/c/B/A/ | e/A/f/A/ g/A/f/A/ |

e/g/f/d/ c/d/e/f/ | g/e/a/g/ e/A/B/c/ | dfd :|

 

LYE SOAP. Old‑Time, Breakdown. USA, North Georgia. Vocalion 5446 (78 RPM), 1930, Dilly and His Dill Pickles (AKA John Dilleshaw, North Georgia).

 

LYING IN THE COFFIN. AKA and see “Big Coffin Reel,” “Put Me in the Big Chest.”

                       

LYING MALCOLM. AKA and see ">Calum breugach."

                       

LYKE-WAKE DIRGE. English, Slow March or Air (Dirge). Words to the tune go:

***

LYKE WAKE DIRGE

***

This ae night, this ae night

Every night and a'

Fire and sleet and candle lighte,

And Christ receive thy saule (soul)

***

When from hence away art past

Every ...

To whinny moor thou com'st at last

And ...

***

If ever thou gavest hosen and shoon

Sit thee down and put them on.

***

If hosen and shoon thou ne'er gav'st nane

The whinnies shall prick thee to the bare bane.

***

From whinny moor when thou may'st pass

To Brig o' Dread thou com'st at last.

***

From Brigg o' Dread hence thou mayst pass,

To Purgatory fire thou com'st at last,

***

To purgatory fire thou comst at last,

And Christ receive thy saul.

***

If ever thou gavest meat or drink

The fire shall never make thee shrink.

***

If meat or drink thou ne'er gav'st nane

The fire will burn thee to the bare bane.

***

This ae night, this ae nighte

Fire and sleet and candle lighte.

***

The Young Tradition (1966). Buffy Saint-Marie.

X:1

T:The Lyke Wake Dirge

C:Traditional English

R:funeral march

O:Assumed North Yorkshire

B:Enyclopaedia Blowzabellica

D:Blowzabella, 'Wall of Sound'

Z:Gordon Turnbull

M:3/4

L:1/4

K:AAeo

e | A2 B | c2 e | {a}e2 d/c/ | d2 c/d/ |

e2 f/e/ | d2 c/B/ | ~e d2 -| d2 e |

e2 f/e/ | d2 c/B/ | d2 c/B/ | A2 {ad}e |

{ad}e2 f/e/ | d2 c/B/ | c A2- | A2 :||

ef | g2 f/e/ | f2 e/d/ | e2 d/c/ | d2 c/d/ |

e2 f/e/ | d2 c/B/ | ~e d2 -| d2 e |

e2 f/e/ | d2 c/B/ | d2 c/B/ | A2 {ad}e |

{ad}e2 f/e/ | d2 c/B/ | c A2- | A2 :||

                       

LYME PARK. English, Jig. North‑West England. F Major. Standard tuning. AABB. Knowles (Northern Frisk), 1988; No. 27.

                       

LYNCHBURG TOWN. AKA ‑ "Lynchburg." AKA and see "Coon Dog [1]," “Going Down in Town,” "Raccoon's Tail,” “Way Up on the Mountain." Old‑Time, Breakdown. USA, Tennessee. A Major. Standard tuning. AAB.  This song/tune was African-American in origins and enjoyed a life on the minstrel stage. Uncle Jimmy Thompson, the elderly fiddler and “founder of the Grand Old Opry” remembered learning this tune (a “fine quadrille”) as a young man in Texas on August 4, 1866 (Wolfe, 1997).

***

Goin' down to town, goin' down to town,

Goin' down to Lynchburg town to take my 'bacco down.

***

Times a gettin' hard money's gettin' scarce,

Pay me for the tobacco boys before I leave this place.

***

I went down to town to get me jug of wine,

They tied me up to a whippin' post and gave me forty-nine.

***

I went down to town to get me a jug of gin

They tied me up to another post and give me hell again.    (Preceeding four verses from Art Rosenbaum)

***

I went down to the stillhouse, I didn't go to stay,

I fell in love with a whiskey keg, you bet I stayed all day.

***

Refrain

I'm goin' down, way way downtown,

I'm goin' down to Lynchburg Town to lay my tobaccer down.

***

I went up on the mountain just to give my horn a blow,

I thought I heard my pretty girl say "Yonder comes my beau".

***

Well once'd I had an old hound dog, I wish he'd bring him back,

He chased the big hogs round the fence and the little ones through the crack.

***

I bought myself a banjer, I strung it up with twine,

The only tune that thing would play was "Trouble On My Mind".

***

Well times are gettin' hard, money's gettin' scarce,

If times don't get much better here we're bound to leave this place.

***

Morgan Sexton sings these verses in his version called “Going Down in Town”:

***

I'm going down in town (x2)

I Don't care what the old folks say,

I'm going down in town

***

I'm going down in town

They call me down for supper

Stubbed my toe on a table leg,

Stuck my nose in the butter.

***

African-American musician Joe Thompson plays a local Orange County version that he calls “'Way up on the Mountain,” although it appears on his Rounder CD as “Goin' Downtown.” Thompson tunes his fiddle to ‘low bass’ (FCGD), and plays the tune around a G tonal center. He sings:

***

Away up on the mountain, away up on the mountain,

Way up on the mountain where the eagle builds his nest.

***

Going on downtown, going on downtown,

Going on down to Leesburg town, lay my 'bacco down.

***

Source for notated version: Cranberry Lake [Kuntz]. Kuntz (Ragged but Right), 1987; pg. 19‑20. Paramount 3171 (78 RPM), 1929, Charlie Poole and the North Carolina Ramblers. AHR4, Harvey Sampson - "Flat Foot in the Ashes." Biograph RC-6007, Ebenezer – “Tell It To Me” (1975). Biograph BLP 6005l, "The North Carolina Ramblers.” County 407 Blue Ridge Highballers  "Original Recordings of 1926." June Appal JA 0055, Morgan Sexton – “Rock Dust” (1989. Appears as “Goin Down in Town”). Old Homestead OHTRS 4000, Wade Mainer – “From the Maple on the Hill” (1976). Philo 1028, Wade Mainer and the Morris Brothers – “Good Time Music. National Folk Festival “(1975). Rooster 101, Corn Dodgers - "Cotton eyed Joe." Swallowtail 8, Cranberry Lake‑ "Old Time and Jug Band Music” (1977). Traditional JS-5117, Jean Schilling – “Old Traditions” (196?). Vocalion 5456 (78 RPM), Uncle Jimmy Thompson 1848‑1931 (Texas, Tenn.) {1930} [learned by Uncle Jimmy on 8/4/1866, by his account]. Hilltop Records 6022, Uncle Jimmy Thompson. Yazoo 2046 Uncle Jimmy Thompson - "Cornshuckers Frolic," Vol 2.

                       

LYNCH’S HORNPIPE (Cornphíopa Uí Loingsigh). Irish, Hornpipe. D Major. Standard tuning. AABB. Source for notated version: the 20th century collection of Bernard Bogue (Counties Tyrone & Monaghan) [Breathnach]. Breathnach (CRÉ IV), 1996; No. 215.

                       

LYNCH'S REEL (Ríl an Loinsigh). Irish, Reel. E Minor. Standard tuning. AB. Breathnach (1963) notes the tune first appears in print in Hardebeck’s Collection of Jigs and Reels for the Piano, Vol. 2 (Dublin, 1921). Source for notated version: fiddler George Rowley (Ireland) [Breathnach]. Breathnach (CRE I), 1963; No. 187, pg. 73.

                       

LYNDHURST. Scottish, March (6/8 time). A Major. Standard. AABB’CCDD’. Composed by Jack Smith. Martin (Ceol na Fidhle, Vol. 3), 1988; pg. 31. Green Linnet SIF 3037, Silly Wizard - "Golden, Golden" (1985).

                       

LYNNE’S REEL. Scottish, Reel. D Major. Standard tuning. AABB. Composed by Roger Crook. Martin & Hughes (Ho-ro-gheallaidh), 1990; pg. 22.

                       

LYNN’S FAVORITE. AKA and see “Bliven’s Favorite,” "Bobbing for Eels," "The Bottle of Punch," "The Butchers of Bristol [1]", "By your leave, Larry Grogan," "Coppers and Brass [2]", “The County Limerick Buckhunt," "Finerty's Frolic," "Fishing for Eels," “Green Sleeves [3]," "Groom," "Hartigan's Fancy," “The Humors of Ennistymon [1]," "The Humours of Milltown [2]," "Ioc an Reicneail,” "Jackson's Bottle/Jug of Punch/Brandy," "Larry Grogan(‘s) [1]", "The Lasses of Melrose," “Lasses of Melross,” "Little Fanny's Fancy," "Lynny's Favourite," "The Old Man's Jig," "Pay the Reckoning," "Pingneacha Rua agus Pras," “Queen of the Rushes,” "The Waves of Tramore," “Willie Clancy’s.”

                       

LYON'S FANCY. English, Jig. England, Shropshire. G 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. 105b, pg. 43.

                       


LYON’S FAVOURITE. AKA and see “Maurice Carmody’s Favourite,” “Morrison’s Jig [1],” “Paddy Stack’s Fancy Jig,” “The Stick Across the Hob.” Irish, Jig. E Dorian. Standard tuning. AABC. Source for notated version: Kerry fiddler Padraig O’Keeffe via accordion player Johnny O’Leary (Sliabh Luachra region of the Cork-Kerry border); O’Leary learned the tune in Lyons’ of Castleisland [Moylan]. Moylan (Johnny O’Leary), 1994; No. 198, pgs. 114-115.

                       

LYON’S FOR TEA.  Irish, Reel. Composed by County Tipperary fiddler Seán Ryan (d. 1985). Ryan (Seán Ryan’s Dream), 13.

 

LYON'S REEL. Irish, Reel. E Minor. Standard tuning. AB. Lyons was a piper famous in the the 19th century. Source for notated version: MS of Mr. James Corrigan (Ireland) [Darley & McCall]. Darley & McCall (The Darley & McCall Collection of Traditional Irish Music), 1914; No. 44, pg. 19.

 

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