The Fiddler’s Companion

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 LIAM - LITE

 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   **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, 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]

LIAM BROWNE’S. AKA and see “Ask our Dan,” “The Knocknaboul (Polka) [2],” “Knocknabower Polka [2].”

LIAM’S BEAR.  Canadian, Jig. Canada, Cape Breton. A Major. Standard tuning. AABB. Composed by Cape Breton fiddlers Dougie MacDonald and the late Jerry Holland (1955-2009). Cranford (Jerry Holland: The Second Collection), 2000; No. 231, pg. 85.

LIAM’S REEL (Ríl Liam). See “Ríl Liam.”

LIAUDE, LA.

X:167
T:Liaude (la)
R:bour 28=6*2+8*2
Z:Simon Wascher
M:2/4
L:1/8
Q:1/4=140
K:Gm
|:A2|^F4 D4|A3c B2A2|G3^F G2A2|^F4 D2A2|
A3c A2B2|1G6:|2G2^FG A2^F2||
|:D2G2 ^FGA^F|G2^FG A2^F2|D2G2 ^FGA^F|G4 A2^F2|
D2G2 ^FGA^F|G2^FG A2^F2|D2G2 ^FGA^F|1G8:|2G6|]

LIBBY PRISON QUICKSTEP. American, March. The tune shares at least a first strain with "O Dear Mother My Toes Are Sore [2]", "Jinny O Jinny My Toes Are Sore," "Monongahela March," "Rustic Reel [1]," “Virginia Reel [3],” "First Western Change," "City Guards," and others. Libby prison was a notorious Civil War military prison where captured Southern soldiers were held, but it was not quite as infamous as the Confederates' Andersonville.

***

Libby Prison, side view. 1865.

LIBERTIES. Irish, Reel. A Mixolydian. Standard. AABB. Composed by Falmouth, Massachusetts, writer and musician Bill Black. Black (Music’s the Very Best Thing), 1996; No. 78.

X:1

T: Liberties

Q: 350

R: reel

M: 4/4

L: 1/8

K: Amix

EAcA dcBA | BGEF GDB,D | EAce aece | fded cdBG |

EAcA dcBd | cAEA GDB,D | EAce afdf | ecdB cA A2 :|

(3cBA ea fAeA | gdBd gbaf | eAcA dcdf | ec c2 dB B2 |

(3cBA ea fAeA | ceae gabg | aece dcdf | ecdB cA A2 :|

LIBERTON PIPE BAND. English, Reel or Polka. The tune is similar to (but distinct from) “(I Have a) Bonnet Trimmed in Blue [1]” and, in the Sussex Manuacripts, as “Polish Polka” from Michael Turner’s manuscript books written down between 1842 and 1852. The tune was popularized by the late Scottish band leader and accordion player Jimmy Shand, although he sometimes called it “Fiona’s Wedding” and often played a third part.

X:1
T:Liberton Pipe Band
D:Tom Hughes, Border Fiddler
Z:Nigel Gatherer
L:1/8
M:2/4
K:D
AB/A/ FA | dA f2 | fe/f/ ge | d/c/d/e/ fa  |
AB/A/ FA | dA f2 | fe/f/ g/e/c/d/ | ed d2 :|
ef/e/ ce | ac e2 | ef/e/ dB | fe c2 |
ef/e/ ce | ac e2 | ef/e/ dB | BA  A2 :|

LIBERTY [1]. AKA and see "Reel de Ti‑Jean" (Canadian), "Tipsy Parson [1]," "Raccoon and the Possum," "Liberty Two‑Step," "Liberty Hornpipe."  Old‑Time, Bluegrass; Breakdown. USA, Widely known. D Major. Standard tuning. AB (Silberberg): AABB (most versions). According to Paul Wells, the first recordings of the tune were by Texas fiddler Bob Wills, though Tommy Jackson also made a recording for Dot Records that may have helped popularize the tune. However, Meade finds earlier recordings by Georgia’s Fiddlin’ John Carson, Gid Tanner & His Skillet Lickers (1928), and Herschel Brown (1928). Paul Tyler notes that “Liberty” seems to be the “hoedown” of choice among Cajun fiddlers, when asked to play one. “Liberty” is one of ‘100 essential Missouri tunes’ listed by Missouri fiddler Charlie Walden. The reel is very popular among Ozarks fiddlers, according to Beisswegner & McCann, where it is often an introductory tune for beginning fiddlers (in simplified version), although the authors suspect it is a relatively recent addition to Ozarks fiddle reertoire. In Martin Scorcese’s  period film The Gangs of New York (2002) a dulcimer player is briefly shown and heard playing the melody. Sources for notated versions: Jack Harris (East Texas) [Christeson]; Roger Fountain (b. 1948, Pineville, Ark.) [Beisswenger & McCann]. Beisswenger & McCann (Ozarks Fiddle Music), 2008; pg. 34. Brody (Fiddler’s Fakebook), 1983; pg. 168. R.P. Carlin, 1977; pg. 23. Christeson (Old Time Fiddlers Repertory, vol. 1), 1973; pg.61. Frets Magazine, "Byron Berline: The Fiddle," December 1986; pg. 56. S Johnson (The Kitchen Musician No. 4: Collection of Fine Tunes), 1983 (revised 1991, 2001); pg. 4. Phillips (Fiddlecase Tunebook), 1989; pg. 28. Phillips (Traditional American Fiddle Tunes), vol. 1, 1994; pg. 140. Reiner (Anthology of Fiddle Styles), 1979; pg. 78. Sannella, Balance and Swing (CDSS). Silberberg (Tunes I Learned at Tractor Tavern), 2002; pg. 90. Welling (Hartford Tunebook), 1976; pg. 4. Apex AL 1613, "The Best of Don Messer and his Islanders, Vol. 6" (appears as “Liberty Two-Step”). Front Hall 010, Fennigs All Stars‑ "The Hammered Dulcimer Strikes Again." Gennett 6447 (78 RPM), 1928, the Tweedy Brothers (Harry, Charles, and George, from Wheeling, W.Va., who played twin fiddles and piano). Heritage 048, Golden River Grass ‑ "Georgia Fiddle Bands" (Brandywine, 1982). Kicking Mule, Art Rosenbaum‑ "Five String Banjo." Missouri State Old Time Fiddlers Association 001, Pete McMahan ‑ "Ozark Mountain Waltz." Rounder 0016, Vasser Clements‑ "Crossing the Catskills."

X:1

T:Liberty  [1]

M:C|

L:1/8

R:Reel

K:D

"D"f2A2 f2A2| fgfe d2ef|"G"g2B2 g2B2| gagf e2de| "D"f2A2 f2A2|

fgfe d2ef| "G"gfed "A"cABc| "D"d2f2 d4:|

|:"D"A2AB AGFE| DFAd f2d2| A2AB AGF2| "A"E3F E2FG|

"D"A2AB AGFE| DFAd f2ef| "G"gfed "A"cABc| "D"d2f2 d4:|

LIBERTY [2]. AKA and see "Liberty Off the Corn Liquor Still." Old-Time, Breakdown. G Major. Standard tuning. AABB. Sometimes called  “Old Liberty” to differentiate it from the tune usually known as “Liberty”. The alternate title “Liberty Off the Corn Liquor Still” comes from the title of a 78-RPM-recorded skit by the Georgia group the Skillet Lickers. Source for notated version: John Ashby (Va.) [Phillips]. Phillips (Traditional American Fiddle Tunes), vol. 1, 1994; pg. 141. County 526, "The Skillet Lickers, vol. 2" (1973). County 544, Hershal Brown's Washboard Band‑ "Georgia Fiddle Bands, vol. 2."

LIBERTY BELLE. English, March. Used as the theme for the BBC television program "Monty Python's Flying Circus."

LIBERTY BODICE. Composed by Ed Rennie (“with a little help from John Phillip Sousa). Bismarks.

LIBERTY FOR THE SAILORS. English, Air (6/8 time). England, Northumbria. D Major/Mixolydian. Standard tuning. AABB. Stokoe includes this tune with several about press‑gangs ‑‑ see note for "Captain Bover."

***

There's liberty for the sailors. (Bruce & Stokoe).

***

Bruce & Stokoe (Northumbrian Minstrelsy), 1882; pg. 127.

X:1

T:Liberty for the Sailors

L:1/8

M:C

S:Bruce & Stokoe – Northumbrian Minstrelsy

Z:AK/Fiddler’s Companion

K:D

g|f2e f2e|dcd A2=c|BGB AFA|GEG F2D|f2e f2e|

dBd A2=c|BAG F2D|E3 D2::F|DFA AFD|DFA B2A|

Ace ecA|Ace f2g|afd BdB|ecA ABc|dBG F2D|E3D2:|

LIBERTY HORNPIPE. See "Liberty [1]."

LIBERTY OFF THE CORN LIQUOR STILL. AKA‑ "Liberty [2]." Old‑Time, Breakdown. USA, Va. G Major. Standard tuning (fiddle). AABB. The title comes from the Highwoods String Band who derived the tune from the “Liberty” on the Skillet Licker’s recording “Corn Liquor Still in Georgia.” On that recording, fiddler Clayton McMichen introduces the tune: "We`re gonna play the tune you all been askin` for, ‘Liberty’ - off the corn licker still", referring to their previous tune-and-skit comedy record “Corn Liquor Still in Georgia.” Source for notated version: Highwoods String Band (New York) [Brody]. Brody (Fiddler’s Fakebook), 1983; p. 168. Rounder 0023, Highwoods String Band‑ "Fire on the Mountain." County 727, John Ashby‑ "Old Virginia Fiddling" (appears as "Liberty").

LIBERTY TWO-STEP. AKA and see "Liberty [1]." Canadian, Two-Step. D Major. Standard tuning (fiddle). AABB’. Source for notated version: Johnny Morrissey (1913-1994, Newtown Cross, Queens County, Prince Edward Island; late of Vernon River) [Perlman]; fiddler Dawson Girdwood (Perth, Ottawa Valley, Ontario) [Begin]. Begin (Fiddle Music from the Ottawa Valley), 1985; No. 67, pg. 77. Perlman (Fiddle Music of Prince Edward Island), 1996; p. 160. Apex AL 1613, "The Best of Don Messer and his Islanders, Vol. 6."

X:1

T:Liberty Two-Step

M:2/4

L:1/8

K:D

fAfA|f/g/f/e/ d/e/f/a/|gBgB|g/a/g/f/ e/d/B/e/|fA fA|f/g/f/e/ dc/d/|

e/f/e/d/ Bc|1 dd/e/ dd/e/:|2 d>e d(3B/c/B||

|:AA/B/ A/G/F/E/|D/F/A/d/ fd|A>B/2c/2 d>F|[E>A>]F [EA][EA]|

A>B AGFE|DFAd fd|e/f/e/d/ Bc|1 d>d [df] (3B/c/B/:|1 d>e dd/e/||

LIBERTY (WALTZ).  English(?), Waltz. D Major. Standard tuning (fiddle). AABBCCDD. Kennedy (Fiddler’s Tune-Book: Slip Jigs and Waltzes), 1999; No. 143, p. 36.

LICHTENSTEINER POLKA. American, Polka. USA, Pennsylvania. G Major ('A' and 'B' parts) & D Major ('C' part). Standard tuning (fiddle). AA'BA'C. In the repertories of Buffalo Valley region, Pa., dance fiddler Ralph Sauers and Jehile Kirkhuff, attesting to the German influence in the region. Source for notated version: Jehile Kirkhuff (Pa.) [Phillips]. Phillips (Traditional American Fiddle Tunes), vol. 2, 1995; p. 351.

LICK THE LADDLE SANDIE/SANDY [1]. Scottish, Reel. A Mixolydian. Standard tuning (fiddle). AABBCCDD (Marshall): AAB (Athole, Gow). The tune was published in in 1800 on a sheet called the Kinrara Collection (really just one sheet printed on both sides) by William Marshall (1748-1833), and is sometimes therefore attributed to him. Gow (1802) says: “The Sets we have seen formerly of this Tune begins with the 2nd Strain (published we suppose by mistake) in place of the first as now given.” Carlin (The Gow Collection), 1986; No. 489. Gow (Complete Repository), Part 2, 1802; p. 26. Marshall, Fiddlecase Edition, 1978; Kinrara Collection (1800), pg. 26. Stewart-Robertson (The Athole Collection), 1884; p. 21.

X:1

M:C|

L:1/8

R:Reel

B:Stewart-Robertson – The Athole Collection  (1884)

Z:AK/Fiddler’s Companion

K:A

f|eAcA eAcA|=G/G/G =gB d2 d>f|eAcA eAcA|A/A/A ac e2 e>f:|

ef/g/ ae fdec|B/B/B =gB d2 d>f|ef/g/ ae fdec|e/e/e ac e2 e>f|

ef/g/ ae fdec|B=gdB =GABG|AB=cd ef=ge|fd=gB A2 A>f||

LICK THE LADDLE SANDY [2]. AKA and see "The Frolic," "Lasses Like(s) nae Brandy." Scottish. A reel by this title appears in the Gillespie Manuscript of Perth, 1768, though Glen (1891) finds its first appearance in print in Neil Stewart's 1761 collection (pg. 21).

LIDDELL'S HORNPIE. AKA and see "Billy Twist Hornpipe." English, Hornpipe. England, Northumberland. G Major. Standard tuning. AABB. Hall & Stafford (Charlton Memorial Tune Book), 1974; pg. 43. Miller (Fiddler’s Throne), 2004; No. 295, pg. 175. Raven (English Country Dance Tunes), 1984; pg. 185.

X:1

T:Liddell’s Hornpipe

M:C|

L:1/8

R:Hornpipe

K:G

dc|BGBd g2 fg|afge d2 ef|gagf ebag|f2d2d2 dc|BGBd g2fg|

afge d2cB|cedc BAGF|A2G2G2::fg|afdf afdf|bgeg bgef|

gagf ebag|f2d2d2gf|egdg cgBg|egdg cgBg|cedc BAGF|A2G2G2:|

LIDIA’S RAMBLE.  English, Country Dance Tune (2/4 time). D Major. Standard tuning. AABB. The melody is unique to Charles and Samuel Thompson’s 1757 country dance collection, although country dance directions appeared in Peter Thompson’s Twenty-Four Country Dances for the Year 1754 (London). Thompson (Compleat Collection of 200 Favourite Country Dances, vol. 1), 1757; No. 85.

X:1

T:Lidia’s Ramble

M:2/4

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:D

d2 (3Bcd|c A2G|FA gf|e2 A2|d2 fe/f/|gBAG|FdEc|d2 D2:|

|:d2 fd|(3Bcd (3dcB|(3gfe ed|{d}c2 AG|(3FGA Dd|(3cde Aa|(3gfe Ac|d2 D2:||

LIDOONVARNA REEL. AKA – “Lisdoonvarna Reel”??  AKA and see “Irish Hautboy,” “Smuggler’s Reel,” “Tadhg a Run.”

LIE UP WITH ME AND LIE DOWN WITH ME. AKA and see "Down Beside Me," "Sin Sios Agus Suas Liom."

LIESEL. AKA and see "Buffalo Nickel [1]," “Cat Ate the Handsaw,” "Chinky Pin," “Crooked Stovepipe [2],” "Darling Child," “Eber Atkins Tune,” "Farmer Had a Dog," "Fourth of July," “Grey-Eyed Cat,” "Hair in the Butter," "I'm My Momma's Darling (Child)," “Lead Out,” “Love Somebody [2],” "Midnight Serenade [1]," "My Love is/She's But a Lassie Yet [1],” “Old Mose,” “Raymondville,” "Richmond Blues," “Soapsuds Over the Fence [3],” "Sweet Sixteen," "Ten Nights in a Bar Room," "Yellow Eyed Cat." Old-Time, Breakdown. This was Missouri fiddler Lymon Enloe’s name for the tune, named for Boone County fiddler Liesel (or Leesil) Bennett.

LIEUTENANT A. STEWART. Scottish, Reel. A Mixolydian. Standard tuning. AABB. Composed by "D. Mc. K." Stewart-Robertson (The Athole Collection), 1884; pg. 30.

X:1

T:Lieutenant A. Stewart

M:C|

L:1/8

C:”D. Mc.K.”

R:Reel

B:Stewart-Robertson – The Athole Collection  (1884)

Z:AK/Fiddler’s Companion

K:A

e|cAA=c B=GGB|cAAc defd|cAA=c B=GGB|dfec A2A:|

e|cee=g fafd|ceef =gdB=G|cee=g faeg|B=G dB A2 Ae|

cee=g fafd|ceef =gdB=G|ceae fdec|B=GdB A2A||

LIEUTENANT ABERCROMBY('S REEL). Scottish, Reel. B Flat Major. Standard tuning. AABB. Composed by Isaac Cooper of the coastal town of Banff (b. 1754, d. 1810/1811 or 1820) and appearing in his collection of 1783. Cooper was a multi‑talented musician, teacher and composer who published several collections in the late 18th and early 19th centuries. John Glen (1895) thought it an "excellent tune." Glen (Glen Collection of Scottish Music), vol. 2, 1895; pg. 28.

X:1

T:Lieut. Abercromby

M:C

L:1/8

R:Reel

S:Glen Collection, vol. 2  (1895)

Z:AK/Fiddler’s Companion

K:Bb

B>df>b g>bf>d|e>gd>f c>FA>F|B>df>b g>bf>d|e/d/c/B/ A>c B/B/B B2:|

|:D>FB>d E>Gc>e|e>df>d c/c/c c2|D>FB>d E>Gc>e|e/d/c/B/ A>c B/B/B B2:|

LIEUTENANT COLONEL BAILLIE OF LEYS. Scottish, Strathspey. D Major. Standard tuning. AB. "From J.T. Surennes Collection" (Skye). MacDonald (The Skye Collection), 1887; pg. 26. Surenne (Dance Music of Scotland), 1852; pgs. 162-163.

X:1

T:Lieut. Col. Baillie of Leys

M:C

L:1/8

R:Strathspey

S:MacDonald – The Skye Collection  (1887)

Z:AK/Fiddler’s Companion

K:D

F||D2 F>A d>AF>D|E<B, E>D C<EC<A,|D2 F>A d>AF>D|f>de>c dc/B/ A/G/F/E/|

D2 F>A d>AF>D|E<B, E>D C<EC<A,|D2 F>A d>AF>A|B>g f/e/d/c/ d3||e|

f>dg>e f>dA>F|G<eF<d e>Ac>A|f>dg>e f>de>c|B>g f/e/d/c/ d3e|f<dg>e f>dA>F|

G<eF<d e>Ac>A|D2 F>A d>AF>A|B>g f/e/d/c/ e/d/c/B/ A/G/F/E/||

LIEUTENANT COLONEL D.J.S. MURRAY. Scottish, Reel. Composed by Lieutenant J. Allan. Scots Guards Collection. Green Linnet CD1182, The Tannahill Weavers - “Choice Cuts 1987-1996.”

LIEUTENANT COLONEL DAVID STEWART’S STRATHSPEY.  Scottish, Strathspey. A Major. Standard tuning. AABCCD. “By an Amateur” (Gow). The title perhaps refers to Colonel David Stewart (1768-1829) of Garth, a Black Watch (42nd Highlanders) career officer who later wrote Sketches of the Character, Manner and Present State of the Highlanders in Scotland (1822), which did much to romanticize Highland clans and customs. Unfortunately, a good portion of what he wrote had scant factual underpinning. Nevertheless, material from his book crept wholesale into various regimental histories and other works. Lord Thomas Babington Macauley (1800-1859) thought the popular romantic view of the Highlander promulgated by writer Sir Walter Scott, poet James MacPherson and soldier Stewart, were ludicrous nonsense, given the history of freebooting and plunder of the Lowlands. The idiocy reached its zenith with the visit to Holyroodhouse by King George IV, who was dressed in Highland garb, which Macauley maintained “before the Union, was considered by nine Scotchmen out of ten as the dress of a thief.” David Stewart participated in the farce, acting as chubby George’s valet, placing the kilt and plaid just so, obscuring the king’s pink tights. Stewart composed as well; at least one tune of his made it to the Gow collections, “An Original Gallic Air.” See also “David Stewart” and “Colonel David Stewart of Garth’s Reel.” Gow (Fifth Collection of Strathspey Reels), 1809; pg. 23.

X:1

T:Lieutenant Colonel David Stewart’s Strathspey

M:C
L:1/8

N:”By an amateur”

B:Gow – Fifth Collection of Strathspey Reels (1809)

Z:AK/Fiddler’s Companion

K:A

c/A/|E<AC>A E<AC<c|B<B “tr”B>A G<BB>c|E<AC>A E>AC>c|B<B {AB}c>A E<AA:||

c/d/|e<cfd e<c “tr”f2|e>c (d/c/)B/A/ G<B Bc/d/|e>cf>d e<c {c}a2|e>c (d/c/)B/A/ E<A Ac/d/|

e<cfd e<c “tr”f2|e>a (d/c/)B/A/ G<B “tr”Bc/d/|e<c d>B c>AB>G|A<F”tr”E>D A,AA||

|:B|{AB}c>BA<E {E}”tr”F>EC<F|E>A (F/E/)D/C/ B,>B ~Bc/d/|e<cA<E “tr”F>EC<e|”tr”f>eac E<AA:||

c/d/|e<cc<a f<df>a|e<c (d/c/).B/.A/ G<B Bc/d/|e<cc<a f<df>a|e>c (d/c/).B/.A/ EA Ac/d/|

e<cc<a f<ad>f|e>c (d/c/)B/A/ G<B Bc/d/|(3ece (3dBd (3cAc (3BGB|A<F”tr”E>C A,AA||

LIEUTENANT COLONEL LUMSDEN. Scottish, Reel. G Minor. Standard tuning. AB. The tune appears in Duncan MacIntyre's collection of 1795. Lumsden died before 1833 and had one daughter, Frances Anne, who married that year. Glen (Glen Collection of Scottish Music), vol. 2, 1895; pg. 36.

X:1

T:Lieut. Col. Lumsden

M:C

L:1/8

R:Reel

S:Glen Collection, vol. 2  (1895)

Z:AK/Fiddler’s Companion

K:Gmin

AFAc fcA^F|GBAc Bedc|BdcA GG,G,||d|gabg dgBd|cf (d/c/B) (A/B/c) FA|

GdBe dg^fa|gba^f g/g/g ga|bgfe dfBd|cf (d/c/B) (A/B/c) A^F|GBAc Bedc| BdcA GG,G,||

LIEUTENANT COLONEL MAXWELL'S FANCY. Scottish, Quickstep. F Major. Standard tuning. AABB. One possibility: “This able and high-spirited officer died at Cuddalore [India] in 1794. He was son of Sir William Maxwell of Monreith, and brother of the Duchess of Gordon. At an early age he was appointed to a company of Fraser's Highlanders, in which regiment he served during the whole of the American war, with a degree of approbation which his later conduct proved he so well merited, and which showed that he was one of those whose premature death their country has reason to deplore” (Military Annals of the Highland Regiments). Prior to his death, Maxwell served with distinction in India as Colonel of the 74th Highlanders, and commanded the grenedier companies for Lord Cornwallis in numerous engagements in the conflict with the Sultan, Tippoo. The 7th Dragoon Guards, referred to in Gow’s title in the Fifth Collection, were raised in 1688 as The Earl of Devonshire’s Horse, but acquired the name 7th Dragoon (Princess Royals) Guards in 1788, which helps date the composition. However, there is no record of Maxwell of Monreith’s service in the unit. Second: A Lieutenant-Colonel Patrick Maxwell served with a dragoon regiment, the 19th Light Dragoons, and commanded the cavalry with Wellesley in India. Patrick Maxwell was a well-liked and valiant officer but died in the last charge at the Battle of Assaye (1803). A record of a marriage of Jane Anne Charlotte Maxwell, at Dumfries in 1845, indicates she was the daughter of  “the late Colonel Patrick Maxwell of the 7th Dragoon Guards” (Wigtownshire Free Press). Patrick’s portrait, depicted in the uniform of the 19th, was painted by John Downman in 1795. Carlin (The Gow Collection), 1986; No. 572. Gow (Fifth Collection of Strathspey Reels), 1809; pg. 5.

X:1

T:Lieutenant Colonel Maxwell’s (7th Dr. Guards) Fancy

M:2/4

L:1/8

R:Quickstep

N:”Not too Fast”

B:Gow – Fifth Collection of Strathspey Reels (1809)

Z:AK/Fiddler’s Companion

K:F

A/B/|cz/A/ A/zf/|fz/c/ cz/_e/|dz/B/ Bz/g/|gz/e/ ez/g/|”tr”fz/g/ az/f/|bz/a/ gz/b/|(3aba (3gfe|[A3c3f3]:|

|:g|a>f a>f|b>a g>b|a>f b>a|(3gaf (3edc|a>f a>f|b>a g>b|(3aba (3gfe|[A3c3f3]:||

LIEUTENANT HOWARD DOUGLAS. Scottish, Strathspey. D Major. Standard tuning. AAB. Identified as a composition of Niel Gow, according to David Green and Phil Hresko, though Paul Cranford (1997) attributes it to Robert MacKintosh. Source for notated version: Winston Fitzgerald (1914-1987, Cape Breton) [Cranford]. Cranford (Fitzgerald), 1997; No. 139, pg. 56. Philo 2001, "Jean Carignan." Rounder 7001, Joe Cormier ‑ "Scottish Violin Music from Cape Breton Island" (1974).

LIEUTENANT MACGUIRE'S JIG. Scottish, Jig. B Minor. Standard tuning. AABBCCDD. Martin (Ceol na Fidhle), vol. 1, 1991; pg. 40. Culburnie COL 113D, Aladair Fraser & Tony McManus – “Return to Kintail” (1999).

LIEUTENANT MURRAY'S WELCOME TO THE 79th. Scottish, March (2/4 time). D Major. Standard tuning. AABBCCDD. Composed by Duncan Campbell, appearing in Logan's Collection, Book 4. The 79th Regiment is popularly known as the Queen's Own Cameron Highlanders, the only single-battalion regiment in the Victorian British army between 1881 and 1897, and one which mustered a number of Englishman in its ranks. Hardie (Caledonian Companion), 1986; pg. 24. The Scottish Fiddle Festival Orchestra ‑ "Scottish Traditional Fiddle Music" (1978).

LIFE BOAT, THE. Scottish, Hornpipe. F Major. Standard tuning. AA’AA’BB’. Kerr (Merry Melodies), vol. 4; No. 304, pg. 32.

X:1

T:Life Boat, The

M:C|

L:1/8

R:Hornpipe

S:Kerr – Merry Melodies, vol. 4, No. 304  (c. 1880’s)

Z:AK/Fiddler’s Companion

K:F

ABcd c2f2|ABcd c2f2|efgf edcd|efgf edcB|ABcd c2f2|

ABcd c2f2|egfe dfed|c2e2c2z2::g^fga g2c2|g^fga bgeg|

=fefg f2c2|FAcf afcA|g^fga g2c2|g^fga bgeg|=fagf edc=B|1 c2e2c2z2:|2 cded cBAG||

LIFE I THOUGHT I WANTED, THE. AKA and see "La Vie J' croyais J' voulais."

LIFE IN THE FINN/FINNISH/FINLAND WOODS (Livet i Finnskogarna). AKA – “Livet I Finnskogen.” Swedish, Waltz. G Major {Matthiesen}: D Major ('A' and 'B' parts) & G Major ('C' part) {Phillips}. Standard tuning. AA'BB (Matthiesen): ABB'CC (Phillips). Original versions appear to have a 'C' part. The tune was at one time locally popular among the ethnic northern Wisconsin ethnic Slovak and Croation populace, and is also popular with Scandinavians in general. It has been a popular waltz among fiddlers in eastern Canada and the north-east United States. The title, however, is Swedish and refers to that part of the woods of Sweden where a Finnish population settled. The melody, with lyrics appears in a 1938 Swedish tune book entitled Jularbos Basta, published in Malmo, Sweden, and is a composition by Swedish accordion virtuoso Carl Jularbo (1893-1966). It was recorded in 1915 and was a quite popular piece of music of its era, which accounts for its wide dissemination outside of Sweden. Tom Paley thinks another Swedish 3-part tune, "Moeckelmyrvalsen,” was a source tune (a vesion by Jon-Erik Oest is structured AABBACC). Pattie Page used the first two parts of the three-part melody in the 1950's for her hit "Mocking Bird Hill." The first two parts were also recorded by Irish fiddler Seán Ryan on his first album, Siúil Uait, under the title “Seacht bPreab.” Source for notated version: Clarence Tate [Phillips]. Matthiesen (Waltz Book II), 1995; pg. 31. Phillips (Traditional American Fiddle Tunes), Vol. 2, 1995; pg. 277. Sonora 7211 (78 RPM), Karl Jularbo med Stjarntrio (accordion) - "Livet i Finnskogarna."

LIFE IS ALL CHEQUERED. AKA and see “The Black Joke [2],” "The Black Rogue [1]," "Come Under My Plaidie," "Johnny/Johnnie McGill/MacGill." Irish, Scottish (under the alternate titles); Jig. G Major (Allan's): D Major (Williamson). Standard tuning. AABB. John Synge played this tune for the local Aran Islanders when he lived there, prompting this reaction from one of the local men:

***

In a moment a tall man bounded out from his stool and began

flying around the kitchen with peculiarly sure and graceful

bravado. The lightness of the pampooties (shoes) seems to

make the dancing on this island lighter and swifter than

anything I have seen on the mainland and the simplicity

of the men enables them to throw a naive extravagance

into their steps that is impossible where the people are

self-conscious. The speed, however, was so violent that

I had some difficulty in keeping up as my fingers were

not in practice, and I could not take off more than a small

part of my attention to watch what was going on.

***

Allan's Irish Fiddler, No. 33, pg. 8. Williamson, 1976; pg. 68.

LIFE IS LIKE A SEA IN CONSTANT MOTION. English, March. D Major. Standard tuning. AABB. Source for notated version: the c. 1800 music copybook of ship’s fiddler William Litten, who eventually settled in Martha’s Vineyard [Huntington, Miller]. Huntington (William Litten's), 1977; pg. 45. Miller (Fiddler’s Throne), 2004; No. 244, pg. 202.

X:1

T:Life is like a sea in constant motion

M:4/4

L:1/8

R:March

S:William Litten’s copybook (c. 1800)

Z:AK/Fiddler’s Companion

K:D

A2Bc d2d2|dcBA d2d2|F2F2G2G2|A2A2D4|A2 Bc d2d2|

dcBA e2e2|d2c2B2 cd|e2E2A4::d3cB2A2|GF GA/B/ A4|

B3c d3e|fd af f2e2|gfge dcBA|gfge dcBA|B2c2d2f2|e2a2d4:|

LIFE LET US CHERISH. AKA and see “Butterfly Waltz.” Scottish, English, American; Air and Waltz. Standard tuning. G Major (Ashman, Colclough, Kerr): C Major (Howe): D Major (Silberberg). Standard tuning. One part (Silberberg): AAB. The melody was originally a song air called “Freut Euch des Lebens” (Come Let Us be Joyful), composed in Switzerland in 1795 by Hans Georg Nageli with words by poet Johann Martin Usteri (1763-1827). It was adapted in English as “Life Let Us Cherish” and became an enormously popular air in Britain and America, where it served as a waltz (see “Butterfly Waltz”) as well as an air.

***

Life let us cherish while yet the taper glows,

And the fresh flower pluck ere it close;

Why are ye fond of toil and care,

Why choose the rankling torn to wear,

And heedless by the lily stray,

Which blossoms in our way.

***

Source for notated version: a c. 1837-1840 MS by Shropshire musician John Moore [Ashman]. Ashman (The Ironbridge Hornpipe), 1991; No. 111b, pg. 46. Colclough (Tutor for the Irish Union Pipes), c. 1830; pg. 12. Howe (Complete Preceptor for the Accordeon), 1843; pg. 6. Kerr (Merry Melodies), vol. 3; No. 291, pg. 32. Silberberg (93 Fiddle Tunes I Didn’t Learn at the Tractor Tavern), 2004; pg. 26. Voyager BRCD 358, New Columbia Fiddlers – “Fiddle Tunes of the Lewis and Clark Era” (2002. Appears as “Freut Euch des Lebens”).

# X:1

T:Life Let Us Cherish

M:6/8

L:1/8

R:Air

S:Howe – Complete Preceptor for the Accordeon (1843)

Z:AK/Fiddler’s Companion

# K:C

e3 fef | g2c’2 c’z | c3 dcd | efe d2z | e3 fef | g2 c’2 c’z | e3 dcd | c3 z2 :|
g | g2f def | g2e c2g | g2f def | g2e c2g | a2f c’2c’ | g2e c’2c’ | gag gfe | e3 d3 ||

X:2

T:Life Let Us Cherish

M:6/8

L:1/8

S:Colclough – Tutor for the Irish Union Pipes (c. 1830)

Z:AK/Fiddler’s Companion

K:G

[D3G3B3] [(Ac][G)B][Ac] | [B2(d2]g) [B2g2]z | G3 (AG)A | [(GB][A)c][GB] [D2F2A2]z | B3 cBc |

d2g g2z | B3 AGA | (G3G2) :| d | [c2e2] [Ac] [B2g2]g | [B2d2][GB] g2g | [Bd][cf][Bd] [Bd][Ac][GB] |

[D3G3B3] [D2F2A2]z | B3 cBc | d2g g2z | G3 (AG)a | (Bc)B A2z | B3 cBc | d2g g2z | B3 AGA | (G3G2) ||

LIFE OF A MUSICIAN, THE. AKA and see "La Vie d'un Musicien."

LIFE OF A SOLDIER, THE. AKA and see "Voulez Vous Danser{, Mademoiselle?}," "The Soldier's Glory," "Old Amzi Eccles Tune" (Pa.). Irish. Galway, 1910; No. 1, pg. 9.

LIFE OF MAN [1]. AKA and see "My Sweetheart Jane."

LIFE OF MAN [2].  AKA and see "Hopetoun House," “Sweet Mally,” “Sweet Molly [1]  The Youngest Daughter [1].” Scottish, Reel. E Minor. Standard tuning. AABB. The melody appears under this title in William Vickers’ 1770 Northumbrian music manuscript. Unfortunately, nothing is known about Vickers. There are many variants in both Scotland and Ireland (see notes for “The Youngest Daughter [1]” and "Hopetoun House").

X:1

T:Life of Man [2]

M:C|

L:1/8

R:Reel

S:William Vickers’ 1770 music manuscript (Northumberland)

K:Emin

B|FE BE dEEe|dBAF DEFD|FE BE dEEe|dBAF B2 E2:|

|:Eeef gefd|Bc/d/ AF DEFD|Eeef gefd|Bc/d/ AF E2E2:|

X:1

T:Life on the Ocean Wave

T:Ocean Waves

M:6/8

L:1/8

S:Shaw – Cowboy Dances  (1943)

Z:AK/Fiddler’s Companion

K:D

A,2D D2E|(F3 F2)F|G2F G2F|(E3 E3)|A,2E E2F|G3B3|

ABA GFE|1 D6:|2 D3 z2 z||

|:A2A Afd|A2A Afd|c2c cBc|d2d dcB|A2A Afd|A2A Afd| c2c cBc|d6:||

X:2

T:Life On The Ocean Wave
M:6/8
L:1/8
C:Epes Sargent & Henry Russell 1838
K:G
GFE|"G"DED G2 A|B3 B2 A|BAB c2 B|"D"A3 ABA|!
"D"DED F2 A|c3 e3|ded cBA|1 "G"B3:|2 "G"G3 G3||!
|:"G"ded B2 g|ded B2 d|"C"c2 B A2 B|c3 c3|!
"G"d2 d B2 d|"C"e2 f gfe|"D"ded cBA|1 "G"G3 G3:|2 "G"G3||

LIFFEY BANKS, THE (Bruacha na Life). AKA and see “The Colleen Bawn,” "The First of August.” AKA – “Liffy Banks.” Irish, Reel. G Major. Standard tuning. AB (Breathnach): AAB (Flaherty). A very popular tune in County Sligo, notes fiddler Gerry Harrington. Sources for notated versions: fiddler Tommy Potts (Ireland) [Breathnach]; accordion player Joe Fallon (b. 1935, Collooney, County Sligo) [Flaherty]. Breathnach (CRÉ III), 1985; No. 82, pg. 41. Bulmer & Sharpley (Music from Ireland), vol. 2, No. 23. Flaherty (Trip to Sligo), 1990; pg. 98. Lyth (Bowing Styles in Irish Fiddle Playing, vol. 1), 1981; 27. Claddagh Records CC13, Tommy Potts ‑ "The Liffey Banks" (1971). Cló Iar-Chonnachta CICD 167, Peter Horan & Gerry Harrington – “The Merry Love to Play” (2007). Coleman Center CD CC004, Harry McGowan & Mick Loftus – “The Mountain Road” (1999. Various artists. “A Compilation of tunes popular in South Sligo”). Leader LEACD 2004, “Martin Byrnes” (1969). Outlet SOLP 1007, “The Best of Seamus Tansey” (197?).

X:1

T:Liffey Banks, The

M:C|

L:1/8

R:Reel

K:G

~G3 F GBdB|cBcd ~g3z|B2GB ABGE|DEGB AGEF|

GDBD GBdB|cBcd gedc|~B3G AFGE|DEGB AGEF|

~G3F GBdB|cBcd ~g3c|BdGB ABGE|DEGB AGEF|

GDBD GBdB|cBcd gedc|~B3G AGFE|DEGB AGef||

gage dGBd|gabg agef|~g3e dGBd|gabg agef|

~g3e dGBd|g~a3 agef|gabg efge|dedc Bdef|

gage dGBd|gabc’ bgef|~g3e dGBd|gabg agef|

~g3e dGBd|g~a3 agef|gabg efge|dedc BcdB||

LIFFEY'S SILVERY STREAM, THE (An Amain Lonnrac Liffi). Irish, Slow Air (2/4 time). D Major. Standard tuning. AB. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 587, pg. 103.

X:1

T:Liffey’s Silvery Stream, The

M:2/4

L:1/8

R:Air

N:”Slow”

S:O’Neill – Music of Ireland (1903), No. 587

Z:AK/Fiddler’s Companion

K:D

A|A<FAB|d>(3e/2d/4c/4d/e/ f>e|d<B ce/>f/|d2 zA|AFAB|d>(3e/2d/4c/4de fa|

B>d ce/f/|d2 z||d/e/|fedB|AFEF|B>(3c/2B/4A/4d/c/ dd/e/|f2 eA|dcBd|geae|

fd Bd|~A>B c/d/e/g/|f<d z||

LIFTING OF THE LINNEN, THE. AKA and see "Wattie Long,” “Wattie La(i)ng.”

LIGGERAM COSH. AKA and see "Sean Buide," "Over the Water to Charlie," "Pot Stick." See also note for "The Quaker's Wife."

LIGHT AND AIRY [1]. AKA and see “The Old Woman’s Song.” Scottish, Irish; Jig. G Major (Cole): F Major (Gow, Hunter, Kerr, Perlman). Standard tuning. AABB (Kerr): AABBCC (Cole, Gow, Hunter, Perlman). O’Neill (1922) remarks that "Light and Airy" first appeared in A Choice Collection of Scots Reels or Country Dances & Strathspeys, etc., published by Robert Ross at Edinburgh, 1780. Kirkmichael, Perthshire, fiddler and composer Robert Petrie included it in his Second Collection of Strathspey Reels and Country Dances. Sources for notated version: Car & Jackie Webster (Cardigan, Central Kings County, Prince Edward Island) [Perlman]; Gow’s Repository (1805) [O’Neill]. Cole (1000 Fiddle Tunes), 1940; pg. 69. Gow (Second Collection of Niel Gow’s Reels), 1788; pg. 25 (3rd ed.). Gow (Beauties of Niel Gow), 1819. Gow (Collection of Strathspey & Reels). Hunter (Fiddle Music of Scotland), 1988; No. 306. Kerr (Merry Melodies), vol. 2; No. 277, pg. 30. Lowe (A Collection of Reels and Strathspeys), 1844. O’Neill (Waifs and Strays of Gaelic Melody), 1922; No. 176. Perlman (The Fiddle Music of Prince Edward Island), 1996; pg. 145. Ryan’s Mammoth Collection, 1883; pg. 101.

X:1

T:Light and Airy [1]

M:6/8

L:1/8

S:Neil Gow & Sons Complete Repository, Edinburgh 1805

Z:Paul Kinder

K:G

d3 BdB|GBd gdB|d3 BdB|A2 B c2 e|

d3 BdB|GBd gdB|cac BgB|A2 B c2 e:|

|:gag gdB|gag gba|gag gdB|A2 B c2 e|

gbg ac'a|gbg faf|g>fe d>cB|A2 B c2 e:|

|:dBG G2 B|dBG Bdg|dBG G2 B|A2 B c2 e|

dBG GBd|g>fe dcB|cac BgB|A2 B c2 e:||

X:2

T:Light and Arie  [1]

S:Petrie's Second Collection of Strathspey Reels and Country Dances &c.

Z:Steve Wyrick <sjwyrick'at'astound'dot'net>, 6/11/04

N:Petrie's Second Collection, page 19

% Gore's Index gives earliest publication as John Hamilton's

% "A Choice Coll of Scots Reels, or C.C. & Str."  N.D.; Petrie's may be older

L:1/8

M:6/8

R:Jig

K:F

d|:c3  AcA|FAc fcA|c3  AcA|G2A B2d|c3  AcA|FAc fcA|BgB AfA|G2A B2d:|

|:fgf fcA|fgf fag|fgf fcA|G2A B2d|faf gbg|faf ege|fed cBA|G2A B2d:|

|:cAF FAF|cAF Acf|cAF FAF|G2A B2d|cAF FAc|fed cBA|BgB AfA|G2A B2d:|

|:fgf fcA|fgf fag|fgf fcA|G2A B2d|faf gbg|faf ege|fdf cAF|G2A B2d:||

LIGHT AND AIRY [2] (Eadtrom Agus Beoda). Irish, Slip Jig. A Mixolydian. Standard tuning. AAB. Source for notated version: O’Reilly [O’Neill]. O'Neill (Krassen), 1976; pg. 79. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1119, pg. 211.

X:1

T:Light and Airy [2]

M:9/8

L:1/8

R:Slip Jig

S:O’Neill – Music of Ireland (1903), No. 1119

Z:AK/Fiddler’s Companion

K:A

c2A A2A czA | Bcd ecA Bcd | c2A A2A czA | B2=G GzA Bcd :|\

|| e3 ^d2e czA | Bcd ecA Bcd | e3 ^d2e czA | Bz=G G2A Bcd |

e3 ^d2e czA | Bcd ecA Bcd | e3 f3 =g3 | bz=G G2A Bcd ||

LIGHT AND AIRY [3].  English, Jig. D Major. Standard tuning. AABB. The melody was published by Charles and Samuel Thompson in their third country dance collection (London, 1773). It was also entered into the music manuscript copybook of flute player Ensign Thomas Molyneaux, 6th Regiment (Shelburne, Nova Scotia, 1788). Thompson (Compleat Collection of 200 Favourite Country Dances, vol. 3), 1773; No. 44.

X:1

T:Light and Airy [3]

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:D

A|dff egg|faa gbb|agf agf|eee e2A|dff egg|faa gbb|agf gfe|ddd d2:|
|:a|aff gee|fdd eAA|aff fed|eee e2A|AFd dAf|fdb a2g|fed Adc|ddd d2:||

LIGHT AND SHADOW WALTZ. American, Waltz. G Major. Standard tuning. AA'BB'. Composed in 1992 by upstate New York fiddler George Wilson. Matthiesen (Waltz Book I), 1992; pg. 32.

LIGHT HEARTS A JEWELL, A. See "Jack Pudding."

LIGHT HORSE MARCH. English, March (4/4 time). North‑West England. D Major. Standard tuning. AABB. Knowles (Northern Frisk), 1988; No. 72.

LIGHT HORSE REEL. English, Reel. G Major. Standard tuning. AABB. Huntington (William Litton's), 1977; pg. 14.

LIGHT IN DENNIS MUNION’S, THE. Irish, Reel. G Major. Standard tuning. AABB.  Composed by County Cavan/Philadelphia fiddle player and composer Ed Reavy (1898-1988). Munion was a neighbor of Reavy’s Aunt Ann in County Cavan, a woman blessed with keen eyesight. When Reavy and his brothers would walk her home in the evening, Ann would remark the she could always tell what time it was “by the light in Dennis Munion’s window” (Joseph Reavy), and spied it before the boys did. Reavy (The Collected Compositions of Ed Reavy), No. 46, pg. 48.

X:1

T:The Light in Dennis Munion's Window

R:Reel

C:Ed Reavy

M:2/2

L:1/8

Z:Joe Reavy

N:Dennis lived along the "starry" lane. His place was near Aunt Ann's home.

N:As children, Ed and his brother George would often walk Ann home when

N:night came on. Ann had keen eyesight and was able to see Dennis' place

N:long before the boys could. She said she could always tell the time of

N:night it was by "the light in Dennis Munion's window."

K:G

AG | FGAF BDB,D | GBAc BGGA | B^cdf eB=cA | E2 AG FDB,D |

(3GGG BG AGBG | GABc defg | (3agf ge defd | cAFA G2 :|| GA |

B2 ef gfed | (3BcB GB ABGA | B2 ef gfga | (3bag (3agf gfed |

B2 ef gfed | eBBA B^cdf | (3efg fa gbaf | gedB G2 :||

LIGHT IN THE WINDOW, THE (An Solas Annsa Fuineog). Irish, Hornpipe. G Major. Standard tuning. AABB. Source for notated version: Chicago Police Sergeant James O’Neill, a fiddler originally from County Down and Francis O’Neill’s collaborator [O’Neill]. O'Neill (Krassen), 1976; pg. 187. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1658, pg. 308.

X:1

T:Light in the Window, The

M:C|

L:1/8

R:Hornpipe

S:O’Neill – Music of Ireland (1903), No. 1658

Z:AK/Fiddler’s Companion

K:G

B>c | d>cB>d c>AF>A | G>FG>A G2 A>B | c>BA>B c>BA>G | F>GE>F D2 B>c |

d>cB>d c>AF>A | G>gf>a g2 d>e | f>dB>d c>AF>A | G>FG>A G2 :|

|: B>c | d>Bb>g d>BG>B | d>cA>B G2 A>B | c>Aa>g f>ed>c | B>dc>e d2 B>c |

d>Bb>g d>BG>B | d>gf>a d2 d>e | f>dB>d c>AF>A | G>FG>A G2 :|

LIGHT O' LOVE. AKA and see "Volte Angloise." English, Air (3/4 time). D Major. Standard tuning. One part (Kines): AABB (Chappell). An English annexation of an Irish tune, asserts Flood (1906), though the English antiquarian Chappell (1859) does not identify it as such. Kines (1964) remarks that the words to the song "Light O' Love" (which have not been found) have been attributed to Leonard Gybson and were first printed in 1570, though he says the song may have been a reworking of another much older but well‑known song. The air is mentioned twice in Shakespeare, in Two Gentlemen of Verona (act I, sc. 2), and in Much Ado About Nothing (act III, sc. 4: "Clap us into 'Light o' Love', that goes without a burdin {drone‑bass}; do you sing it and I'll dance it"). It  appears in William Ballet's Lute Book, the Leyden Lute Manuscript (under the title “Volte Angloise”), and, much altered, in Musick's Delight on the Cithren (1666). Chappell (Popular Music of the Olden Time), Vol. 1, 1859; pg. 82. Kines (Songs From Shakespeare's Plays and Popular Songs of Shakespeare's Time), 1964; pgs. 44‑45.

X:1

T:Light o’ Love

M:3/4

L:1/8

S:Chappell – Popular Music of the Olden Times (1859)

Z:AK/Fiddler’s Companion

K:D

D2|D2A2d2|c2A2F2|G3A F2|E4 E2|D2A2d2|c2A2F2|G3F E2|D4:|

|:D2|G3A G2|F3E D2|G3A B2|E4 E2|D2 A2 d2|c2A2F2|G3F E2|D4:|

LIGHT OF OTHER DAYS, THE (Solus Na Alloide). Irish, Slow Air (4/4 time). B Flat Major. Standard tuning. ABC. A composition by Balfe. O’Neill was criticized in some traditional circles for his inclusion of some of Balfe’s compositions in his Music of Ireland, as it was thought by some that “Balfe’s music...was not Irish at all, even if he was” (O’Neill, 1913). O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 496, pg. 87.

X:1

T:Light of Other Days, The

M:4/4

L:1/8

R:Air

N:””Slow”

S:O’Neill – Music of Ireland (1903), No. 496

Z:AK/Fiddler’s Companion

K:B_

F2|F3B dcBA|G4 F2 B>c|d2 d>e f2 c>d|B6 z2||B|e3B BABc|d4 B3B|

B3B c3c|d6 z||F|F3B edBA|G4 F2 B>c|d2 d>e f2 c>d|e6 fe|d3c BABc|

(d4 d)cd efg|g2 g/f/A/B/ d/c/ e2d|B6 z2 z||

LIGHTENING FLASH, THE (An Lasairteinig). Irish, Reel. G Major. Standard tuning. AB. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 689, pg. 122.

X:1

T:Lightening Flash, The

M:C|

L:1/8

R:Reel

S:O’Neill – 1001 Gems (1907), No. 689

Z:AK/Fiddler’s Companion

K:G

dc|BG{A}GB AFDE|FEFG Adgd|BG{A}GB AGFA|(3Bcd cA G2 dc|

BG{A}GB AFDE|FEFG (3ABc de|~f2 fd ecAc|BGAF G2||Bc|

Dgga bgaf|dcde fdcA|dgga bgag|fdcA G2 Bc|dgga bgaf|dcde fefg|abag fgag|fdcA G2||

LIGHTENING IN THE EAST. Old-Time, Breakdown. A Major. Standard tuning. AABB'CC. Source for notated version: Kerry Blech (Seattle, Washington) [Phillips]. Phillips (Traditional American Fiddle Tunes), vol. 1, 1994; pg. 141.

LIGHTHOUSE. AKA and see “Trouble on the Nine Mile.” Old-Time, Breakdown. USA, Missouri. D Major. Standard tuning. AA’BB. The melody belongs to the “Dubuque” family of tunes. Gus Meade (2002) links it to “Village Hornpipe.” Source for notated version: Emanuel Wood (1900-1981, Taney County, Missouri) [Beisswenger & McCann]. Beisswenger & McCann (Ozark Fiddle Music), 2008; pg. 164.

LIGHTHOUSE ON THE BOG, THE. Irish, Air. Composed by flute player Vincent Broderick, originally from Bullaun, near Loughrea, County Galway, near by the Turoe Stone, a famous Iron Age monument. Carramore bog lay next to the family homestead, a light could be seen from the house at nighttime from the bog. The title comes from a complaint by Broderick’s father to his wife for being to often kept awake by the merriment and music late of an evening: “Annie, what the hell kind of house are you keeping at all? This house is like a bloody lighthouse. There’s a light every night of the week here, all night long” (Vallely & Piggott, Blooming Meadows, 1998).

LIGHTHOUSE POLKA, THE. Irish, Polka. D Major. Standard tuning. AABB’. Source O’Leary identified the tune as learned from Jack Connell, “the man of The Lighthouse. He’s the man above at The Lighthouse in Ballydesmond.” Source for notated version: accordion player Johnny O’Leary (Sliabh Luachra region of the Cork-Kerry border), recorded at Na Píobairí Uilleann, October, 1984 [Moylan]. Moylan (Johnny O’Leary), 1994; No. 159, pg. 92.

LIGHTHOUSE REEL. Canadian, Reel. D Major/Mixolydian. Standard tuning. AA'BB'. Composed by Nova Scotia fiddler Bill Guest. Source for notated version: Hamilton County New York fiddler Vic Kibler learned the tune from a Bill Guest recording [Bohrer/Kibler]. Bohrer (Vic Kibler), 1992; No. 15, pg. 15.

LIGHTHOUSE (WALTZ).  English, Waltz. A Major. Standard tuning. AABBCC’. Kennedy (Fiddler’s Tune-Book: Slip Jigs and Waltzes), 1999; No. 144, pg. 36.

LIGHTLY TRIPPING. Irish, Set Dance (6/8 time). D Major. Standard tuning. AB. "Taken down from Ned Goggin, the professional fiddler of Glenosheen Co. Limerick, about 1848" (Joyce). Joyce (Old Irish Folk Music and Song), 1909; No. 17, pg. 11. Miller (Fiddler’s Throne), 2004; No. 70, pg. 52. Shanachie 79054, Kevin Carroll & Liz Carroll – “Fathers and Daughters” (1985).

X:1

T:Lightly Tripping

M:6/8

L:1/8

R:Set Dance

S:Joyce – Old Irish Folk Music and Songs (1909)

Z:AK/Fiddler’s Companion

K:D

d2D D2E|FAF E2G|FED AFD|G3 F2A|d2D D2E|FAF E2G|FED AFD|E3D3||

d3 ede|fdd cBA|Bcd AFD|F3 E3|d3 ede|fdd cBA|Bcd AFD|E3 D3||

LIGHTNING FLASH, THE (An Lasairteinig). Irish, Reel. G Major. Standard tuning. AB (O'Neill): AABB (McNulty). Source for notated version: Chicago fiddler John McFadden, originally from County Mayo [O’Neill]. McNulty, 1965; pg. 10. O'Neill (Krassen), 1976; pg. 143. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1458, pg. 270.

X:1

T:Lightening Flash, The

M:C|

R:Reel

L:1/8

S:O’Neill – Music of Ireland (1903), No. 1458

Z:AK/Fiddler’s Companion

K:G

dc | BG{A}GB AFDE | FEFG Adgd | BG{A}GB AGFA | (3Bcd cA G2 dc |

BG{A}GB AFDE | FEFG (3ABc de | ~f2 fd ecAc | BGAF G2 || Bc |

Dgga bgaf | dcde fdcA | dgga bgag | fdcA G2 Bc | dgga bgaf | dcde fefg |

Abag fgag | fdcA G2 ||

LIGHTNING HORNPIPE [1]. New England, Hornpipe. B Flat Major. Standard tuning. AABB. Page (Ralph Page Book of Contras), 1969; pg. 5. Condor 977‑1489, "Graham & Eleanor Townsend Live at Barre, Vermont."

LIGHTNING HORNPIPE [2]. Old‑Time, Breakdown. USA, Missouri. B Flat Major. Standard tuning. AABBCC (Christeson): AA'AA'BBAA'AA'B"B" (Phillips). A variation of version #1. Sources for notated versions: George Morris (Columbia, Missouri) [Christeson]; Vivian Williams and Earl Willis [Phillips]. R.P. Christeson (Old Time Fiddlers Repertory, vol. 2), 1984; pg. 30. Phillips (Traditional American Fiddle Tunes), vol. 2, 1995; pg. 205.

LIGNADRUAN REEL, THE.  Irish, Reel. F Major. Standard tuning. Composed by John Mhósaí (John McGinley) from Glencolmcille, Donegal. “The Moving Cloud” is a related tune.

LIGNE, LA. French, Country Dance (6/8 time). A Major. Standard tuning. AABBCCDD. From the contradance book (tunes with dance instructions) of Robert Daubat (who styled himself Robert d’Aubat de Saint-Flour), born in Saint-Flour, Cantal, France, in 1714, dying in Gent, Belgium, in 1782. According to Belgian fiddler Luc De Cat, at the time of the publication of his collection (1757) Daubat was a dancing master in Gent and taught at several schools and theaters.  He also was the leader of a choir and was a violin player in a theater. Mr. De Cat identifies a list of subscribers of the original publication, numbering 132 individuals, of the higher level of society and the nobility, but also including musicians and dance-masters (including the ballet-master from the Italian opera in London). Many of the tunes are written with parts for various instruments, and include a numbered bass. Daubat (Cent Contredanses en Rond), 1757; No. 24.

X:1

T:Ligne, La

M:6/8

L:1/8

S:Daubat – Cent Contredanses en Rond (1757), No. 24

Z:AK/Fiddler’s Companion

K:A

c2d | efe d2c | Bcd ecA | F2B GFG | A3 :: c2A | (d2B) (c2A) | B2e cBA | F2B GFG | A3 :|

|: a2e | aec a2c | b2B cde | F2B GFG | A3 :: B2e | (d2f) (B2d) | (c2e) (A2c) | B2d GFG | A3 :|

LIGRUM CUSH. AKA and see "Lacrum Cosh," "Sean Buidhe/Bui," "Over the Water to Charlie," "Pot Stick," "The Marquis/Marquess of Granby." Scottish, Jig. D Major. Standard tuning. AB. O’Neill (1922) remarks: “The expression Ligrum Cus, evidently corrupt Gaelic, may be translated "Let go my foot". It may also relate to the rent question. We can hardly blame the Scotch, while Irish titles in Moore's Melodies present similar difficulties.” Source for notated version: copied from James Aird’s Selections of Scotch, English, Irish and Foreign Airs (1782-97) [O’Neill]. O’Neill (Waifs and Strays of Gaelic Melody), 1922; No. 105.

X:1

T:Ligrum Cus

M:6/8

L:1/8

S:Aird's Selections 1782-97

Z:Paul Kinder

K:D

ABA A2 G|F2 E D3|ABA AFA|B3 d3|

dcB ABG|FGE D3|def ecA|B3 d3||

d2 e fgf|e2 d c2 A|d2 e fgf|e3 A3|

d2 e fgf|e2 d cBc|dcB AFA|B3 d3||

LIGUE’S PORCH. Irish, Reel. A Dorian. Standard tuning. AABB. Composed by Chicago tin whistle player Johnny Harling. Black (Music’s the Very Best Thing), 1996; No. 274, pg. 147.

X:1

T: Ligue's Porch

C: Johnny Harling

Q: 350

R: reel

Z:Transcribed by Bill Black

M: 4/4

L: 1/8

A2 dc AG G2 | EGDG EGDG | A2 dc AGAB | c2 ec Gcec |

A2 dc AG G2 | EGDG EGDG | A2 dc AGAB | cAGE ED D2 :|

c2 ec Gcec | g3 a gedB | c2 ec Gcec | gedc AG G2 |

c2 ec Gcec | g3 a gedB | gedB c2 ge | dcAG ED D2 :|

LIKE A PINCH. Irish, Reel. D Major. Standard tuning. AB. Source for notated version: Ann Sheehy (CastleIsland, County Kerry) [Mulvihill]. Mulvihill (1st Collection), 1986; No. 63, pg. 16.

LIKE IT OR LUMP IT. Old‑Time. The title appears in a list of traditional Ozark Mountain fiddle tunes compiled by musicologist/folklorist Vance Randolph, published in 1954.

LILAC REEL. Irish, Reel. Composed by Mairead McMahon. Green Linnet SIF 1147, Deanta – “Ready for the Storm.”

X:1

T:Lilac Reel

R:reel

M:Cl

L:1/8

~e3d c~A3 | cded c~A3 | ~e3d c~A3 | BAGA Bcdg |

ezed c~A3|cded c~A3|1 ~a3g ~e3d|cAGB AzBd:|2 ~a3g ~e3c|cABA GBA|

LILA'S A LADY. Scottish, Waltz. G Major. Standard tuning. AAB. Kerr (Merry Melodies), vol. 3; No. 303, pg. 33.

X:1

M:3/4

L:1/8

R:Waltz

S:Kerr – Merry Melodies, vol. 3, No. 303  (c. 1880’s)

Z:AK/Fiddler’s Companion

K:G

d2|B2d2d2|e2d2d|B2d2d2|(d4B2)|c2e2g2|g2f2e2|e2d2d2|(d4B2)|

d2c2c2|(a4c2)|c2B2B2|(g4B2)|d2c2c2|c2B2B2|d^ced=cA|G4:|

LILIES IN BLOOM, THE.  Irish, Reel. Composed by County Tipperary fiddler Seán Ryan (d. 1985). Ryan (Seán Ryan’s Dream), 20.

LILIES OF THE FIELD, THE. AKA – “Lilies in the Field.” AKA and see “Ballinafad Reel [1],” “P. J. Conlon’s.” Irish, Reel. The tune appears in Breathnach’s Ceol Rince na hÉireann IV as “Peata Mhamaí [2]/“Mammy’s Pet,” No. 105. It was recorded on a 78 RPM for Columbia in New York by accordion player P.J. Conlon (originally from Milltown, County Galway) in 1929 under the title “Kitty in the Lane.” There is some resemblance to “Kitty in the Lane [1]” in the ‘B’ part. Gael-Linn CEF 115, Frankie Gavin & Paul Brock – “Ómós do Joe Cooley.”

X:1

T:Lilies of the Field, The

R:Reel

M:4/4

L:1/8

K:D

X:2
T:Lillies in the Field, The
T:P.J. Conlon's
R:reel
D:Bobby Gardiner: His Master's Choice
D:Terry Bingham
Z:id:hn-reel-504

Z:transcribed by henrik.norbeck@mailbox.swipnet.se
M:C|
L:1/8
K:D  %GRK:7077BB20
d2fd Adfd|(3Bcd ef g2fg|afge fdcd|eaag eddc||

LILLE. English, Triple Hornpipe (3/2 time). B Flat Major. Standard tuning. AABB. The melody was composed by dancing master Nathaniel Kynaston (1683-1757). Although very little is known about him, Kynaston appears to have been active from 1705 to about 1722 in the Shropshire/Wales border area. Walsh published some 120 of Kynaston’s tunes and dances over several publications; this tune in The New Country Dancing Master, 2nd Book (London, 1710). The Selattyn parish register in Shropshire records that a “Nathanial Kynaston, gent., & Mrs. Elizabeth Davies, both of Oswestry” married on August 25th, 1719—although whether this was the dancing master is unknown. Kynaston appears to have been a not uncommon name in Shropshire, and the family includes Sir Humphrey Kynaston, a notorious 16th century highwayman and Robin Hood figure, who preyed on the wool merchants of Shrewsbury. Barnes (English Country Dance Tunes, vol. 2), 2005; pg. 76.

LILLEHAMMER WALTZ.  English, Waltz. G Minor. Standard tuning. AB. Composed by Jonathan Jensen in 1994. Barnes (English Country Dance Tunes, vol. 2), 2005; pg. 41. Elke Baker – “Over the Border: Scottish and American Fiddle Music.”

LILLIBULERO. AKA ‑ "Lilly Bullery,” “Lilliburlero." AKA and see "Bumpers Are Flowing," "Carawath Jig," "De bheatha ad' shlainte, Ui Shuilleabhain Mhoir," "Gogai o gog," "Green Goose Fair [1]," "Irlandais (Jig)," "Jolly Companions [2]," "The modes of the Court so common have grown," "Montrosse's March," "My Lord Mayor's Delight," "Old Woman Whither So High," "The Onehorned Cow [2]," "Orange and Green Will Carry the Day," "The Pretender's March," "Protestant Boys," "The Retreat," "A rock and the/a wee pickle tow," "The Scotch March [1]." English, Irish; Air (6/8 time) or Jig. England, Northumberland. A Major (Cole, Miller & Perron, Raven, Sweet): G Major (Barnes, Merryweather, Sharp, Stanford/Petrie, Seattle/Vickers): D Major (Chappell, Scott). Standard tuning. AB (Cole, Raven, Stanford/Petrie): AAB (Chapell, Scott): ABB (Sharp): AABB (Barnes, Merryweather, Miller & Perron, Seattle, Sweet). The the words of the chorus or burden of the song, lero, lero, lillibulero bullen‑a‑lah, purportedly were, according to a contemporary (Protestant) chronicle quoted by the English musicologist Chappell (1859), Irish Gaelic "words of disctinction used among the Irish Papists in their massacre of Protestants in 1641." Other suggestions for the meaning of the burden are that it was a stage convention for "foreigner's dialect" used in 17th century English plays to denote unfamiliar languages. Another explanation is that it is a corruption of the Gaelic phrase “An lile ba léir é; ba linn an lá,” which translates as “The (Orange) lily was (the most) evident; we carried the day,” which would fit with the political associations of the song.

***

"Lillibulero," Chappell goes on to say, was an anonymously composed Whig tune (i.e. joined to various anti‑Catholic words) and the British army's song during the Revolution of 1688 in which William of Orange defeated James II. A "party tune," includes Kidson (1922), which was disseminated on the authority of Bishop Burnet. It was immensely popular from the time of its introduction and not a little influential from a political standpoint as it was used as a rallying call for the Protestants. In fact, “Lillibulero” has been called the “tune that drove James out of three countries” (i.e. England, Scotland and Ireland). Pepys says: "Slight and insignificant as (the words) may now seem, they had once a more powerful effect than either the Philippies of Demosthenes or Cicero; and contributed not a little towards the great revolution in 1688." It was played by the Williamites (followers of William of Orange who became William III of England) during the Irish War of 1689‑1691 and very probably at the battle of the Boyne, according to Winstock (1970). Johnson (Stenhouse ed.) asserts that the tune was derived from "Jumping Joan" (AKA "Joan's Placket is Torn"), but Bayard (1981) and Glen disagree.

***

The English composer Henry Purcell has been credited with the tune, often described as one of his harpsichord lessons. It was ascribed to him by Playford (1689) and especially later by Chappell (1859), but other musicologists believe there is little direct evidence for this and it is more likely that it was a simply a folk tune; Kidson (1922) states simply the tune was arranged by Purcell for a printing in 1686. That the tune was well‑known in the 17th century there can be no doubt, as it is referenced in period literature. Emmerson (1971), for example, reports a description from 17th century literature of a scene in London:

***

Some were dancing to a bagpipe; others whistling to a Base Violin,

two Fiddlers scraping Lilla burlero, My Lord Mayor's Delight, upon

a couple of Crack'd Crowds.

***

Regarding the lyrics, Chapell reports they were ascribed to Lord Wharton and Lord Dorset, but he thinks neither likely to have written them. The words satirise the Irish Jacobite Richard Talbot, Duke of Tyrconnell, and King James' agent in Ireland who was a key figure in the intrigues for returning James to power and involving the French in the struggle for Irish freedom (he ended his life as an exile in France).  Though the song appears in numerous publications, Chappell found the earliest printing to be in a collection called The Muses' Farewell to Poetry and Slavery (1689). There is an old song called "There Was an Old Fellow at Waltham Cross" that uses a combination of strains sounding like both "Lillibulero" and "Dargason;" "Waltham Cross" was published in 1640 and Bayard (1981) thinks this suggests evidence of the existence of both "Lillibulero" and "Dargason" before the 1680's. Early versions of the air were published in Henry Playford's The Second Part of Music's Handmaid (1689), Robert Carr's The Delightful Companion, or Choice New Lessons for the Recorder or Flute (1686), set for keyboard by Purcell in Musick's Handmaid (1689), D'Urfey's Pills to Purge Melancholy, as the bass of ‘Jig’ in The Gordian Knot Untied (1691) and John Gay's The Beggar's Opera (1729, where it appears under the title "The modes of the Court so common have grown") and numerous other ballad operas. Alternate songs set to the tune include "Dublin's Deliverance; or, The Surrender of Drogheda" (Pepys Collection), "Undaunted London‑derry; or, The Victorious Protestants' constant success against the proud French and Irish forces" (Bagford Collection), "The Courageous Soldiers of the West" (Bagford Collection), "The Reading Skirmish" (Bagford Collection), "The Protestant Courage" (Roxburghe Collection), and "Courageous Betty of Chick Lane" (Roxburghe Collection).

***

The version of the words ascribed to Wharton begin:

Ho Brother Teaghe, dost hear de decree?

Lillibulero, bullen a la,

Dat we shall have a new Deputie.

Lillibulero, bullen a la

Lero, lero, Lillibulero,

Lillibulero, bullen a la

Lero, lero, lillibulero

Lillibulero, bullen a la.

***

In Songs of the British Isles, author Jerry Silverman reports that as late as the American Civil War the English musicologist Francis James Child used the tune for another satire, called “Overtures from Richmond” which ridiculed the Jefferson Davis and the Confederacy.

***

Aird (Selection of Scotch, English, Irish and Foreign Airs), 1785, vol. 2, No. 481. Barnes (English Country Dance Tunes), 1986. Chappell (Popular Music of the Olden Time), vol. 2, 1859; pg. 58. Cole (1000 Fiddle Tunes), 1940; pg. 52. Harding Collection (1915) and Harding Original Collection (1928), No. 197. Jarman, 1951; pg. 64. JIFSS, XV, pg. 13. Kerr (Merry Melodies), vol. 2, No. 213 and vol. 4, No. 228. Merryweather (Merryweather’s Tunes for the English Bagpipe), 1989; pg. 45 (two versions). Miller & Perron (New England Fiddler’s Repertoire), 1983; No. 14. Moffat (202 Gems of Irish Melody), pg. 79. O'Lochlainn, 1939; No. 36. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 19. Oswald (Caledonian Pocket Companion), 1780?, vol. 2, pg. 13. Raven (English Country Dance Tunes), 1984; pg. 63. Ryan’s Mammoth Collection, 1883; pg. 79. Scott, 1926; pg. 6. Sharp (Country Dance Tunes), 1911‑22; Set VIII, pg. 19. Seattle (William Vickers), 1987, Part 2; No. 373 (appears as "Lilly Bullery"). Sharp (Country Dance Tunes), 1909/1994; pg. 56. Stanford/Petrie (Complete Collection), 1905; No. 503, pg. 127. Sweet, 1965/1981; pg. 22. Thompson (Hiberian Muse), 1786. Walsh (Compleat Country Dancing Master), 1731; Vol. 1, No. 38. RCA 09026‑60916‑2, The Chieftains ‑ "An Irish Evening" (1991).

X:1

T:Lilliburlero

N:transposed from key of E

Z:Transcribed by Paul de Grae

M:6/8

L:1/8

K:G

GAG B2 B|ABA c3|B<dG c2 B|AGF G3:|

g2 d e2 d|g2 d e2 d|def gfe|dcB A3|

edc Bcd|d2 B A2 c|B<dG c2 B|AGF G3||

LILLIE (sic), THE. English (?), Country Dance Tune (4/4 time). D Major. Standard tuning. AABBCC. Aird (Selections), vol. II, 1782; No. 144, pg. 53.

X:1

T:Lillie, The

M:C

L:1/8

S:Aird, vol. II (1782)

Z:AK/Fiddler’s Companion

K:D

dcdA B2 AG | F2 ED E/E/E E2 | dcdA B2 AG | FDEF D/D/D D2 :|

|: FDAD F2 FA | FDAF E/E/E E2 | FDAD F2 AF | EDEF D/D/D D2 :|

|: dcdA “tr”B2 de | {g}f2 ed e/e/e ea | gfed {c}B2 AF | EDEF D/D/D D2 :|

LILLY BULLERY. AKA and see "Lillibulero."

LILLY OF THE VALLEY. Old-time, Breakdown. D Major. Standard tuning. AABB. Source for notated version: Liz Slade (Yorktown, N.Y.) [Kuntz]. Kuntz, Private Collection.

X:1

T:Lilly of the Valley

L:1/8

M:2/4

Z:Transcribed by Andrew Kuntz

K:D

a/e/|f/A/ [d/f/](e/ f/)e/[df]|[A/e/][Af][A/e/] [Af]a/e/|f/A/ [d/f/]e/f/e/ d/[G/A/]|

[GB]>A [GB]a/e/|f/A/[d/f/]e/ f/e/[df]|[A/e/][Af][A/e/] [A/f/]e/f/e/|A/(B/d/)e f/e/e|(d/f)d/ [2f]:|

|:[d/f/][d/f/]|A/(B/d/)(e/ f/)e/[d/f/]e/|[d/e/][df][d/e/] [d/f/][d/e/][d/f/]A/|A/(B/d/)e/ f/e/[df]|

B>A B[G/B/][G/B/]| A/(B/d/)(e/ f/)e/[d/f/]e/|[d/e/][df][d/e/] [d/f/][d/e/][d/f/]e/|A/(B/d/)e/ f/e/e|(d/f)d/ [df]z/:|

LIL’S FANCY. AKA and see “Dhá Phort.” Irish, Polka. D Major. Standard tuning. AAB. Source for notated version: accordion player Johnny O’Leary (Sliabh Luachra region of the Cork-Kerry border) [Moylan]. Moylan (Johnny O’Leary), 1994; No. 194, pgs. 112-113.

LILT FROM HOME, THE/A. AKA and see “Ballinasloe Fair,” “Church of Dromore,” “Killaloe Boat,” “Ryan’s Favorite.” Irish, Jig. G Major. Standard tuning. AABB. A variant of  The Lilting Banshee,” below. O’Neill had earlier printed the melody as “Church of Dromore” in his Music of Ireland (1903). O’Neill (Waifs and Strays of Gaelic Melody), 1922; No. 125.

X:1

T:Lilt From Home, A

M:6/8

L:1/8

S:Capt. F. O'Neill

Z:Paul Kinder

K:G

A/2G/2|EAA AGA|BAB G2 A|Bee dBA|"tr"BAB GED|

EAA AGA|BAB G2 A|Bee dBG|BAA A2:|

|:d|gfg edB|BAA A2 B|GBG dBA|BAB G2 d|

gfg edB|BAB G2 A|Bee dBG|BAA A2:||

LILTING BANSHEE, THE. AKA and see "Ballinasloe Fair,” “Church of Dromore,” “Killaloe Boat,” “Miller of Glanmire,” “Ryan’s Favorite." Irish, Double Jig. A Minor/Dorian. Standard tuning. AABB. “A Lilt from Home” is a variant melody, as are Church of Dromore” and “Killaloe Boat.” The Castle Céilí Band (of which accordion player James Keane was a founding member) always played “The Lilting Banshee” following “The Killavil Jig.” Source for notated version: Paddy McNicholas [Bulmer & Sharpley]. Bulmer & Sharpley (Music from Ireland), 1974, vol. 2, No. 40. Cotter (Traditional Irish Tin Whistle Tutor), 1989; 53. Mallinson (Essential), 1995; No. 79, pg. 35. Sullivan (Session Tunes), vol. 2; No. 31, pg. 13. Shanachie 78015, James Keane – “With Friends Like These” (1998).

X:1

T:Ballinasloe Jig

T:Ballinasloe Fair

T:Lilting Banshee, The

T:Boholla Jig [1]

M:6/8

L:1/8

S:Bridget Delaney, Athy, Co. Kildare, Ireland

R:Jig

K:Em

EAA EAA|BAB G>A|Bee edB|dBA GED|EAA EAA|BAB G>A|Bee edB|dBA A>d:|

eaa age|dBA G>A|Bee edB|def gfg|eaa age|dBA G>A|Bee edB|dBA A>d:|

LILTING FISHERMAN, THE. AKA and see “Bit of Ginger,” “Fisherman’s Lilt [2],” "Joe Derrane's Jig." Irish, Double Jig. G Major ('A' part) & D Major ('B' part). Standard tuning. AABB (Mallinson, McNulty): AA’BB’ (Tubridy). Jordan (Whistle and Sing), 1975; 37. Mallinson (Enduring), 1995; No. 36, pg. 15. McNulty (Dance Music of Ireland), 1965; pg. 19. Tubridy (Irish Traditional Music, vol. 1), 1999; pg. 34.

X:1

T:Lilting Fisherman, The

L:1/8

M:6/8

K:G

dBG GBd|gfg ege|dBG GFG|AFD cBc|dBG GBd|

gfg ege|dBG FGA|1 AGF G2B:|2 AGF G3||

|:ABA AFA|faf f2 e|dce dcB|AFF F2G|

AFA AFA|BGB Bed|cBc ABc|1 dfe dcB:|2 dfe d2B||

LILY, THE. English, Reel. England, Northumberland. D Major. Standard tuning. AABBCC. Offord (John of the Greeny Cheshire Way), 1985; pg. 87. Seattle (William Vickers), 1987, Part 3; No. 461.

LILY WHITE, THE. AKA and see "Flax in Bloom." AKA – “Lillie White.” English, Hornpipe. D Major. Standard tuning. AAB. See note for “Flax in Bloom” for more on this family of tunes. The ‘A’ or first part is shared with “Gleanntan (Slide)”/”Denis Murphy’s Slide [1].” Kennedy (Fiddler’s Tunebook), vol. 2, 1954; pg. 20. Raven (English Country Dance Tunes), 1984; pg. 173.

X:1

T:Lily White, The

M:C|

L:1/8

R:Hornpipe

K:D

|:A|d2 f>d g>ef>d|B2 e>d c>AA>c|d2 f>d g>ef>d|B>e (3ecA d2 d>A|

(3ddd f>d g>ef>d|(3BBB e>d c>AA>c|d>A (3FED|F>Ad>b|a>fe>f d2d||

LILYS OF FRANCE, THE. Scottish. The melody appears in the Gillespie Manuscript of Perth (1768).

LIMBER ELBOW, THE. AKA and see "Greig’s Pipes,” “The Kerry Huntsman,” “Willy Wilkie.” Irish, Reel. A Major. Standard. ABB’. Breathnach (1963) calls this a poor version of “Greig’s Pipes.” Source for notated version: Patrick Stack (Chicago) [O’Neill]. O’Neill (Waifs and Strays of Gaelic Melody), 1922; No. 251.

X:1

T:Limber Elbow

M:4/4

L:1/8

S:Patrick Stack, Chicago

Z:Paul Kinder

R:Reel

K:A

e2 cA eAcA|e2 cA BEEE|e2 cA eAcA|(3Bcd cA BAFB|

a2 ga fgeg|fedf ecAc|defd cdec|(3Bcd cA BAFB||

A2 cA BAdB|A2 cA BAFB|1A2 cA BAcd|efed cBAG:|2d2 cA BFAF|EFAB cA A2||

LIMBER JIM. New England, Reel. D Major. Standard. AABB.

LIMBER NECK BLUES. AKA and see "Parkersburg Landing." Old-Time, Schottische (brisk). USA, Mississippi. C Major. Standard. AAB. The melody, which is obviously not a blues tune but a schottische (the title ‘blues’ is something of a regional honorific), was recorded in 1930 (OKeh 45548) under this title by Mississippi musicians Willie Narmour (b. 1889) and Shell Smith (b. 1895). It was known as "Parkersburg Landing" to east Kentucky fiddler Ed Haley. Allin Cottrell points out that fast accurate playing in the key of C was one of the hallmarks of Narmour's fiddling. The 'A' part, at eight measures is twice as long as the 'B'. Old Time Herald, vol. 5, No. 3 (Spring, 1996); pg. 49. Musical Traditions MT 104, Narmour and Smith - "Where the Southern Crosses the Dog: Mississippi Fiddle Music 1928-35."

X:1

T:Limber Neck Blues

L:1/8

M:4/4

K:C

|:E>F|”C”G>ec>A G2G2|”F”A>fd>c A2 d>c|”G”B>ag>e B>c d>B|”C”c>dc>A G2 E>F|

“C”G>ec>A G2G2|”F”A>fd>c A2 d>c|”G”B2G2 A>cB>G|”C”c2 [E2c2][E2c2]:|

||E>F|”C”G>E C2C2 F>E|”G”D2 B,2 B,2 E>F|”G”G>E D>B, A,2 B,2|”C”C4 C2 E>F|

“C”G>E C2C2 F>E|”G”D2 B,2 B,2 E>F|”G”G>E D>B, A,2 B,2|”C”C4 C2||

LIMBER UP. American, Scottish; Reel. G Major. Standard. One part (Burchenal): AB (Kennedy): AAB (Cole): AA'BB' (Kerr). Burchanal (American Country Dances, vol. 1), 1918; pgs. 52‑53 (appears as "Trip to Nahant" [2]). Cole (1000 Fiddle Tunes), 1940; pg. 51. Kennedy (Traditional Dance Music of Britain and Ireland: Reels and Rants), 1997; No. 102, pg. 25. Kerr (Merry Melodies), vol. 2; No. 249, pg. 27. Ryan’s Mammoth Collection, 1883; pg. 79.

X:1

T:Limber Up

M:2/4

L:1/8

R:Reel

S:Ryan’s Mammoth Collection (1883)

Z:AK/Fiddler’s Companion

K:G

.GB/e/ .dB/e/ | .dB/e/ d/B/.g | GB/e/ dB/e/ | dc/B/ (A/c/).B/.A/ | GB/e/ dB/e/ |

dB/e/ d/B/g | GB/e/ .d.B | A/c/B/A/ G :| .bg/b/ .af/a/ | .ge/g/ f/^d/B | bg/b/ af/a/ |

g/f/g/a/ bg/a/ | bg/b/ af/a/ | ge/g/ f/^d/B | B^d/f/ b/a/g/f/ | a/g/f/g/ ed ||

LIME HILL. Canadian, Strathspey. Canada; Cape Breton, Prince Edward Island. A Major. Standard tuning. AABB. Composed by Cape Breton, Nova Scotia, fiddler and prolific composer Dan R. MacDonald, and one of his most popular compositions. The tune is named for a little village in west Cape Breton not far from the town of Mabou and composed by MacDonald following a trip there with the father of the members of the group the Rankin Family, who later recorded it. Source for notated version: Eddy Arsenault (b. 1921, St. Chrysostom, East Prince County, Prince Edward Island) [Perlman]. Perlman (The Fiddle Music of Prince Edward Island) 1996; pg. 193. Rounder Records , John L. MacDonald – “Formerly of Foot Cape Road: Scottish Fiddle Music in the Classic Inverness County Style” (2005).

X:1

T:Lime Hill

M:4/4

L:1/8

K:A Major

a | e<cc>B A<FF>A | E<CE>F A2 A>B | c>Bc>e f>ef<a |!

e<c{d}c>A  (B2 B<a) | e<cc>B A<FF>A | E<CE>F A2 A>B |!

c>Bc>e  f>ef>a | e<cB>c A2 A | d | c<ee>f e<ca>e |!

c<ee>f {gf}e2 e>a | c<ff>a f>e a/2g/2f/2e/2 | c<ff>g f2 f>a | c<ee>f e<ca>e |!

c<ee>f (e2 e>g) | (3agf (3edc (3dfd (3cac | B<EG>B A2 A ||

LIME LIGHT. American, "Stage Jig" (2/4 time). B Flat Major ('A' part) & F Major ('B' part). Standard tuning. AA’BAA’. A raggy piece. Harding’s All Round Collection, 1905; No. 68, pg. 21.

X:1

T:Lime Light

M:2/4

L:1/8

N:”Stage Jig”

S:Harding’s All Round Collection (1905), No. 68

Z:AK/Fiddler’s Companion

K:B Flat

[F2d2][^F2d2]|[G2d2][=F2d2]|z/>c/=B/>c/ a/>g/e/>c/|G4|[F2c2][G2c2]|

[A2c2][E2c2]|1 z/>B/A/>B/ f/>d/B/>G/|F[Gg][Ff][Ee]:|2 z/>B/A/>B/ A/>c/f|BFBz||

(d2=E)z|(_d2=E)z|(=d2=E)z|z/>B/A/>B/ =.e.d|(d2=E)z|(_d2=E)z|(=d2=E)z|z/>A/^G/>A/ =gf|

(f2G)z|(f2B)z|(f2A)z|z/>A/^G/>A/ BA|(d2G)z|(c2C)z|(c2F)z|z[Gg][Ff][_E_e]||

LIME ROCK. AKA – “Limestone Rag.” Texas Style, Breakdown. A Major ('A' part), D Major ('B' part) & E Major ('C' part). Standard tuning. AABAACCAABB (Brody): AA'BAA'CC'AA' (Phillips): AA’BB’CCAA’BB’ (Silberberg). The composer of the tune is reputedly Texas fiddler Bryant Houston, though some credit Lum Sellers, or Milton or Matt Brown (the latter was a medicine show operator). Texas fiddler Norman Solomon said that “Limerock” was composed by Cap Houston, Bryant Houston’s father, but that Bryant further developed the tune and the variations. Charles Wolfe finds the earliest recording of the tune to be by Smith's Garage Fiddle Band, whose leader was fiddler Samuel Morgan Peacock from Johnson County, Texas (who lived most of his life in Cleburne, near Dallas). Peacock was another fiddling barber and died after collapsing on the sidewalk in front of his barber shop in 1932. The band recorded it for Vocalion in March, 1929. Although it is not known what inspired the title, there is a Lime Rock Mountain in Stephens County, Texas. It may be that mountains called “Lime Rock,” like mountains called ‘Sugar Loaf”, are derived from visual similarity to processed substances—sugar formerly was dispensed by loaf before the advent of the granulated manufacturing process, while rock lime (also called ‘roach lime’, from the French roche meaning rock or stone) is lime just taken from the kiln, burnt, before being slaked and while still in the form of stones (P.W. Joyce). Sources for notated versions: Byron Berline [Brody, Phillips]; Glenn Berry [Silberberg]. Brody (Fiddler’s Fakebook), 1983; pg. 169. Phillips (Traditional American Fiddle Tunes), vol. 2, 1995; pg. 77. Silberberg (93 Fiddle Tunes I Didn’t Learn at the Tractor Tavern), 2004; pg. 26 (appears as “Limestone Rag”). Rounder 0100, Byron Berline‑ "Dad's Favorites." Rounder 0099, Dan Crary‑ "Lady's Fancy." American Heritage 516, Jana Greif‑ "I Love Fiddlin.'" American Heritage 24, Lonnie Peerce‑ "Golden Fiddle Tones." American Heritage 1, Herman Johnson‑ "Champion Fiddlin.'"

LIME STREET. Scottish, Hornpipe; New England, Reel. G Major. Standard tuning. AA’AA’BB. Kerr (Merry Melodies), vol. 4; No. 288, pg. 31. F&W Records 2, "F&W String Band 2."

X:1

T:Lime Street

M:C|

L:1/8

R:Hornpipe

S:Kerr – Merry Melodies, vol. 4, No. 288 (c. 1880’s)

Z:AK/Fiddler’s Companion

K:G

(3DEF|G2G2 GBdB|A2A2 Acec|Bdgf edcB|AGFE DcBA|G2G2 GBdB|

A2A2 Acec|BdBG AcAF|G2B2G2::d2|g2 (gf)gbag|f2d2 d2 (de)|

=fefg fagf|e2c2c2 (dc)|BGBd g2(fg)|afdB c2 (dc)|BdBG AcAF|G2B2G2:|

LIMEHOUSE BLUES. Old‑Time, Breakdown. Carryon Records 002, "Ace Weems & the Fat Meat Boys."

LIMERICK HORNPIPE. AKA and see "Greencastle (Hornpipe)."

LIMERICK IN THE MORNING. Irish, Reel. D Mixolydian (‘A part) & D Major (‘B’ part). Standard tuning. AABB. Composed by Falmouth, Massachusetts, writer and musician Bill Black.

X: 1

T: Limerick in the Morning

N: for Eamon Flynn

M: 4/4

L: 1/8

R: reel

K: Dmix

FG | Add^c dBAB | cBcd cAGc | Addc AGFG | AGAB c2 Bc |

Add^c dBAB | cded cAGE | =Fccd edcA | FAEA D2 :|

K: D

d2 ad bdad | fefg fedc | Bdgf edef | agec d2 :|

LIMERICK IS BEAUTIFUL. Irish, Air (3/4 time). G Major. Standard tuning. One part. “Old Limerick song, learned from my father” (Mulvihill). Mulvihill's father's song dates back to the 19th century and appeared in several versions. The words below belong to Michael Scanlon (1836-1900), who also penned "The Jackets Green" and "Bold Fenian Men."

***

Oh, Limerick is beautiful as everybody knows,

And by that city of my heart how proud old Shannon flows;

It sweeps down by the brave old town, as pure in depth and tone,

As when Sarsfield swept the Saxons from the walls of Garryowen.

***

Mulvihill (1st Collection), 1986; No. 4, pg. 119. Green Linnet SIF 1012, Martin Mulvihill – “Traditional Irish Fiddling from County Limerick” (1978).

LIMERICK JIG [1] (Port Luimnigh). Irish, Slide (12/8 time). G Major. Standard tuning. AAB. Source for notated version: flute player Paddy Taylor (Ireland) [Breathnach]. Breathnach (CRÉ III), 1985; No. 49, pg. 23. Claddagh Records CC8, Paddy Taylor ‑ "The Boy in the Gap" (1969).

LIMERICK JIG [2]. Irish, Slip Jig. F Major. Standard tuning. AABB. Cole (1000 Fiddle Tunes), 1940; pg. 77. Kennedy (Fiddler’s Tune-Book: Slip Jigs and Waltzes), 1999; No. 40, pg. 10. Kerr (Merry Melodies), vol. 2; no. 274, pg. 30. Ryan’s Mammoth Collection, 1883; pg. 110.

X:1

T:Limerick Jig [2]

M:9/8

L:1/8

R:Slip Jig

S:Ryan’s Mammoth Collection (1883)

Z:AK/Fiddler’s Companion

K:F

(A2.F) (c2.A) fga | (A2.F) (c2.A) BAG | (A2.F) (c2.A) fga | (b2.a) (g2.f) edc :|

|: cdc (f2.c) fga | cdc (f2.c) BAG | cdc (f2.c) fga | (b2.a) (g2.f) edc :||

LIMERICK JUNCTION (Coimceangald/Coimceanglad Luimn{a}ig). AKA and see “Raftery’s Hornpipe/Favourite.” Irish, Hornpipe. D Major. Standard tuning. AABB. Limerick Junction is the name of a town in County Tipperary where Chicago fiddler Edward Cronin (b. 1838) was born and raised. O'Neill (Krassen), 1976; pg. 202. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1720, pg. 320. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 820, pg. 142.

X:1

T:Limerick Junction

M:C|

L:1/8

R:Hornpipe

S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 820

Z:AK/Fiddler’s Companion

K:D
AG | F2 FE FAGF | EFED CDEG | FA d2 cd e2 | (3efd (3cdB AGFE |

FGFD FAGF | EFED CDEG | FadA BGFE | D2 DE D2 :|

|: fg | afdf gece | fdcd BAFA | BGFG E2 gf | (3efd (3cdB A2 fg |

afdf gece | fdcd BAGE | Fadf gece | d2 dc d2 :|

LIMERICK LADS. Irish, Reel. D Major. Standard tuning. AABB’. 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. 283.

X:1

M:4/4

L:1/8

S:Rice-Walsh manuscript

Z:Paul Kinder

R:Reel

K:D

dBAF D2 DF|GFGA BA A2|dBAF D2 DF|GBAG FD D2:|

|:d2 de f2 ed|cAAA eAfA|1d2 de f2 ed|(3efg eg fd d2:|

2d2 de f2 ed|cAGE FD D2||

LIMERICK LAMENTATION (Marbhna Luimni). AKA and see “Limerick’s Lamentation [1].”

LIMERICK LASS, THE. AKA and see “Maguire’s Kick,” “Punch for (the) Ladies [1],” “Rolling Wave(s) [1].” Irish, Jig. A Dorian/G Major. Standard tuning. AABB. ”Maguire’s Kick” and “The Rolling Wave(s)” are related tunes. Cole (1000 Fiddle Tunes), 1940; pg. 67. Kerr (Merry Melodies), vol. 2; No. 287, pg. 31. Ryan’s Mammoth Collection, 1883; pg. 97. White’s Unique Collection (1896), No. 40, pg 7.

# X:1

T:Limerick Lass Jig, The

M:6/8

L:1/8

R:Jig

S:White’s Unique Collection (1896), No. 40

Z:AK/Fiddler’s Companion

# K:A Dorian

{c}BAA AGA | BGG (G2A) | BAA ABd | efe edB | BAA AGA |

BGG (G2A) | GED (G2A) | Bdd dBA :: (def g2)g | f2f e2e | f2f (ed)B |

(def g2)g | f2f e2e | dBA ABd | efe edB :|

LIMERICK LASSES [1] ({Na} Og-Mna {Ua} Luimnaig). AKA and see "Coppers and/of Brass [1]," "Crossing the Field," "The Dublin Lasses [1]," "The Green Fields of Erin [2]," "The Heather Breeze [1]," "The Heather Bloom," "The Heathery Braes (of Ballyhealy)," "The Humours of Appletown," "Ladies/Ladys Pantaloo(n)s,” "McNamara's Reel."  Irish, Scottish; Reel or Long Dance (Roche). D Major. Standard tuning. ABC (Cole, Honeyman, O'Neill/1850 & 1001): AA'BC (O'Neill/Krassen): AABBC (Roche): AABBCC (Alewine, Athole). A three-part version of “Who Made Your Britches,” also in Ryan’s. Alewine (Maid that Cut Off the Chicken’s Lips), 1987; pg. 23. Cole (1000 Fiddle Tunes), 1940; pg. 11. Honeyman (Strathspey, Reel and Hornpipe Tutor), 1898; pg. 10. O'Neill (Krassen), 1976; pg. 141. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1451, pg. 269. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 684, pg. 121. Roche Collection, 1982, vol. 2; No. 290, pg. 37. Ryan’s Mammoth Collection, 1883; pg. 34. Stewart-Robertson (The Athole Collection), 1884; pg. 112. Green Linnet SIF‑104, John & Phil Cunningham ‑ "The Celts Rise Again" (1990). Green Linnet SIF‑3036, John & Phil Cunningham ‑ "Silly Wizard: Live in America" (1986).

X:1

T:Limerick Lasses

M:C|

L:1/8

R:Reel

B:Stewart-Robertson – The Athole Collection (1884)

Z:AK/Fiddler’s Companion

K:D

c | dBAF D2DF | GEGA BEEc | dBAF D2DF | GBAG FDD :|

|: A | dcde gfe^d | e^def gBBd | efga b2ag | faeg fdd :|

Adfd ceeA | Bdce dfeg | faeg fdd :|

LIMERICK LASSES [2] (Gearrchailí Luimnigh). AKA and see “Con McGinley’s,” “The Merry Wives (Highland),” “Over the Bridge to Beeta,” “Over the Bridge to Betty,” “Peter hIghne’s Single Reel.” Irish, Reel. C Major. Standard tuning. AB. Breathnach (1996) finds a variant of the tune as Ed Reavy’s Highland “The Merry Wives.” In County Westmeath it is called “Over the Bridge to Betty” and in Donegal (where it is very popular) it is usually known as “Con McGinley’s,” although other Donegal names are “Baintreach Mná” (The Widow) and "Ríl Shingil Pheadair Uí Ighne” (Peter hIghne’s Single Reel). Source for notated version: the 20th century collection of schoolteacher and fiddler Michael ‘Master’ McDermott (Carrickmore, southern County Tyrone), who learned his tunes from local musicians [Breathnach]. Breathnach (CRÉ IV), 1996; No. 168, pg. 79. Darley & McCall (The Darley & McCall Collection of Traditional Irish Music), 1914/1984; No. 50 (appears as an untitled reel). Reavy (Where the Shannon Rises: Collected Compositions of Ed Reavy), 1984; 123 (set as a Highland).

LIMERICK MINSTREL, THE. Irish, Reel. G Major. Standard tuning. AB. Source for notated version: Brendan Mulvihill (Baltimore, Md.) [Mulvihill]. Mulvihill (1st Collection), 1986; No. 68, pg. 18.

LIMERICK RAKE, THE (Fa gaimi’d sui’d mar ata se’). Irish, Double Jig. A Dorian. Standard tuning. Ewan McColl wrote the song “Champion at Keepin’ ‘em Rollin’” to this tune, parodied by Ian Robb and others. The melody originally was called "An Caitin Ban," and was also used for "The Galbally Farmer." The words below are from a 19th century broadside ballad sheet.

***

I am a young fellow that's easy and bold, in Castletown corners I'm very well known,

In Newcastle West I spent many a note, with Kitty and Judy and Mary;

My father rebuked me for being such a rake, and spending my timein such frolicsome  ways,

But I ne'er could forget the good nature of Jane, Agus fagaimid siud mar ata se.

***

Green Linnet GLCD 1010, Mick Moloney & Joe McKenna) - “Mick Moloney & Eugene O’Donnell.”

LIMERICK ROAD (Botan Luimnige). Irish, Slow Air (3/4 time). D Dorian. Standard tuning. AB. Source for notated version: Mr. T.L. O'Callaghan, bandmaster of Reformatory (Philipstown, Kings Co., Ireland) [Darley & McCall]. Darley & McCall (The Darley & McCall Collection of Traditional Irish Music), 1914; No. 38, pg. 38.

LIMERICK ROSES. AKA and see “Killavil Jig [2],” “Master Crowley’s Favorite,” “Pathway to the Well.”

LIMERICK TINKER, THE (An Stanadoir Ua Luimneac). AKA and see "Bouchalaun Buie," "Wearied Lad," "Yellow Ragweed." Irish, Double Jig. A Dorian (O'Neill/Krassen & 1850): G Minor (O'Neill/1915). Standard tuning. ABC (O'Neill/Krassen & 1850): AABBCC (O'Neill/1915). Henrik Norbeck points out that the last part is the same as the last part of “The Gold Ring,” though in a minor key. O'Neill (O’Neill’s Irish Music), 1915/1987; No. 141, pg. 81. O'Neill (Krassen), 1976; pg. 48. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 973, pg. 181. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 191, pg. 46.

X:1

T:Limerick Tinker, The

M:6/8

L:1/8

R:Jig

S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 191

Z:AK/Fiddler’s Companion

K:Amin

A2B cBA|BAG AGE|A2B cee|dBA G2E|A2B cBA|BAG A2 e/^f/|gba g2e|dBG G2B:|

|:efe edB|e2A ABc|efe edB|dBG GBd|efe edB|e2A A2 e/^f/|gba g2e|dBG G2B:|

|:c2A B2A|e2A A2B|c2AA B2A|dBA GAB|cBA BAG|AGE GAB|gba g2e|dBG G2B:|

X:2

T:Limerick Tinker, The

R:jig

Z:id:hn-jig-294

Z:transcribed by henrik.norbeck@mailbox.swipnet.se

M:6/8

K:Gdor

G2A BAG|AGF GFD|G2A Bdd|cAA F2D|

G2A BAG|AGF Gde|fag f2d|cAF F2A:|

|:ded dcA|d2G GAc|ded dcA|cAF FAc|

ded dcA|d2G Gde|fag f2d|cAF F2A:|

|:B2G A2G|d2G G2A|B2G A2G|cAG FGA|

BAG AGF|GFD FGA|fag fed|cAF F2A:|

LIMERICK TOWN. Irish, Air. C Major. Standard tuning. AB. Limerick is in the west of Ireland, originally settled on a bare, barren patch of hilly land on an island (now called King’s Island) in the River Shannon. In 831 the Norsemen arrived in that part of Ireland, at first to pillage and despoil monasteries (where the riches were), then settling on the land to become farmers and keen merchants, building Limerick into a strong trading port. They held the area for a century before being driven out by Brian Boru on his succession to the sovereignty of Thomond. Limerick then became the chief seat of the O’Briens. In 1210 the English King John visited the city and made provisions for the building of a strong castle and a bridge across the Shannon River. The Castle remains to this day but the bridge was replaced in 1838 by the present Thomond Bridge (see note for “Thomond Bridge”). Source for notated version: "From Hughes" (Roche). Roche Collection, 1983, vol. 3; No. 5, pg. 2.

LIMERICK WALTZ, THE. Irish, Waltz or Redowa. G Major. Standard tuning. AB,Trio. Roche Collection, 1983, vol. 3; No. 151, pg. 50.

LIMERICK'S LAMENTATION [1]. AKA - “Lament for Limerick.” AKA and see "The Clothiers March," "Irish Lamentation," "King James' March to Limerick," Lochaber No More.” Irish, Slow Air (3/2 time). A Mixolydian: A Major. Standard tuning. AAB (Johnson): AABB (O’Neill, Sullivan). See the related “Lochaber No More," a Scottish lament. The melodies may have had a common ancestry, although provenance is claimed by both Ireland and Scotland. Robin Morton (1976) says the weight of evidence lends credence to the Scots claim, despite Francis O'Neill's seemingly cogent argument that a tune composed by the 17th century County Cavan harper Myles O'Reilly was the common ancestor of both (the esteemed harper Thomas Connellon has also been given credit for the tune). The air is still associated with the playing of harper O’Reilly, born in 1696. O’Neill (1922) himself says: “As far back as 1676, this melody was referred to as ‘The Irish Tune’”. O’Neill is referring to its appearance and identification as an Irish tune in New Poems, Songs, Prologues and Epilogues never before printed by Thomas Duffet, and set by the most eminent musicians about the Town (London, 1676). The earliest printed setting with title of Limerick's Lamentation was Daniel Wright's collection published about 1730. Compare this setting with that published by McCullough (Collection of Irish Airs, 1821, tune #13).” See abc’s below.

***

The Irish version derives its title from the siege and fall of the city of Limerick to the English forces of Ginkel in 1691, at the end of the Williamite Wars. The tune is sometimes known as “Sarsfield’s Lamentation” from the name of the commander of the Irish forces at Limerick. Flood also dates the melody in Ireland to the year 1691 (Flood, 1906, pg. 173), when the Irish were defeated by the forces of the English monarch William of Orange. Thomas Duffet's lyrics (which had originally been set to "Fortune My Foe") "Since Coelia's my Foe" were translated from Gaelic in 1720 by Dermot O'Conor and adapted to this tune in 1730. The melody also appears in John & William Neales’ Collection of the Most Celebrated Irish Tunes (Dublin, 1742, a recent revision of the date based on watermarks—see appendix to 2001 edition of O’Sullivan’s Carolan), the first real collection of exclusively Irish folk music (Ó Canainn, 1978), and was printed by Thompson in his Hibernian Muse of 1786 (London). It appears in Edward Bunting’s The Ancient Music of Ireland (1840). The air has regained some popularity among traditional musicians in the latter 20th century. O’Sullivan (1929) remarks that there is still some controversy about whether the melody is Irish or Scots in origin, however, O’Neill (1913) maintains that the air was played by the pipers of the “Wild Geese,” those Irish regiments who fled to France rather than surrender to the English. The melody continued to be played in Irish encampments on the continent, and in 1746 was taught, maintains O’Neill, by one Colonel Fitzgerald to musicians in the Scottish camp before the battle of Culloden. In O’Neill’s version, it entered Scottish tradition from this time, though preserved under the title “Lochaber No More.”

***

Another air with the title “Limerick’s Lamentation” (see “Limerick’s Lamentation [2]") appears in Wright’s Aria di Camera (1730), communicated by “Mr. Dermt. O’Connor, of Limerick,” but differs from the air given in Neale. The first sound recording of “Limerick’s Lamentation” was by Sean O’Riada and Ceoltoiri Cualainn in the early 1960’s. Johnson (The Kitchen Musician No. 5: Mostly Irish Airs), 1985 (revised 2000); pg. 17. Boys of the Lough, 1977; pg. 23. O’Neill (Waifs and Strays of Gaelic Melody), 1922. Sullivan (Session Tunes), vol. 2; No. 53, pg. 23. Capelhouse Records, James Kelly – “Traditional Irish Music” (1996). Green Linnett GLCD 1181, Martin Hayes & Dennis Cahill - “The Lonesome Touch” (1997. Appears as “Lament for Limerick”). Island ILPS 9501, "The Chieftains Live" (1977). Philo 1042, Boys of the Lough ‑ "The Piper's Broken Finger" (1976). RCA 09026-61490-2, The Chieftains - "The Celtic Harp: A Tribute to Edward Bunting" (1993). Shanachie 97011, Duck Baker - "Irish Reels, Jigs, Airs and Hornpipes" (1990. Learned from a recording by Sean O'Riada). Transatlantic TRA 311, Boys of the Lough ‑ "The Piper's Broken Finger."

X:1

T:Limerick's Lamentation

S:O’Neill/Bunting

M:3/4

L:1/8

Z:transcribed by Paul de Grae

K:G

G>A | B2 d<B A<G | A2 G2 G>A | B2 d<B A<G | A4 ~G>A |

B<G c<A B<G | E>D E2 G>A | B2 G2 G>A | G4 :||

||: G>A | B2 d2 d>e | d2 cB A>B | G2 g2 g>a | g4 G>A |

B2 d2 de | d2 cB A>B | G2 g2 g>a | g4 de |

=f>e f>g a>f | e>d e>=f g>e | d>e gB AG | A4 GA |

B<G c<A B<G | E>D E2 G>A | B2 G2 G2 | G4 :||

X:2

T:Limerick's Lamentation

M:3/4

L:1/8

S:Bunting's Arrangement 1809

B:O’Neill – Waifs and Strays

Z:Paul Kinder

R:Air

K:Eb

"Adagio"E>F|G2 B<G F<E|F2 E2 E>F|G2 B<G F<E|F4 E>F|!

G<E A<F G<E|C>B, C2 E>F|G2 E2 E>F|E4:|!

E>F|G2 B2 B>c|B2 AG F>G|E2 e2 e>f|e4 E>F|!

G2 B2 Bc|B2 AG F>G|E2 e2 e>f|e4 Bc|!

d>c d>e f>d|c>B c>d e>c|B>c eG FE|F4 EF|!

G<E A<F G<E|C>B, C2 E>F|G2 E2 E2|E4||!

X:3

T:Limerick's Lamentation

M:3/4

L:1/8

S:McCullough's Collection of Irish Airs 1821

B:O’Neill – Waifs and Strays

Z:Paul Kinder

R:Air

K:G

"Moderato"G>A|B2 B2 B>c|B2 A2 Bd|e2 A2 A>B|A4 G>A|!

B2 cBAG|E2 D2 G>A|B2 G2 A>G|G4:|!

G2|B>c d3 d|de dc BA|G2 g2 g2|{ba}g4 G>A|!

B>c d3 d|ed cB AG|G2 g3 g|g4 d>e|!

=f3 g f2|e2 d2 eg|d2 ed cB|B2 A2 G>A|!

B2 cB AG|E2 D2 G>A|B2 G2 A>G|G4||!

LIMERICK’S LAMENTATION [2].  Irish, Air (3/4 time). G Major. Standard tuning. This air, under the title “Limerick's Lamentation,” appeared in Daniel Wright's Aria di Camera ‑ Being a Collection of Scotch, Irish, and Welsh Airs, published about 1730, communicated by “Mr. Dermt. O’Connor, of Limerick. Sanger & Kinnaird (Tree of Strings, 1992) identify source O’Connor as a scribe employed to copy manuscripts of Irish poetry in London in 1720 by a successful Irish lawyer named Maurice O’Connor. An almost identical setting was printed in The Hibernian Muse, published by S.A. & P. Thompson, London, 1787. Sanger & Kinnaird state that a variant of the Aria di Camera tune can be found in the Wighton Collection of English, Irish, Scottish and Welsh Airs published about 1735 (according to Alfred Moffat), where it appears under the title “Irish Lamentation.” Another setting appears in Playford’s Dancing Master of 1703 as “Reeves Maggot,” though this version has been called “much mutilated.”

LIMEROCK. See "Lime Rock."

LIMESTONE QUARRY, THE.  AKA and see “King of the Pipers [4],” “Knights of St. Patrick.”

LIMESTONE RAG. See "Lime Rock."

LIMESTONE ROCK (An Chloch Aoil). AKA and see "Tit for Tat [1].” Irish, Reel. G Major ('A' part) & E Minor ('B' part). Standard tuning. AB (Breathnach, O’Malley): AA'B (O’Neill): AABB (Mulvihill, Russell): AABB’ (Harker/Rafferty). Doolin, north Clare, tin whistle player Micho Russell (1989) associates the title with the limestone rocks of the area of western Ireland called the Burren. Although much of the land is somewhat barren with little grass, it is renowned for the flowers which manage to grow there. Sources for notated versions: flute player Éamonn de Stabaltún [Breathnach, CRÉ I]; Dublin accordion player Sonny Brogan [Breathnach, CRÉ IV]; uilleann piper Bill Ochs (New York, NY) [Mulvihill]; New Jersey flute player Mike Rafferty, born in Ballinakill, Co. Galway, in 1926 [Harker]. Breathnach (CRÉ I), 1963; No. 113, pg. 47. Breathnach (CRÉ IV), 1996; No. 166, pg. 78. Harker (300 Tunes from Mike Rafferty), 2005; No. 22, pg. 7. Mulvihill (1st Collection), 1986; No. 195, pg. 53. O’Malley (Luke O’Malley’s Collection of Irish Music, vol. 1), 1976; No. 51, pg. 26. O'Neill (Krassen), 1976; pg. 143. Russell (The Piper’s Chair), 1989; pg. 19. Claddagh CC2CD, “The Chieftains.” Green Linnet Records SIF 1058, Matt Molloy & Sean Keane ‑ "Contentment is Wealth" (1985). Green Linnet Records GLCD 1045, Joe Burke – “Tailor’s Choice” (1980. With accordion player Burke playing a flute duet with Mike Rafferty, paired with “The Banshee”).

X:1

T:Limestone Rock

M:C|

L:1/8

Z:AK/Fiddler’s Companion

K:G

dc | BG ~G2 (3ABA GE | DEGB A2 dc | BG ~G2 AGAB | c2 Bc A2 dc |

BG ~G2 AG ~G2 | DG ~G2 A2 dc | B2GB AGAB | cABG A2 (3Bcd :|

|: e2 df eB~B2 | eBdB A2 Bd | eB ~B2 gB~B2 | cdBc A2 (3Bcd |

e2dg ea~a2 | gedB A2 BA | G2 Bd {a}gfgb | agef gedc :|

X:2

T:Limestone Rock, The

M:C|

L:1/8

R:Reel

S:Mulvihill – 1st Collection  (1986)

K:G

(dc) | BG {A}(3GFG AG {A}(3GFG | DG {A}(3GFG A2 dc | BG {A}(3GFG AGAB |

c2 Bc A2 dc | BG {A}(3GFG AG {A}(3GFG | DG {A}(3GFG A2 dc | B2 GB AGAB |

cABG A2 :: (Bd) | e2 df eB {c}(3BAB | eBdB A2 Bd | eB {B}(3BAB gB {c}(3BAB |

cdBc A2 Bd | e2 dg ea {b}(3aga | gedB A2 BA | G2 Bd {a}gfgb | agef gedc :|

“Last”

“agef g2 ||

LIMPING SAL. Old‑Time, Breakdown. USA, Missouri. G Major. Standard tuning. AABB. Source for notated version: African-American fiddler Bill Driver (Cole County, Missouri) [Christeson]. R.P. Christeson (Old Time Fiddlers Repertory, vol. 1), 1973; pg. 94.

LIMPING SALLY WATERS. AKA ‑ "Limping Sal"???  Old‑Time. The title appears in a list of traditional Ozark Mountain fiddle tunes compiled by musicologist/folklorist Vance Randolph.

LINCOLN HORNPIPE.  AKA and see “Manchester Hornpipe [1].” English, Hornpipe. D Major. Standard tuning. AABB. A version of the tune usually known as the “Manchester Hornpipe.” Source for notated version: the 1823-26 music mss of papermaker and musician Joshua Gibbons (1778-1871, of Tealby, near Market Rasen, Lincolnshire Wolds) [Sumner]. Sumner (Lincolnshire Collections, vol. 1: The Joshua Gibbons Manuscript), 1997; pg. 14.

LINCOLN'S HORNPIPE. American, Hornpipe. A Major. Standard tuning. AABB. "Can be used as a Clog" (Cole). Cole (1000 Fiddle Tunes), 1940; pg. 98. Ryan’s Mammoth Collection, 1883; pg. 132.

X:1

T:Lincoln’s

M:C|

L:1/8

R:Hornpipe

S:Ryan’s Mammoth Collection (1883)

Z:AK/Fiddler’s Companion

K:A

E2 | A2 c>A E>Ac>A | G>AB>G A2c2 | f>ed>c d>cB>A | G>AB>G E>dc>B |

A2 c>A E>Ac>A | G>AB>G A2c2 | d>fe>d c>BA>G | A2c2A2 :|

|: c>d | e>Ac>e a>gf>e | G>AB>c d>EF>G | A,>CE>A F>dB>A | G>AB>G E2 c>d |

e>Ac>e a>gf>e | f>Bd>f b>ag>f | c>eA>c B>dG>B | A2c2A2 :|

LINCOLNSHIRE HORNPIPE. English, Hornpipe. England, Yorkshire. A Major ('A' part) & E Major ('B' part). Standard tuning. AB. Source for notated version: an MS collection by fiddler Lawrence Leadley, 1827-1897 (Helperby, Yorkshire) [Merryweather & Seattle]. Merryweather & Seattle (The Fiddler of Helperby), 1994; No. 42, pg. 39.

LINCOLNSHIRE LADS.  English, Country Dance Tune (2/4 time). A Major. Standard tuning. AABB. The melody appeared first in print in London publisher Charles and Samuel Thompson’s 1765 country dance collection, followed by a printing in Straight and Skillern’s Two Hundred and Four Favourite Country Dances, vol. 1 (London, 1775). In America, country dance directions were printed in the Phinney’s Select Collection of the Newest and Most Favorite Country Dances (Ostego, N.Y., 1808). Thompson (Compleat Collection of 200 Favourite Country Dances, vol. 2), 1765; No. 107.

X:1

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:A

A2 A>c|B2 B>d|ce”tr”dc|dBAG|A2 A>c|B2 B>d|(ce)(dc)|{c}B4:|
|:e2 e>f|ecBA|f2 f>g|a2 g>f|e2 e>f|ecAa|edcB|{B}A4:||

LINCOLNSHIRE LASSES.  English, Country Dance Tune (whole time). G Major. Standard tuning. AABB. The melody is unique to London publisher Charles and Samuel Thompson’s 1765 country dance collection. Thompson (Compleat Collection of 200 Favourite Country Dances, vol. 2), 1765; No. 108.

X:1

T:Lincolnshire Lasses

M:C

L:1/8

B:Thompson’s Compleat Collection of 200 Favourite Country Dances, vol. 2 (London, 1765)

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

Z:abc’s:AK/Fiddler’s Companion

K:G

g>dc>B e>cB>A|c>BA>G A>FE>D|g>dc>B e>cB>A|BdDF G4:|

|:g>de>=f e>cB>A|a>ef>g g2f2|bgaf gedc|BdDF G4:||

LINCOLNSHIRE MARCH.  English, March (4/4 time). D Major. Standard tuning. One part. The melody appears in several martial-oriented publications from the mid-18th century into the 19th, including James Oswald’s Fifty-Five Marches for the Militia (London, 1759), Longman’s New and Complete Instructions for the Oboe or Hoboy (London, 1770), Thompson’s Thirty Favourite Marches (Book 2, London, 1770), and George Willig’s Compleat Tutor for the Fife (Philadelphia, 1805). It also appears in the late 18th century manuscript copybook of Henry Livingston, Jr.  Livingston purchased the estate of Locust Grove, Poughkeepsie, New York, in 1771 at the age of 23. In 1775 he was a Major in the 3rd New York Regiment, which participated in Montgomery’s invasion of Canada in a failed attempt to wrest Québec from British control. An important land-owner in the Hudson Valley, and a member of the powerful Livingston family, Henry was also a surveyor and real estate speculator, an illustrator and map-maker, and a Justice of the Peace for Dutchess County. He was also a musician and presumably a dancer, as he was elected a Manager for the New York Assembly’s dancing season of 1774-1775, along with his 3rd cousin, John Jay, later U.S. Chief Justice of Governor of New York. The key signature is marked with one sharp in the ms.

X:1

T:Lincolnshire March

M:C

L:1/8

R:March

S:Henry Livingston’s manuscript copybook, late 18th century

Z:AK/Fiddler’s Companion

K:D

d2 d>d d2 f>e | e2 A>A A4 | e2 e>e e2 f>g | f>e d2 zefg |

f2 e>d e2A2 | a2 a>a a>gf>g | a2 g>f e3A | d2 d>d d2 f>d |

e2 e>e e2 g>e | f>ed>e “tr”e3d | (d4d4) :|

LINCOLNSHIRE POACHER. AKA and see "'Tis My Delight on a Shiny Night."

LINDA AND BARRY’S TREAT.  Canadian, Hornpipe. Canada, Cape Breton. D Major. Standard tuning. AABB. Composed by the late Cape Breton fiddler and composer Jerry Holland (1955-2009). Cranford (Jerry Holland: The Second Collection), 2000; No. 119, pg. 46.

LINDA McFARLANE. Scottish, March. G Major. Standard tuning. AB. Topic TSCD 669, Willy Taylor, Joe Hutton & Will Atkinson (et al) – “Ranting and Reeling: Dance Music of the north of England” (1998. Atkinson {b. 1908} of Crookham, Northumberland, was an harmonica player, Taylor a fiddler and Hutton a Northumbrian small-piper).

X:1

T:Linda McFarlane

R:March

S:Finlay Allison: GFW

M:4/4

L:1/8

K:G

D/E/ F|G2 FG DG Bd|d2 cA G2 FG|E2 e>d cB AG|B2 A2 A2 D2|!

G2 FG DG Bd|d2 cA G2 FG|E2 e>d cF BA|G2 G>A G2||!

B>c|d2 B>c dB gf|e2 c>d ec ge|d2 G>A Bd gd|B2 A2 A2 D2|!

G2 FG DG Bd|d2 cA G2 FG|E2 e>d cF BA|G2 G>A G2||

# X:1

T:Linden Waltz

M:3/4

L:1/8

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

Z:AK/Fiddler’s Companion

K:F

A2|c3 =Bdc|A4 ~c2|f2A2d2|c4 B2|B3 ABG|E2G2B2|d2c2=B2|c4A2|c3 =Bdc|

A4 c2|f2A2d2|c4B2|g4f2|e2d2c2|B2A2G2|F2z2|G3 AG^F|G2c2e2|e2d2d2|d2c2c2|

G3 AG^F|G2 c2e2|e2d2d2|c3 =Bdc|A4 c2|fefAdc|c4 B2|BAcABG|E4c2|dc=Bc_BG|

LINDISFARNE. English, Composed by English muscian and music editor Matt Seattle. The tune is popular at present in sessions in the Borders region.

LINEHAN'S RAMBLES. AKA and see "The Rambles of Kitty," "Kitty's Ramble(s)," "Kitty's Rambles to Youghal," "The Heart of My Kitty for Me," "The Heart of my Kitty still warms to me," "Murray's Maggot," "Strop the Razor [1]," "Dan the Cobbler," "The Cobbler [2]," "Young Ettie Lee," "I'm a man in myself like Oliver's Bull," "The Ladies Triumph [3]."

LINEHOPE LOPE, THE. AKA and see "Linhope."

LINEN CAP, THE (An Caipin Anairt). Irish, Reel. A Major. Standard tuning. AB. O'Neill (Krassen), 1976; pg. 151. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1500, pg. 277. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 723, pg. 127.

X:1

T:Linen Cap, The

M:C|

L:1/8

R:Reel

S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 723

Z:AK/Fiddler’s Companion

K:A

g|a2 ed cdec|Bcde fBBg|a2 ed cdec|dfed cAAg|a2 ed cdec|

Bcde fefg|agae faec|dfed cA A||B|cAEA cdec|Bcde fBBd|cAEA cdec|

Dfed cAAB|cAEA cdec|Bcde fefg|agae faec|dfed cA A||

LINHOPE. AKA and see "The Linehope Lope." English, Hornpipe; New England, Polka. England, Northumberland. D Major (Raven): C Major (Miller & Perron). Standard tuning. AABB. The first part also appears in the tune "The Curlew Hills (Polka)" or "The Glenbeigh Hornpipe." Miller & Perron (101 Polkas), 1978; No. 96. Raven (English Country Dance Tunes), 1984; pg. 157. Old Hat Music OH!02, "The Old Hat Dance Band" (1992). Topic 12T283, Willy Taylor - "The Holey Ha'penny."

X:1

T:Linhope

M:4/4

L:1/8

R:Hornpipe

K:D

FG|A2f2G2e>G|F2d2 dAFA|G2E2 EFGB|A2F2 FEFG|

A2f2G2e>G|F2d2 dAFA|GFEF GABc|d2f2d2:|

|:fg|{f}a2A2A2 ef|{g}b2B2B2ed|cBcd ecBA|dcde f2fg|

{f}a2A2A2ef|{g}b2B2B2 ed|cBcd egfe|d2f2d2:|

LINK ABOUT. AKA and see “The Little House Under the Hill.” ‘Link’ means to ‘skip’. Printed in Aird, Selection of Scotch, English, Irish, and Foreign Airs (1782-1797).

LINK HIM DOD(D)IE [1]. Scottish, Strathspey. A Mixolydian. Standard tuning. AAB. ‘Link’ means to dance or skip. The melody appears (as "Linkem Dodie") in the Gillespie Manuscript of Perth (1768). John Glen (Early Scottish Melodies, notes for No. 376 of the Scots Musical Museum) finds an earlier appearance of the tune under the title “Blue Britches.” Carlin (Gow Collection), 1986; No. 114. Gow (First Collection of Niel Gow’s Reels), 1784 (revised 1801); pg. 11. Hunter (Fiddle Music of Scotland), 1988; No. 135. Jones [Ed.] (Complete Tutor Violin), c. 1815; pg. 11. Kerr (Merry Melodies), vol. 1; Set 30, No. 3, pg. 18. MacDonald (The Skye Collection), 1887; pg. 15. Ryan’s Mammoth Collection, 1883; pg. 170 (appears as “Sink Him, Doddie—Highland Fling”).  Stewart-Robertson (The Athole Collection), 1884; pg. 17.

X:1

M:C|

L:1/8

R:Strathspey

B:Stewart-Robertson – The Athole Collection  (1884)

Z:AK/Fiddler’s Companion

K:A

A<e e>d c<A c2|B<=g g>d B<=GB<d|A/B/c/d/ e>A c<A c2|A,ag<b a>A c<e:|

a/g/f/e/ c>a e>a c2|(B<=g g>d B<=GB<^g|a/g/f/e/ c<a e<ac<a|A<ac<a c<Ac<e|

a/g/f/e/ f>d e>d c2|(B<=g g>d B<=GB<d|A/B/cd e>A c>A c2|(A<a g<b a<Ac<e||

LINK HIM DODDIE [2]. Scottish, Strathspey. A Minor. Standard tuning. AB. Kerr (Merry Melodies), vol. 3; No. 151, pg. 18.

X:1

M:C

L:1/8

R:Strathspey

S:Kerr – Merry Melodies, vol. 3, No. 151  (c. 1880’s)

Z:AK/Fiddler’s Companion

K:Amin

A<e e>d (c<A) c2 | B<g g>d B<G B<d | A<e e>d c>A c2 | A<a g>e a>A c<e |

A<e e>d (c<A) c2 \ B<g g>d B<G d<B | (A/B/c/d/) e>A c<A c>B | A<a g<e a>Ac<e ||

(a/g/f/e/) a>e (c<a) e2 | (B<g) g>d (B<G) (B<g) | (a/g/f/e/) a>e e<a c<a | A<a e<a e>Ac<e |

(a/g/f/e/) a>e (c<a) e2 | (B<g) g>d B<G (B<d) | (A/B/c/d/) e>A c<A c>B | A<a g<e a>Ac<e ||

LINK OF CHAIN. Old‑Time. A modern composition by fiddler Lisa Ornstein, an expert on Québécois fiddling. Heritage XXXIII, "Visits."

LINKS OF LEITH. Scottish, Reel. A Mixolydian. Standard tuning. AAB. John Glen (1891) finds the earliest printing of the tune in Robert Bremner's collection. Links are uneven sandy, grass-covered ground near Scottish coasts, and golf was played on the Links of Leith from very early times (they were also the site of sieges and hangings!). King James 1V of Scotland was a golfer and records confirm that he purchased balls and clubs for “the playing of goufe at Leithe.” Perhaps the most interesting match took place in 1681 when the first unofficial challenge took place between the Duke of York and his partner, John Patersone, and two English noblemen, who had maintained an English provenance for the game. Patersone was a poor shoemaker but came from a long line of golfers, and is said to have made leather-covered golf balls in the course of his trade. Of course, the match garnered much public interest, and on the day of the event a large crowd gathered to view the spectacle with much side-betting on the outcome. The Duke and the shoemaker won handily and the Duke magnanimously gave the lions share of the winnings to the poor tradesman. Patersone wisely invested his money in building a ‘stylish’ house in the Cannongate district of Edinburgh, installing above the entrance his family crest—a hand grasping a golf club with the inscription “Far and Sure.” The house still stands and is known as Golfer’s Land.

***

Around the time Bremner published his collection the first clubhouse was erected on the Links. Previously, in 1744, the Edinburgh town council had recognized the popularity of the game by awarding a silver club to be given each year to the winner of a competition played according to the rules set up by the Gentlemen Golfers. In the 19th century the association and the grounds deteriorated, with interest moving to other golfing venues, and today no trace of the Links exists.

Bremner (Scots Reels), 1757; pg. 57.

X:1

M:C|

L:1/8

R:Reel

S:Bremner – Scots Reels (c. 1757)

Z:AK/Fiddler’s Companion

K:Amix

e | “tr”cA c/d/e AecA | BGgd (B/c/d) Ge | “tr”cA c/d/e aecA | BGgB A/A/A A2 :|

g | a>bag egab | g>age dBGg | a>bag egab | gegB A/A/A Ag | a>bag egab |

gage dBGg | afge fdec | dBgB A/A/A A ||

LINKY LANKY. English, Country Dance Tune (6/8 time). England, Yorkshire. E Minor. Standard tuning. AB. Source for notated version: an MS collection by fiddler Lawrence Leadley, 1827-1897 (Helperby, Yorkshire) [Merryweather & Seattle]. Merryweather & Seattle (The Fiddler of Helperby), 1994; No. 57, pg. 43.

LINLITHGOW LOCH. AKA and see "Provost Dawson's Favorite." Scottish, Strathspey. D Major. Standard tuning. AAB. Composed by William Marshall (1748-1833). The tune is subtitled “Provost Dawson’s Favorite” in honor of Provost Adam Dawson who lived at the old Bonnytoun House on the shores of Linlithgow Loch (Moyra Cowie, The Life and Times of William Marshall, 1999). Dawson was a partner in a distillery named A & J Dawson, and a supporter of the Whig party and the Reform Act of 1832. Cowie says he is remembered for his warmth and keen sense of humor.

***

***

Linlithgow was the site of an important royal residence, Linlithgow Palace, now in ruins. It was already a royal manor house by the time Edward I of England garrisoned it and used it as a base prior to the battle of Bannockburn. Afterwards it reverted to the Scots. James I began the transformation to a large fortified castle in in 1424, and later Mary, Queen of Scots was born there. The castle was destroyed in 1746 during the Jacobite uprising when English troops, who had occupied the castle, took up the chase for Bonnie Prince Charlie but left an unattended fire, which soon spread. Marshall, Fiddlecase Edition, 1978; 1845 Collection, pg. 25.

X:1

T:Linlithgow Loch, or Provost Dawson’s Favorite

M:C

L:1/8

S:Marshall – 1845 Collection
Z:AK/Fiddler’s Companion

K:D

F|D>E D<A F<DA<F|D>E D<F E2 E<F|D>E D<A F<DA<F|d/c/d/e/ f<d F2F:|

|:G|d>e f<d e<BdA|Bcd<f e2 e>f|d>e f<d e>Bd>A|G<BF<A E2 E>A|

d>efd e<Bd<A|B>c d<f e2 e>f|g>e (g/f/)e/d/ (f/e/)d/c/ d>A|G<B F>A E2E||

LINNEN HALL. English, Country Dance Tune (6/8 time). G Major. Standard tuning. AAB (Raven): AABB (Aird, Williamson). Published before 1730. Aird (Selections of Scotch, English, Irish and Foreign Airs), vol. II, 1782; No. 127, pg. 46. Raven (English Country Dance Tunes), 1984; pg. 31. Williamson (English, Welsh, Scottish and Irish Fiddle Tunes), 1976; pg. 22.

X:1

T:Linnen Hall

M:6/8

L:1/8

S:Aird, vol. II (1782)

Z:AK/Fiddler’s Companion

K:G

G2G A2A | B2c dBG | E2E c2B | ABG FED | G2G A2A | B2c dBG| EcB AGF | G3 G3 :|

|: d2d e2e | d2g dBG | d2d e2e | dBG A3 | d2d e2e | d2g g2f | egf ed^c | d3 D3 :|

LINNET, THE. Irish, Reel. D Major ('A' part) & D Mixolydian ('B' part). Standard tuning. AABB. The linnet is a small European songbird, on occasion used as a metaphor for Napoleon in Irish folklore and song. Folk Legacy FSI-74, Howard Bursen - "Cider in the Kitchen" (1980).

LINNET’S CHORUS, THE.  Irish, Waltz. D Major. Standard tuning. AABB. Composed by flute player Marcus Hernon (Connemara). Feenish Sound GLCD 1200, P.J. & Marcus Hernon – “The Grouse in the Heather”

X:1

T:Linnet’s Chorus, The

M:3/4

L:1/8

R:Waltz

C:Marcus Hernon

K:D

FE|D3F AB|A3d fe|ed d2 AF|E3D FE|D3F AB|A3B d2|

Bd AB FB|A3B FE|D3F AB|A3d fe|ed d2 AF|E3F D2|

fe dc dB|A2 AB FD|E3D FE|1 D4:|2 (D4 D)||:f|fe de fg|

ab af ed|ed B/c/d AF|E3D FE|D2 DE FG|Ad dc de|

fa ab af|e3f d2|fe de fg|ab af ed|ed B/c/d AF|

E3D FE|D2 DE FG|Ad dc df|e3A Bc|1 (d4 d):|2 d4||

LINNET’S REEL.  American, Reel. D Major. Standard tuning. AABB’. Composed by Alstead, New Hampshire, fiddler Randy Miller. Miller (Fiddler’s Throne), 2004; No. 193, pg. 122. RM-1C, Randy Miller – “Lore of the Fingerboard” (1990).

LINSEY-BACK. American, Jig. USA, southwestern Pa. G Major. Standard tuning. AB. Irish sounding. Source for notated version: Wilbur Neal (elderly fiddler from Jefferson County, Pa., 1948; learned from his great‑grandfather) [Bayard]. Bayard (Dance to the Fiddle), 1981; No. 536, pg. 477.

LINTON’S FROLICK.  English, Reel. D Major. Standard tuning. AABB. The melody appears in the 1770 music manuscript collection of Northumbrian musician William Vickers, about whom unfortunately nothing is known.

X:1

T:Linton’s Frolick

M:C|

L:1/8

R:Reel

S:William Vickers’ music manuscript collection (Northumberland, 1770)

K:D

D|F/G/A FDAF dA|FA dF G/F/E/D/ CE|F/G/A FD AF dB|Afec d/d/d d2:|

|:f/g/a fd e/f/g ec|B/c/d AF G/F/E/D/ CE|f/g/a fd e/f/g ec|B/c/d AF D/D/D D2:|

LIOM FÉIN AMHÁIN MO BHEANSA. AKA and see “My Wife’s My Own.”

LÍON FAOI BHLÁTH, AN. AKA and see “The Flax in Bloom.”

LÍON FAOI BLAT, AN. AKA and see "The Flax in Bloom."

LIONEL MUISE. Canadian, Jig. Canada, Cape Breton. G Dorian. Standard tuning. AABB’. Composed by fiddler Brenda Stubbert (b. 1959, Point Aconi, Cape Breton, Nova Scotia). Cranford (Brenda Stubbert’s), 1994; No. 117, pg. 41. Brenda Stubbert - “Tamerack ‘er Down” (1985).

LIONN DUBH BUIDHE (Cuach o Londubh Bui). Irish, Air. Ireland, County Donegal. Collected in 1904 by Padraig Mac Aodh O’Neill from the Cassie Sweeney, sister of another of his sources, Proinseas Mac Suibhne, a farmer and schoolmaster of Fawans, Kilmacrennan, Donegal. It was published in the Journal of the Irish Folk Song Society (1904).

LION’S DEN, THE.  Canadian, Reel. Canada, Prince Edward Island. B Minor. Standard tuning. AABB’CC. Composed by Bangor, P.E.I., fiddler Ward Allan MacDonald. Cranford (Jerry Holland: The Second Collection), 2000; No. 67, pg. 27.

LIPPINCOTT. American, March (2/4 time). USA, southwestern Pa. G Major. Standard tuning. AB. A fife tune named after a village in Greene County, Pennsylvania. Source for notated version: Sam Palmer via fifer Marion Yoders (Greene County, Pa., 1960) [Bayard]. Bayard (Dance to the Fiddle), 1981; No. 245, pg. 205.

LIQUOR SELLER. Old‑Time, Breakdown. USA, Virginia. A Mixolydian. Standard tuning. AABB. A banjo tune from the playing of Roscoe Parish of Coal Creek, Virginia. Source for notated version: Roscoe Parish [Phillips]. Phillips (Traditional American Fiddle Tunes), vol. 1, 1994; pg. 141. Folkways FTS‑31062, "Ship in the Clouds: Old Time Instrumental Music" (1978).

LISA LYNN WALTZ. American, Waltz. USA, New York State. In the repertoire of Champion, central New York State fiddler Winifred “Murph” Baker.

LISA MACISAAC’S JIG.  Canadian, Jig. Canada, Cape Breton. G Minor. Standard tuning. AABB’. Composed by the late Cape Breton fiddler and composer Jerry Holland (1955-2009). Cranford (Jerry Holland: The Second Collection). 2000; No. 302, pg. 107.

LISBURN LASSES, THE (Na Cailinide Ua Lios-Boireann). Irish, Reel. D Major. Standard tuning. AA'B. “Free and Easy [2]” is a related reel. Source for notated version: Chicago Police Sergeant James O’Neill, a fiddler originally from County Down and Francis O’Neill’s collaborator [O’Neill]. O'Neill (Krassen), 1976; pg. 157. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1529, pg. 282.

X:1

T:Lisburn Lasses, The

M:C|

L:1/8

R:Reel

S:O’Neill – Music of Ireland (1903), No. 1529

Z:AK/Fiddler’s Companion

K:D

F2 (EF) D2 (DE) | FDED FDED | F2 (EF) D2 (DE) |1 FABc dBAG :|2 FABc d2 (de) ||

f>d {e}(3dcd f>d {e}(3dcd | (3fed fg a2 (3bag | (3fed ec dcAB | cdcA Ggfg |

f>d {e}(3dcd f>d (3dcd | “tr”fedc d2 (de) | (3fed ec dcAB | “tr”cAGFD GBAG ||

LISCANNOR. Irish, Jig. G Major. Standard tuning. AABBCC. Treoir.

X: 1

T: Liscannor

S: Treoir

N: as "gan ainm"

M: 6/8

L: 1/8

Q: 325

Z: Transcribed by Bill Black

R: jig

K: G

BGG Add | BdB BAG | BGG ADD | GBA GED |

BGG AFF | BGG ABc | dge fed | cAF G3 :|

GBd g3 | fed cAF | GBd g3 | faf g3 |

faf gfg | fed cAF | faf gfe | ded dcA :|

GBB Bcd | cAA AFD | GBB BAG | BdB cBA |

GBB Bcd | cAA ABc | dge fed | cAF G3 :|

LISCARROLL HORNPIPE, THE. Irish, Hornpipe. G Major. Standard tuning. AABB. Source for notated version: Jerry O’Reilly (San Francisco) [O’Neill]. O’Neill (Waifs and Strays of Gaelic Melody), 1922; No. 334.

X:1

T:Liscarroll Hornpipe, The

M:4/4

L:1/8

S:Jerry O'Reilly, San Francisco

R:Hornpipe

K:G

dc|BGBd gabg|agge dedc|BGBd cAFG|AG (3FED FAdc|

BGBd gabg|agge dedc|BGBd cAFA|G2 GG G2:|

|:ga|bagf gbag|fed^c defg|a2 af gbag|fge^c d2 ef|

gbaf gage|dedB cedc|BGBd cAFA|G2 GG G2:||

LISDOONVARNA. AKA and see “Frost is All Over [1].” Irish, Jig.

LISDOONVARNA POLKA [1], THE. Irish, Polka. D Major. Standard tuning. Recorded by County Clare tin whistle player Micho Russell (who plays it after "Katie Moloney's Polka"). Lisdoonvarna, County Clare, was formerly a spa town where Victorian society partook of the mineral waters that were thought to have healing properties. It is located north and inland of the famous coastline Cliffs of Moher, in the rocky region called the Burren. The town is more famous now-a-days as the location of an annual match-making festival.

X:1

T:Lisdoonvarna Polka

M:4/4

L:1/4

R:Polka

K:D Major

g g/2g/2 eg|f f/2f/2d2|g g/2g/2 eg|fdBA|g g/2g/2 eg|fadf|a2ab|a2a2:||

LISDOONVARNA POLKA [2], THE. AKA and see “The Grand Old Dame,” “The Halfdoor,” “I-tiddly-I-ti,” “Leather away with the wattle,” “Leather the Bottle-o,” “The Little Lisdoonvana Polka,” “The London Bridge Polka,” “(An) tSeanbhean uasal,” “The Water Street Polka.” Irish, Polka. D Major. Standard. AABB. Mallinson (101 Polkas), 1997; No. 12, pg. 5.

LISDOONVARNA REEL. AKA and see “Irish Hautboy,’ “Smuggler’s Reel.”

LISHEEN REEL [1], THE (Ríl an Lisín). Irish, Reel. D Major. Standard tuning. AB. Source for notated version: fiddler Denis Murphy, 1966 (Gneeveguilla, Co. Kerry, Ireland) [Breathnach]. Breathnach (CRÉ II), 1976; No. 192, pg. 100.

LISHEEN REEL [2], THE.  AKA and see “Anything for John Joe.” Irish, Reel.

LISHEEN SLIDE, THE. AKA and see “Jackson’s Frieze Coat.” Irish, Slide (12/8 time). Ireland, West Kerry. G Major. Standard tuning. AABB. The tune is printed by O’Neill as a double jig called “Jackson’s Frieze Coat.” Sources for notated versions: Sliabh Luachra fiddler Denis Murphy (Gneeveguilla, County Kerry) [Bulmer & Sharpley]; set dance music recorded at Na Píobairí Uilleann, late 1980’s [Taylor]. Bulmer & Sharpley (Music from Ireland), 1974, vol. 2, No. 64. Mac Amhlaoibh & Durham (An Pota Stóir: Ceol Seite Corca Duibne/The Set Dance Music of West Kerry), No. 63, pg. 39 (appears as “Gan Ainm” {untitled}). Mulvihill (1st Collection), 1986; No. 9, pg. 116. Taylor (Music for the Sets: Blue Book), 1995; pg. 23. Treoir. Denis Murphy & Julia Clifford - “The Star Above the Garter.

X: 1

T: Lisheen Slide

S: "Treoir"

M: 12/8

L: 1/8

R: slide

Z: Transcribed by Bill Black.

K: G

A |: B3 BAB G2 B A2 G | B3 BAG A2 B cBA |

B3 BAB GAG GBd | g2 e dBG A2 B cBA :|

g3 dBd e3 dBd | efg aga bab afd |

g3 dBd ede dBd | efg aga bgf g3 :|

LISLE QUICKSTEP, THE. American, March (6/8 time). USA, southwestern Pa. D Major. Standard tuning. AA'BBCC'. Source for notated version: Hiram Horner (fifer from Westmoreland and Fayette Counties, Pa., 1960) [Bayard]. Bayard (Dance to the Fiddle), 1981; No. 568, pgs. 507‑508.

LISMORE NO MORE (Fagail Lismor). AKA - "Leaving Lismore." Scottish, Pipe Tune.

LISNAGUN JIG, THE. AKA – “Lisnagan Jig.” Irish, Jig. C Major. Standard tuning. AAB. Composed by Brendan Ring. Green Linnet SIF 3112, Nomos – “I Won’t Be Afraid Anymore.”

X:1

T:The Lisnagan Jig

L:1/8

M:6/8

Z:Bernard Chenery

K:C

cAG ~c3 | cdg ~e3 | cdg edc | dcA cAG | cAG ~c3 | cdg ~e3 | cdg edc | dcA ~c3 :|

~g3 age | deg ~e3 | deg edc | dcA cAG | ~g3 age | deg ~e3 | deg edc | dcA ~c3|

~g3 age | deg ~e3 | deg edc | dcA cAG | cAG ~c3 | cdg ~e3 | cdg edc | dcA ~c3 ||

LISNATHARA. Irish, Reel. G Dorian. Standard tuning. AA’BB’. Composed by County Cavan/Philadelphia fiddler and compser Ed Reavy (1898-1988). Reavy maintained Lisnathara was a legendary place in Ulster where musicians would gather once a year to “revel and make grand music.”  Reavy (The Collected Compositions of Ed Reavy), No. 62, pg. 68.

X:1

T:Lisnathara

R:reel

C:Ed Reavy

M:2/2

L:1/8

Z:Joe Reavy

N:Ed says it was a legendary place in Ulster

N:where musicians gathered once a year

N:"to revel and make grand music.

N:"This reel is the fulfillment of a young boy's dream.

K:Bb

GA|BdBF DGGA|(3Bcd BF D=EFA|G^FA BABc|dg^fa gfdc|=Bcd=e fdeg|^fd=Bd cAFA|

(3=Bcd BF D=EFE|1=FGAc =BGGA:|2=FGAc =BGGg|||(3bba gf gfdc|Bcde =fdcd|

gabg ^fgaf|dggf gfga|(3bag (3agf gfdc|_BABd cAFA|(3=Bcd B=F DCB,C|

1=FGAc BGGg|2=FGAc BGGA||

LISSALUMNA FIDDLER, THE. AKA and see “Bit of Ginger,” “The Fisherman,” “Fisherman’s Lilt [2],” “Joe Derrane’s Jig,” “Lilting Fisherman,” “Paddy’s Resource [2].” Irish, Jig.

LISTEN SWEET GIRL, LISTEN (Éisd mo chaileag éisd). Scottish, Slow Air (6/8 time). D Major. Standard tuning. One part. "Admirably sung to the native words of the late Colonel Fraser of Culduthel, son of the gentleman mentioned in the prospectus, and highly worthy of English or Scottish verses" (Fraser). Fraser (The Airs and Melodies Peculiar to the Highlands of Scotland and the Isles), 1874; No. 108, pg. 42.

X:1

T:Listen sweet girl listen

T:Éisd mo chaileag éisd

M:6/8

L:1/8

R:Air

S:Fraser Collection  (1874)

Z:AK/Fiddler’s Companion

K:D

d2e c2e|c2B e2e|d>ef f3|g2e f2f|d2d e2d|c2B f2f|f^AF F3|e2d f2d|

B2A F2^E|F3 zc|d2e c<F z/d/|(d2c) c2 z/c/|(c2B) B2^A|B2c f3|

B2A F2^E|(F3 F2)z||

LISTEN TO THE MOCKINGBIRD. AKA ‑ "Mocking Bird [1]." Texas Style, Bluegrass; Contest piece. D Major. Standard tuning. AAB (Sweet): AABB (Brody, Ford). A once‑popular minstrel era song composed by Septimus Winner (under the pseudonym ‘Alice Hawthorne’, the maiden name of his mother) that has proved extremely popular as a contest tune among fiddlers. It is heard sometimes as square dances as a singing call. Actually, the sheet music, published in 1855 by Winner and Schuster, credits the music to a Richard Milburn, with the song written and arranged by Alice Hawthorne, although Winner later seems to have taken credit. Brody, 1983; pg. 170. Ford (Traditional Music in America), 1940; pg. 45. Sweet (Fifer’s Delight), 1965/1981; pg. 72. Bluebird 5843, Arthur Smith. Mercury SRM‑1‑1022, "Vasser Clements." Gusto 104, Fiddlin' Red Herron‑ "30 Fiddler's Greatest Hits." Briar 4202, The Kentucky Colonels‑ "Living in the Past." CMH 6237, Paul Warren‑ "America's Greatest Breakdown Fiddle Player." County 747, Clark Kessinger‑ "Sweet Bunch of Daisies." Decca 5213 (78 RPM), Curly Fox (1936). Fretless 101, "The Campbell Family: Champion Fiddlers." June Appal 024, Luke Smathers String Band‑ "Mountain Swing." Rebel 1528, Buck Ryan‑ "Fiddler on the Rocks." Chubby Wise‑ "Fiddles Around."

LISTEN TO THE VOICE OF LOVE. English, Dance Tune (2/4 time). D Major. Standard tuning. One part. Huntington (William Litten's), 1977; pg. 42.

LISTOWEL HORNPIPE. AKA and see “Bonaparte Crossing the Rhine [2],“ “First Light of Day,” “From Galway to Dublin (Town).” Irish, Hornpipe. A hornpipe version of “Let Mr. McGuire Sit Down.” Some similarities to the American variant “Bonaparte Crossing the Rocky Mountains.” The tune was recorded in 1929 by Dan Sullivan’s Shamrock Band under the title “From Galway to Dublin,” which features a vocal describing a train trip form west to east Ireland. Sullivan was a pianist from Boston, who, according to Philippe Varlet and Dick Spottswood, worked full-time as a salesman for the Steinway piano company, and who recorded some 100 sides in the 78 RPM era. Rounder CD 1087, “From Galway to Dublin” (1993).

LISTOWEL LASSES, THE. AKA and see "Rolling on the Ryegrass," "Roll her on the banks," "Maureen Playboy," "Old Molly Ahern," "The Rathkeale Hunt," "What the Devil ails you [2]" "Boil the Kettle Early," "Kitty got a clinking (coming from the races) [1]," "The Lady on the Railroad," "The Brown Red Girl," "Love among the Roses," "The Kilfinane Reel," "The Connachtman's Rambles [1]," "McCaffrey's Reel," "The Railway Station," "Sean‑Mhaire Ni Eachthighearn," "The Shannon Breeze [1]," "The Piper's Lass," "The Telegraph," "The Ladies Top Dress," "The Ladies Tight Dress."

LITCHFIELD. Old-Time, Breakdown. G Major. Recorded by the Volo Bogtrotters.

LITCHFIELD RACES. English, Jig. G Major. Standard tuning. AABB. The melody (with dance instructions) first appeared in John Hinton’s periodical Universal Magazine of Knowledge and Pleasure (London, 1755). Dance instructions were published that same year in Peter Thompson’s Twenty Four Country Dances for the Year 1755. The tune was later published by Charles and Samuel Thompson in their first country dance collection (London, 1757) and again in their Complete Collection of 200 Favourite Country Dances, vol. 3 (London, 1773). John Johnson included it in his 200 Favourite Country Dances, vol. 8 (London, 1758). In manuscript form it was entered in the copybook collections of Northumbrian musician William Vickers (1770), Benjamin Cooker (c. 1770) and Perthshire fiddler John Fife (who also appears to have taken his book to work on while at sea). In America, “Litchfield Races” appears in the c. 1825 music commonplace book of fifer Ebenezer Bevens (Middletown, Conn.). The Litchfield race ground was at Whittingdon Heath, and the races, held in September, were one of the largest and best attended meets in the 18th century in the Midlands. There, in 1748, was a riot at the races, in which “the late Duke of Bedford, and other gentlemen, where insulted and beaten. The rioters (the chief of whom was a Mr. Toll, a dancing-master) were afterwards tried at Stafford assizes, and fined 6s. 6d. each for this offence” [explanatory note to “The Litchfield Defeat” in John Almon, The New Foundling Hospital for Wit, 1786)Thompson (Compleat Collection of 200 Favourite Country Dances, vol. 1), 1757; No. 100.

X:1

T:Litchfield Races

M:6/8

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

G2G G2B|dBG AFD|G2G G2B|dBG A2D|G2G G2B|dBG AFD|BdB cAF|G/G/GG G3:|

|:gdB gdB|cec dBG|gdB gdB|A/A/AA A2f|gdB gdB|cec dBG|cec BdB|G/G/GG G3:||

LITCHFIELD TATTOO.  English, March (4/4 time). D Major. Standard tuning. AABB. Source Oldfield played in the Belper New Militia Regimental Band around 1820, notes Callaghan (2007). Source for notated version: the music manuscript copybook of Isaac Oldfield (Kirby Langley, near Derby) [Callaghan]. Callaghan (Hardcore English), 2007; pg. 41. EFDSS CD13, Katie Howson & Jeannie Harris – “Hardcore English” (2007. Various artists). Old Hat Records OH04CD, Katie Howson & Jeannie Harris – “Unbuttoned.” Topic Records 12TS416, Umps and Dumps – “The Moon’s in a Fit” (1980. Learned from the Oldfield ms.).

X:1

T:Litchfield Tattoo

M:4/4

L:1/8

K:G

BB|:B2A2A2 cc|c2B2B2 GG|G2F2G2A2|B4 B2BB|

B2A2A2cc|c2B2B2c2|de dc B2A2|1 G4 G2BB:|2 G4 G2c2||

d3e d2B2|c3d c2A2|B3c B2G2|A6 AB|

c2Ac B2GB|A4 A2B2|c2 Ac B2 GB|A4 B2c2|

d3e d2B2|c3d c2A2|B3c B2G2|A4 A2B2|

c2 Ac B2 GB|A4 A2B2|c2 Ac B2G2|A6 BB||

LITERARY DUSTMAN, THE. English, (Morris) Jig. England, Yorkshire. G Major. Standard tuning. AABB. A morris dance tune composed c. 1610, according to Merryweather. English Folk Dance & Song, vol. 46, No. 1, 1984. Merryweather (Merryweather’s Tunes for the English Bagpipe), 1989; pg. 36.

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