The Fiddler’s Companion

© 1996-2008 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 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). 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:|

                       

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. 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 Duthracht"). AKA – “The Luckpenny.” Irish, Double Jig. G Major. Standard. AABBC (Breathnach, Cranitch): AABBCC (O'Neill, Taylor): AABBCC’ (Mulvihill). Sources for notated versions: fiddler Paddy Kiloran (Ireland) [Breathnach]; set dance music recorded live at Na Píobairí Uilleann, mid-1980’s [Taylor]. Breathnach (CRE III), 1985; No. 14, pg. 8. Cranitch (Irish Fiddle Book), 1996; No. 9, pg. 128. Cranitch (Irish Session Tunes: Red Book), 2000; 9. 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 Selections), 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).

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): 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. 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 :|

 

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 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).

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. 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)

***

Sounds like 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. 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.

 

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. 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. 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